anderson-long-tail1
Chris Anderson, capo redattore di Wired, conia il termine the Long Tale (la coda lunga) con cui teorizza il passaggio dal mercato di massa alla massa dei mercati, dall’economia di scarsita’ all’economia di abbondanza.
Anderson sostiene che i prodotti a bassa richiesta, o con ridotti volumi di vendita (misses o niches), possono collettivamente occupare una quota di mercato equivalente a quella dei pochi bestsellers.
La teoria della Long Tail sostiene che la nostra cultura si sta gradualmente spostando dal mercato mainstream (pochi prodotti ed elevate vendite),che si trova nella testa della curva di domanda, verso un enorme numero di mercati di nicchia nella coda della curva.
In un’era in cui non ci sono le limitazioni poste dallo spazio fisico (shelf space) e dai costi di distribuzione, anche prodotti che vendono poco possono essere economicamente attraenti.
Non-Interactive Streaming
Lo Streaming si differenzia dal downloading in quanto consente agli utenti di visionare in tempo reale e solo in via temporanea, a pagamento o gratuitamente, un’opera tutelata, direttamente dal sito web e senza che il licenziatario consenta nè la riproduzione dei file sull’hard disck di un computer o su un altro apparecchio di riproduzione in grado di ricevere le trasmissioni internet, nè il successivo ascolto o la visione di tali fonti.
Diritti connessi
In Italia tramite SCF e’ possibile ottenere l’autorizzazione per la copia tecnica e la messa a disposizione tramite la rete web di fonogrammi click here
Diritti d’autore
La Siae autorizza per la pubblica esecuzione (Per regolarizzare l’attività di webcasting (simile a quella delle tradizionali emittenti radiofoniche, per la presenza di un palinsesto e l’assenza di interattività) è necessario sottoscrivere la specifica Autorizzazione della SIAE, che prevede tariffe diversificate in relazione alla quantità di musica presente all’interno del palinsesto della web radio e a criteri soggettivi del soggetto titolare del sito.)
click here
ITALIAN LICENSING
1. Per Downloading si intende una tecnica che consente all’utente di trasferire un’opera tutelata (a pagamento o gratuitamente, in via temporanea o permanente, con o senza la possibilità di ascolto o visione nel corso del downloading) sull’hard disk di un computer o su un’altro apparecchio di riproduzione in grado di ricevere trasmissioni internet, ed il successivo ascolto o la visione di tali fonti.
Diritti connessi: i singoli produttori discografici hanno la facolta’ di autorizzare o meno le attivita’ di downloading (la SCF non rilascia licenze). La licenza is voluntary.
Per saperne di piu’ Click Here
Diritti d’autore La Siae autorizza i content provider a:
- riprodurre le opere tramite caricamento (uploading) del file all’interno della sua banca dati;
- alla comunicazione al pubblico sulla rete internet;
- a mettere a disposizione del pubblico opere musicai ai fini del loro downloading da parte di utenti privati.
Per saperne di piu’ Click here
UK LICENSING
MCPS : Joint Online Licence and Limited Online Exploitation Licence
PRS Online License – The PRS Online Licence is needed when you want to use music online and have already cleared the mechanical rights (i.e the right to copy/ reproduce the track click here
US LICENSING
ASCAP: Click Here
HARRY FOX:
Come ci segnala Francesco Ambrosini, la Siae si sta attrezzando per la gestione dei diritti connessi.
e’ doveroso quindi specificare che in Italia i diritti connessi possono essere gestiti da SCF e da SIAE i produttori fonografici possono conferire mandato per la gestione di tali diritti ad entrambe le societa’.
Per saperne di piu’
cliccate qui
potrebbe essere interssante ai fini delle lezioni di questi giorni…. il link è
http://www.siae.it/Associarsi.asp?link_page=Sis_TitolariDirittiConnessi.htm&open_menu=yes
Kevin Kelly (born 1952) is the founding executive editor of Wired magazine, and a former editor/publisher of the Whole Earth Catalog. He has also been a writer, photographer and conservationist. Kelly is a student of cultures (Asian ones in particular) and is considered by some an expert in digital culture.
Here you will find a collection of speeches taken from you tube
[splashcast c ZKEY9803MR]
Author and publishers associations:
The following organizations do collect and distribute money on behalf of PUBLISHERS and AUTHORS only- RECORD LABELS AND PERFORMING ARTISTS are not paid by these companies.
USA
1.ASCAP
a description from their website :
ASCAP is a membership association of more than 330,000 U.S. composers, songwriters, lyricists, and music publishers of every kind of music. Through agreements with affiliated international societies, ASCAP also represents hundreds of thousands of music creators worldwide. ASCAP is the only U.S. performing rights organization created and controlled by composers, songwriters and music publishers, with a Board of Directors elected by and from the membership.
ASCAP protects the rights of its members by licensing and distributing royalties for the non-dramatic public performances of their copyrighted works. ASCAP’s licensees encompass all who want to perform copyrighted music publicly. ASCAP makes giving and obtaining permission to perform music simple for both creators and users of music.
2. BMI
a description from their website :
BMI is a performing right organization: It collects license fees on behalf of its songwriters, composers and music publishers and distributes them as royalties to those members whose works have been performed.
As a performing right organization, BMI issues licenses to various users of music, including television and radio stations and networks; new media, including the Internet and mobile technologies such as ringtones and ringbacks; satellite audio services like XM and Sirius; nightclubs, discos, hotels, bars, restaurants and other venues; digital jukeboxes; and live concerts. It then tracks public performances of its members’ music, and collects and distributes licensing revenues for those performances as royalties to the more than 375,000 songwriters, composers and music publishers it represents, as well as the thousands of creators from around the world who have chosen BMI for representation in the U.S.
BMI currently represents some more than 6.5 million compositions — a number that is constantly growing. As a result, BMI has, over the years, sought out and implemented a number of technological innovations in its continuing effort to gather the most accurate information available about where, when and how its members’ compositions are used as well as ensuring that payment to those whose works have been performed is made in as precise and timely a manner as possible.
3. SESAC
SESAC is designed to represent songwriters and publishers and their right to be compensated for having their music performed in public. By securing a license from SESAC, for example, music users (i.e., television and radio stations, auditoriums, restaurants, hotels, theme parks, malls, etc.) can legally play any song in the SESAC repertory. Without a license from a performing rights organization, music users are in danger of copyright infringement.
Over the years there have been thousands and thousands of artists who have performed SESAC-affiliated songs. A handful of names that you might recognize include Usher, Bob Dylan, Mary J. Blige, Justin Timberlake, Pink, Nelly Furtado, Beyonce, Coheed and Cambria, Garth Brooks, Destiny’s Child, Mercy Me, Ludacris, Jim Brickman, Kenny Chesney, Eric Clapton, Neil Diamond, U2, Luciano Pavarotti, LeAnn Rimes, Mariah Carey, Alan Jackson, Cassandra Wilson, Jagged Edge, Jimi Hendrix, Christina Aguilera, and UB40.
UK
MCPS-PRS
a description from their website :
The MCPS-PRS Alliance is home to the world’s best music writers, composers and publishers. Formed in 1997 between two royalty collection societies (MCPS and PRS), it exists to collect and pay royalties to its members when their music is recorded and made available to the public (MCPS); and when their music is performed, broadcast or otherwise made publicly available (PRS).
Ten years since joining forces, the MCPS-PRS Alliance is one of the world’s most efficient combined rights collecting operations. Offering its members more money, more often, at less cost and its customers the most efficient means by which they can use music.
ITALY
SIAE
SIAE is a point of reference for authors and publishers, as well as for those who operate in the entertainment industry. A society (in the language adopted by author’s societies it is often referred to as a “multi-purpose society”) that issues thousands and thousands of licenses for the uses of each work, thus facilitating the payment of royalties by the users and protecting the authors’ works.
Authors, publishers, and other rightholders adhere voluntarily in order to economically protect their works.
SIAE’s Headquarters is located in Rome, at Viale della Letteratura n. 30 (tel. 06/59901, fax 06/59647050-52).
Siae is represented in Italy with 13 regional offices, 34 branch offices and over 600 agents.
Rest of the world
United Kingdom PRS
Argentina SADAIC
Australia APRA
Austria AKM
Belgium SABAM
Brazil UBC, ECAD
Bulgaria Musicautor
Canada SOCAN
Chile SCD
Colombia SAYCO
Croatia HDS
Czech Republic OSA
Denmark KODA
Estonia EAÜ
Finland TEOSTO
France SACEM
Germany GEMA
Greece AEPI
Hong Kong CASH
Hungary Artisjus
Iceland STEF
India IPRS
Ireland IMRO
Israel ACUM
Italy SIAE
Japan JASRAC
Lithuania LATGA-A
Malaysia MACP
Mexico SACM
Netherlands BUMA
New Zealand APRA
Norway TONO
Poland ZAIKS
Portugal SPA
Russia RAO
Singapore COMPASS
South Africa SAMRO
Spain SGAE
Sweden STIM
Switzerland SUISA
Trinidad & Tobago COTT
Turkey MESAM
Uruguay AGADU
Wallace Collins, an entertainment attorney based in NY, explains how music deals work.
click here to watch the interview
Don Passman talks about the difference between artist royalties and mechanical royalties Click here to watch the video
on dopplr
Future of Music- An error has occurred; the feed is probably down. Try again later.
- Media futurist
- Lessig
- Announcing the hibernation of lessig.org/blog (from the blogs-deserve-a-sabbatical-too department) August 20, 2009
- Remix supporting a Medieval world (as critics have insisted) August 20, 2009
- REMIX unmixed August 20, 2009
