Forum d'Avignon @Toronto : découvrez les 12 start-ups françaises et canadiennes nominées pour le prix de la start-up culturelle qui sera remis le 29 septembre à Toronto.Le Canadian Film Centre Media Lab (CFC Media Lab) et le Service culturel de l’Ambassade de France au Canada, en partenariat avec le Forum d’Avignon, lancent aujourd’hui Enterprising Culture, un forum international majeur pour les start-ups franco-canadiennes des secteurs créatifs et culturelsA l’occasion de ce premier forum franco-canadien sur les industries culturelles et créatives qui se tiendra à Toronto les 28 et 29 septembre 2016 sera lancé le Prix de la start-up culturelle, sponsorisé par BNP Paribas, avec un jury prestigieux composé d’experts français et canadiens :Douze start-ups finalistes, parmi les plus innovantes et prometteuses du domaine de la culture, seront ainsi invitées à présenter leur projet.
The Music Business Association (Music Biz) and data partner LOOP (Lots of Online People) will unveil “Music & Millennials,” the first in-depth report from the member-exclusive Music Biz Consumer Insights portal, today at 2 p.m. ET during the “Music Biz Consumer Insights Powered by LOOP” webinar. Based on a study conducted by LOOP in May 2016 with 3,014 U.S. respondents, the report breaks down a variety of music consumption patterns by age, providing unique insight into the habits of the millennial generation.
The report shows that 15-to-19 year olds have embraced on-demand streaming as their format of choice, accounting for 51% of their total listening time on a typical day (more than double the overall average of 24%, which includes all age groups). This comes at the expense of more traditional formats, most notably AM/FM radio. While broadcast radio still accounts for the highest listening share among the general population at 35%, 15-to-19 year olds reported that they spend only 12% of their time with the format despite a weekly reach of 65% (on par with the overall average of 78%). This indicates that even though millennials are being exposed to radio, they are not engaging with it, and on-demand streaming is making up the difference.
This is further reflected in millennials’ device usage. AM/FM radio receivers again topped the overall tally, accounting for 33% of the general population’s listening time. However, 15-to-19 year olds bucked the trend once more, saying the device only accounts for 11% of their time. Instead, they rely heavily on connected devices like smartphones, which accounted for 41% of their listening time, more than double the overall average of 18%. This also explains why 15-to-19 year olds are far more likely than the general population to upgrade to a premium streaming account because they want to access the service on their mobile phone. According to the report, 40% of this group cited mobile access as a major factor in the decision to upgrade, compared to only 29% of the general population.
In addition, the report shows that, for the first time, YouTube has overtaken broadcast radio for music discovery among the general population. When asked how they typically discover new music, 34% of all respondents cited YouTube, while only 32% cited AM/FM radio. This was even more prevalent among 15-to-19 year olds, 56% of whom cited YouTube and 23% of whom cited AM/FM radio. However, recommendations from friends remain the #1 source for music discovery, cited by 46% of the general population. Among 15-to-19 year olds, it is neck and neck with YouTube at 56%.
Deezer’s chief international officer, Gerrit Schumann, has told Music Week that it CAN crack the US market, in response to suggestions that its nationwide rollout in the states could face an uphill struggle in the face of its more dominant riva
Like their early forebears in broadcast radio and the sampler album, playlists on streaming services have become one of precious few reliable avenues for breaking songs and artists in a chaotic media environment. With millions of followers, the most popular playlists offer a broader reach than even some radio stations in large markets, and they generate vastly more sophisticated and timely performance data. Predictably, the record labels have created a cottage industry out of promoting to these playlists as aggressively as possible, and some have pointed to their close relationship with the streaming services as the reincarnation of payola. But Frank, who was hired last summer in what was then a new role at Universal, strongly denies that anything unseemly is happening behind closed doors. “UMG policies prohibit pay-to-play practices,” he says. “Including on playlists.” For their part, many streaming service employees I spoke with compared their relationship with the labels to that of the music press, saying that while they receive a wide variety of regular promotional communications, there are strict policies in place to preserve editorial independence.
L’édition 2016 de « l’économie de la production musicale » est disponible !
Découvrez la synthèse des chiffres du marché de la musique enregistrée, en France et dans le monde, enrichie des données inédites sur la consommation et la distribution de musique physique et numérique, les meilleures ventes, les meilleures diffusions, les certifications.
Chapître 1 : Le marché français en 2015
Chapître 2 : La production francophone
Chapître 3 : Le marché mondial en 2015
Chapître 4 : La consommation de musique
Chapître 5 : Musique et médias
Chapître 6 : Les acteurs de la distribution de la musique
Chapître 7 : Les artistes qui ont marqué l’année 2015
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