Côté belge, la chanteuse Alice On The Roof et le DJ Lost Frequencies sont les plus populaires. Le titre "Lucky You" de la chanteuse originaire de Soignies est classé 15e et est ainsi le single belge le plus populaire de 2016, devant "Beautiful Life" de Lost Frequencies qui a dominé le classement durant trois semaines (24e place). Au total, 11 singles belges figurent dans le classement, un record par rapport aux années précédentes qui n'en comptaient que huit maximum.
Cette année, Ultratop observe une diminution des titres francophones avec seulement 18 chansons dans le classement contre 27 en 2015. Des artistes tels que Kendji Girac, Céline Dion, Christophe Maé sont considérés comme des valeurs sûres.
I advocate for a more integrated European Union capable of building trust, understanding and empathy between European citizens so as to make the foundation of the EU much stronger and less exclusively reliant on economic and financial targets implemented by a faceless bureaucracy.
a couple of Internet magnates have started to enter the music industry. After several changes and integration, there are now four main providers now: Tencent group which includes QQ Music, Kugou and Kuwo; Ali group which includes Ali Planet and Xiami Music, and other players including Netease Cloud Music and Baidu Music.
After integrating Kugou and Kuwo with QQ Music, Tencent group now has a higher market share in copyright operation, content distribution and customer numbers. Meanwhile, Ali group is developing into pan entertainment platform by launching music app Ali planet. Netease Music, another close competitor, is aiming to make money on differentiating digital music through financing.
Ce jeudi 13 octobre, Belgium Booms et music:LX sortent leur plus belle vaisselle et font table commune au MaMA, avec la deuxième édition de leur apéro pro de découvertes "Salut Voisins!".
Au menu du jour : premier service electronica avec Napoleon Gold (LX), plat de résistance pop-expérimental avec Le Colisée (BE) et digestif hip-hop tonique avec Woodie Smalls (BE).
Toutes ces réjouissances auront lieu le jeudi 13 octobre à partir de 13h00 chez Madame Arthur (75bis rue des Martyrs dans le XVIIIe), situé à 100m du Trianon. Exotisme aussi assuré par les vins grand-ducaux et les bières artisanales belges, petite restauration prévue.
Le groupe Puggy, Alice On The Roof et Saule joueront chacun trois titres en live à partir de 20h50. Ils mettront aussi en avant un artiste de la Fédération Wallonie-Bruxelles pour lequel ils ont eu un véritable coup de cœur. Leur choix s’est porté sur Nicolas Michaux, Pierre Lizée et Témé Tan. Kid Noize clôturera la soirée avec un set de musique électronique.
Les concerts seront transmis en direct sur la Une à partir de 20h50.
Revenue from subscription music services more than doubled in the US in the first half of 2016 – driving overall market growth of 8.1%.
According to new figures from the RIAA, paid-for on-demand platforms like Apple Music and Spotify Premium generated revenues of $1.013bn in the six month period – growth of 112%, and enough to offset declines from downloads, CDs and vinyl sales. (Yes, we’re afraid so: vinyl revenues fell.)
The jump in subscription revenue is promising but predictable: last year’s figures barely included cash from Apple Music, which launched on June 30, 2015.
Largely thanks to that launch (as well as Jay Z’s Tidal), the value of the average paid-for US monthly music subscription has gone up: from $8.77 in the first half of 2015 to $9.23 in the equivalent period of this year.
At the same time, the number of people paying for a subscription music service in H1 2016 grew 101% to 18.3m, up from 9.1m the year before.
Total six-month US recorded music industry revenues jumped up by more than $250m to $3.43bn on a retail basis in H1 2016.
"I needed new tools to modernise my label," he explained. "I met with these software developers and we started to develop tools around copyright assets. Now, it takes me three clicks to do my accounts, whether I have 10 or 10,000 artists. The solution, at the start, was my solution; but I understood rapidly that I was creating a solution for all rights owners."
Guez said the changes were rendered necessary just by the sheer “explosion of data that is crushing companies.” For him, the lack of ability to process data is the main problem for most companies and rights societies. “The explosion of data is challenging for any right owner,” he explained.
Revelator, he added, is set up to finds solutions of workflow to manage complex data situations. “I did not want to manage the old way,” he explains. Very quickly, Revelator developed a rights management platform that was beta-tested with 1,000 Israeli artists. “Managing data is a good business,” he said. "So I approached distributors like CD Baby to provide them with services.”
Plusieurs organisateurs de festivals de musique se montrent préoccupés par l'augmentation des tarifs que leur réclamera la SABAM (Société belge des auteurs, compositeurs et éditeurs) l'année prochaine, rapporte L'Echo samedi. Celle-ci atteindra 16 à 37% selon la taille de l'événement. Selon les promoteurs de festivals, la hausse des tarifs s'accompagnera aussi d'un élargissement de la base de calcul, en incluant notamment les cachets des artistes, ainsi que les frais d'éclairage et de sonorisation
La Cour de justice de l'Union européenne (CJUE) interdit à Amazon de prétendre dans ses contrats avec les consommateurs européens que seul le droit luxembourgeois leur serait applicable.
Actuellement, l’article 8 des conditions générales de vente d’Amazon stipule que « les présentes Conditions d’utilisation sont soumises au droit luxembourgeois ». Même si les consommateurs européens restent libres de saisir la juridiction de leur pays, elle serait censée appliquer le droit du Luxembourg, qui n’est pas toujours aussi favorable aux consommateurs que le droit d’autres pays membres. Mais cette stipulation contractuelle devra bientôt disparaître.
Le Luxemburger Wort rapporte en effet que ce jeudi, la Cour de justice de l’Union européenne (CJUE) a donné raison à une association de consommateurs autrichienne, qui contestait l’application du droit luxembourgeois dans l’analyse de clauses jugées abusives dans les contrats d’Amazon.
In terms of a media time breakdown, TV is still the dominate form of entertainment, with the average adult watching for 35 hours, 26 minutes a week. Radio is a distant second at a weekly average of 13 hours, 1 minute, followed by smartphones at 11 hours, 36 minutes. The proportion of time for the 18-34 age bracket, which spent only 20 hours, 24 minutes per week with TV and 10 hours, 54 minutes with radio, compared with 14 hours, 23 minutes on smartphones.
On a sunny Thursday morning in Barcelona last month, dozens of professionals gathered under a wooden awning at the Sónar+D conference to hear prophecies from opposite ends of the music curation spectrum: algorithmic playlisting and old-school terrestrial radio. It was a jarring but much-needed juxtaposition, suggesting that curation as we know it is both more fruitful than ever and in danger of dying out.
ne avait annoncé l’arrêt de son service pour le début de l’année. On sait désormais que le 17 janvier marquera un coup d’arrêt à la plupart des fonctionnalités. Le site restera en place, mais uniquement pour les vidéos déjà publiées.
Last month, a 56-year-old Belgian man was laid to rest in a Brussels cemetery. A group of mourners looked on while six Romanian Gypsy musicians played fiddles, accordions and a cymbalom (a stringed instrument the player hits with hooks) as the coffin entered the earth.
There was no media presence or large crowds to mark the burial, nothing beyond the musicians and the large, framed portraits of the deceased held aloft to suggest the ceremony marked the passing of anyone exceptional.
Yet Stephane Karo was a giant of European culture, a man whose energy and vision changed the landscape of folk and world and classical music, not least with the discovery of Taraf De Haidouks, the Romanian band who burst forth as soon as the Berlin Wall fell and would go on to enchant audiences worldwide with their Gypsy musical magic.
Companies that sell e-services such as mobile phone apps can already sell to customers in other Member States while only registering for VAT in their home Member State. They account for all their VAT in a single quarterly return, through an online portal hosted by their home tax administration. VAT revenues are then transferred from the home tax administration to the relevant Member States to which the company has sold e-services to consumers.
potify’s long-awaited launch last month has industry watchers wondering whether it will make a major breakthrough in altering Japan’s $3 billion music industry, where 80 percent of sales still come from CDs and other physical formats.
With most of the world’s major streaming services now available in Japan, including Apple Music and Line Music, the global shift toward digital platforms is more likely to grow.
To avoid properly compensating songwriters, big data purveyors Amazon and Google are claiming they are unable to find contact information for the deserving songwriters, instead opting to file copyright notices in what appears to be a music land grab, says Chris Castle.
We had hoped for more ambitious legislative steps towards a new connected Digital Single Market. For example access to last years usage data does help audit last years royalties, but limiting the potential of data to checks on remuneration misses the opportunity of closing the data gap. Data is a real time strategic tool which would help artists in weaker positions, and unlike money, data can simultaneously benefit multiple stakeholders. Digital has transformed distribution, that’s a good start, but digital empowerment could do much more for artists.
Online retail behemoth Amazon is preparing to launch their own streaming music service, lining the company up to compete with players such as Apple, Spotify and Pandora.
According to Reuters, Amazon's service will offer a competitive catalog and price of $9.99 a month. Reuters said Amazon finalizing its licensing agreements with the labels and is looking to launch the service in the late summer or early fall.
The Live Music Office has built an online map to help bring the live music sector closer together. Essentially a tool for artists and the broader live music industry, the map highlights everything needed to tour the country. From venues to gear hire, community radio and booking agents, the Live Music Map plots businesses all over Australia including: Live music venues Radio stations Recording and rehearsal studios Music education centres Production and backline companies Agents and promoters Music organisations
Developed in association with the South Australian Government through the Music Development Office (MDO) and the Australian Music Radio Airplay Project (Amrap), the Live Music Map is hosted on the Live Music Office website.
This redacted paper, summarises the extent and range of felt discriminations across the UK music industry and raises awareness of unfair practices in the expectation that the industry significantly improve its record on diversity
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