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www.rr20.fr Digging Connected Radio Innovative Solutions (English and French) : #Multiplaform #Personnal #Interactive #Contextual #Social #Local #Mobile #Hybrid
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Gracenote Taps Musicmetric for Fan Sentiment Data

Gracenote Taps Musicmetric for Fan Sentiment Data | Radio 2.0 (En & Fr) | Scoop.it

Gracenote has announced that it’s reeling in social analytics data fromMusicmetric to its Gracenote Rhythm platform.

Gracenote has established itself at the forefront of the media metadata industry and, back in January, we reported on the company’s new Rhythm API. The platform gives developers access to a new set of music suggestion algorithms, which can then be weaved into apps and services that offer radio stations, orinfinite playlists based on a specific artist, album, track or genre. It’s all about enabling music discovery and accurate recommendations in third-party services.

Musicmetric, on the other hand, is a platform from UK-based startup Semetric, that delivers data about musicians’ popularity online, covering every cranny from Twitter to BitTorrent. This latest deal will see Gracenote take Musicmetric’s data to help it identify new and emerging artists before they hit the mainstream.

Back in January, we reported that Gracenote was also incorporating Next Big Sound’s real-time music consumption and trending data into its products. Similar to Musicmetric, Next Big Sound is an online analytics platform that measures the popularity of bands across the Web, covering music-streaming services, social networks and radio.

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What Apple’s CarPlay Means for Radio

What Apple’s CarPlay Means for Radio | Radio 2.0 (En & Fr) | Scoop.it

The elegance and simplicity of CarPlay is mouth-watering in its appeal. Who wouldn’t want their dashboard to work like this?

Not so obvious in this video is the answer to questions like “How do I find the radio?” or “What if I want to play a CD?”

While the appetite for radio in its traditional form is not going to wither anytime soon, what you’re witnessing here is an attempt to meaningfully improve the dashboard experience so as to break old habits and form new ones. And nothing does that faster than transforming the frustrating and kludgy new car dashboard into an experience as familiar and comfortable and fulfilling as the one that lives on the iOS device in your pocket.

When this scales, consumers will not be asking “where’s the radio?” They’ll be asking “WHY the radio?”

And the answer will be: “Because there’s something there so unique and compelling you can’t find it anywhere else.”

Or else it won’t be.

What should be obvious to you is that the appeal of CarPlay is all “pull,” no “push.” It is the owner of the iPhone who will demand this platform in her new car. There will be no need fornationwide ad campaigns and hoity-toity alliances of industry leaders a la HD Radio. There will be no need to educate the consumer or sell them on a slate of presumed benefits. That’s because the benefits speak for themselves, and every consumer with an iOS device knows what they are.

This, more than anything, is the new world radio faces: A world where consumers hold all the cards. A world where habits intersect with technology and become fungible. A world where you either offer something people really, really want and can’t find anywhere else.

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What Makes Radio Such a Powerful Form of Storytelling? [video]

What Makes Radio Such a Powerful Form of Storytelling? [video] | Radio 2.0 (En & Fr) | Scoop.it

Kajon Cermac of NPR affiliate station KCRW Los Angeles reflects on her relationship with her listeners. On Air is part of the I Am Los Angelesdocumentary portrait series. The film is directed by Joris Debeij and features an original composition from Thomas Weidijk and Moreno Matulessy.

Courtesy of Joris Debeij
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La Fnac à l'assaut de Deezer et de Spotify dans la musique

La Fnac à l'assaut de Deezer et de Spotify dans la musique | Radio 2.0 (En & Fr) | Scoop.it

La Fnac repart à l'offensive dans la musique en ligne. L'enseigne ouvre lundi Fnac ­Jukebox, un service d'écoute de musique par abonnement. Sur le modèle de Deezer et deSpotify, il donne accès légalement à plusieurs millions de chansons en streaming, depuis un site Web ou une application sur smartphone.

Le lancement de Fnac Jukebox marque le grand retour de la Fnac dans la musique en ligne. Le distributeur, pourtant premier vendeur de musique physique en France, n'est jamais parvenu à s'imposer face à iTunes d'Apple dans le téléchargement de morceaux à l'acte. Fin 2012, il a préféré stopper son service et nouer un partenariat avec son concurrent.

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AIR FRANCE "Music in the Sky" présenté par Fabrice BROVELLI + Isabelle Tardieu BETC MUSIC en prepa de Paris 2.0 #Entertain_me [video]

L'art du voyage selon Air France c'est aussi une invitation au voyage par les sens en proposant à bord de ses avions mais aussi sur le net, des sélections musicales invitant au rêve, à la relaxation et au ressourcement. Avec l'application Music in the Sky, chacun peut lever son iphone vers le ciel pour y découvrir des centaines de titres sélectionnés par Air France Music

Une des 60 campagnes de BRANDED ENTERTAINMENT présentées sur PARIS 2.0 les 5, 6 et 7 mars à la gaité lyriquehttp://fr.amiando.com/brandedentertai...

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Country Radio’s Heartbeat: The Lives of Your Listeners. An ethnographic study of Edison Research

Country Radio’s Heartbeat: The Lives of Your Listeners. An ethnographic study of Edison Research | Radio 2.0 (En & Fr) | Scoop.it

Throughout the evolution of radio research, spanning nearly 40 years, the industry has mostly concentrated on the hard facts of research, and the easily-quantifiable – answering questions like, “What portion of the audience likes this song?” or, “What portion of the audience works in an office?”  For that sort of study we call people on the phone, or now contact them on the Internet, or bring them to hotel ballrooms for auditorium music tests or to focus group facilities.  However there is one place that our research mostly hasn’t gone to – straight into the homes of the listeners.  There’s also an entire line of inquiry we largely haven’t attempted – understanding the emotions underneath the behaviors and the real connections that people have to country music and country radio.


In an average ethnographic study, you might talk with eight to ten people – a smaller sample with a much deeper amount of inquiry.  We actually doubled that for this study, talking with people in four time zones and using a variety of methods.  We first created a connection with our respondents through telephone interviews. Then, some went on to do what’s called a video diary, where they film themselves and their families in key moments throughout their everyday lives. For others, our team actually traveled to their homes and visited with them for several hours.  We also followed up by telephone with additional questions based on what we had observed.  Overall, we spent over 60 hours with these Country Radio P1s, in 13 states, across four time zones.   That’s a substantial amount of time, and more than enough to see major patterns across our audiences.

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Cumulus CEO Lew Dickey talks about Rdio and streaming music – RAIN News

Cumulus CEO Lew Dickey talks about Rdio and streaming music – RAIN News | Radio 2.0 (En & Fr) | Scoop.it

“Now, we remain strong believers that on-demand and custom playlist services do not replace a curated local or national broadcast experience … Radio is so much more than just a playlist punctuated by ads … These new digital services simply replace the music you buy and the playlist you make, which is why is always going to natural complement to a professionally curated broadcast radio experience.”

Dickey made several references to a “widening” of audio consumption: “The audio space is widening and total audio consumption is actually increasing because technology makes it more readily accessible.”


So the equation appears to go like this: Small-market radio stations out, Westwood programming in, new content funneled to Rdio for distribution to online audiences. In that new content, Dickey emphasized sports brands CBS and NBC, and tent-pole sporting events like the NCAA finals, the Olympics, and the Masters. Entertainment award shows (Grammys, AMAs) and network-branded news are in the WestwoodOne bucket also. Presumably, we can expect to start seeing (and hearing) these non-music streams featured in Rdio during 2014.

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#MeetTheMillennials All you need to know about Country Radio listeners [prezi presentation] @ CRS 2104 by Edison Research

#MeetTheMillennials All you need to know about Country Radio listeners [prezi presentation] @ CRS 2104 by Edison Research | Radio 2.0 (En & Fr) | Scoop.it

Edison’s Larry Rosin and Megan Lazovick, along with Jayne Charneski, presented the latest Country music study from Edison Research, #MeetTheMillennials, at the 2014 Country Radio Seminar in Nashville on February 19. The presentation slides are available below.

http://www.edisonresearch.com/home/archives/2014/02/meetthemillennials.php



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Amazon Talks to Music Labels About a Streaming Service

Amazon Talks to Music Labels About a Streaming Service | Radio 2.0 (En & Fr) | Scoop.it

Amazon gives away movies and TV shows to people who join its Amazon Prime subscription service. When will it start giving away music, too?

Maybe this year. People have been predicting that Amazon would offer a Spotify-like music subscription service, most likely bundled with its Prime delivery option, for some time. But industry sources say Amazon is now engaged in more serious talks with big music labels about making that happen.

Which doesn’t mean it will: One label source reports that Amazon isn’t close to getting a deal done, because its executives are asking for a substantial discount on the pricing the labels have given to other services, like Spotify, Rhapsody and Beats.

Still, label talks have been going on for the past few months, sources say.

The basic logic: Amazon gives away a Netflix-style video service as a way to reward Prime members, who pay $79 a year and get free two-day shipping, among other perks. So if they’re willing to do that — under the theory that the cost of the video is worth it, because Prime members buy a lot more stuff from Amazon than nonmembers — why not make the service even more attractive with free music?

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NRJ Web Radio veut tirer profit de son pari numérique | Le Figaro

NRJ Web Radio veut tirer profit de son pari numérique | Le Figaro | Radio 2.0 (En & Fr) | Scoop.it

20 % de l'audience de la radio se fait par les supports digitaux, avec de nouvelles perspectives publicitaires.


On connaît enfin le niveau de diffusion des webradios en France. L'OJD, organe de contrôle de la diffusion des éditeurs, a mesuré pour la première fois, en janvier 2014, les 6348 webradios qui en ont fait la demande. Ces dernières sont les flux en direct qui sont diffusés simultanément sur tous les terminaux numériques (PC, smartphones, tablettes, télés connectées, box…). Résultat de cette première vague, le groupe NRJ domine largement ce marché naissant avec ses trois principales marques: NRJ (qui totalise 159 webradios), Chérie FM (27 webradios) et Nostalgie (24 webradios).

Le groupe présidé par Jean-Paul Baudecroux a misé sur les webradios dès leur émergence en 2007, faisant le pari que le numérique allait enrichir son audience et lui ouvrir des perspectives publicitaires, quand les autres groupes n'ont pas voulu s'y risquer. Le marché reste encore très étroit, mais si on l'élargit à la totalité de la consommation numérique de radio, il ­dispose d'un potentiel bien réel - notamment en termes de ciblage et de géolocalisation publicitaire -, qui prend forme à mesure que les nouveaux usages s'installent.


«C'est un écosystème à part entière dans lequel il est important de se projeter pour accompagner nos auditeurs dans leurs nouveaux usages et les nouvelles opportunités de notre média», estime Charles d'Aboville, directeur des études du groupe NRJ. La radio NRJ réalise aujourd'hui plus de 20 % de son audience via les nouveaux supports, contre 9 % en moyenne sur le marché. «Plus de 700.000 auditeurs nous écoutent quotidiennement sur smartphone, 300.000 via leur ordinateur fixe, 250.000 sur leur télé connectée et 132.000 via leur tablette», précise Charles d'Aboville. NRJ revendique d'être leader sur tous ces supports.

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Radio World: Cooperation Key to Radio’s Digital Future

Radio World: Cooperation Key to Radio’s Digital Future | Radio 2.0 (En & Fr) | Scoop.it

The European Broadcasting Union's “Digital Radio Summit,” held in Geneva on Feb. 12 reflected the significant interest in digital radio across Europe. 

The summit, which takes place during a week when the EBU also hosts meetings for digital radio industry groups, attracted a full house and offered insight into digital radio adoption from a number of international speakers


Opening the day, Annika Nyberg Frankenhauser, the EBU's media director, cited the example of Finnish public service broadcaster YLE's failure to implement digital radio in the country in the late 1990s, blaming the broadcaster’s inability to cooperate with its commercial radio colleagues. “To drive digital radio, cooperation is key,” she said, in a speech that outlined some of the work that the EBU is currently involved with. 

Throughout Europe, countries that are pursuing a digital radio strategy are doing so using DAB+ in Band III. An increase in choice is cited as being the main consumer benefit, as well as sound quality benefits in comparison to AM broadcasts. For multichannel national and regional broadcasters, DAB+ offers reductions in transmission costs and spectrum use. 


Digital switchover — closing FM broadcasting in favor of digital — is planned in various European countries. This would mean that most large broadcasters would switch to digital radio exclusively, although some small broadcasters would still have access to the FM band. Some EU states are discussing target dates for switchover as well as conditions for analog to be turned off. 

....

The mobile phone was also a subject of much debate. Javier Sánchez, director of Technical Strategy at Spanish public broadcaster RNE, outlined the EBU’s intention to work with the Universal Smartphone Radio Project. The project, which comprises members from the United States, Australia and Europe, seeks to standardize APIs to radio chips inside mobile devices. 

This would ensure broadcast radio is available on a mobile phone and allow apps to use off-air reception as well as Internet streaming. It was noted that activation of FM chips inside mobile phones by manufacturers is decreasing, blamed on a poor user experience. Many speakers dismissed claims that the mobile phone network will replace broadcasting. 

...

Nick Piggott, chair of the RadioDNS Hybrid Radio project, announced that hybrid radio had been incorporated into a range of Samsung smartphones in Europe and Asia. The newly released Samsung Galaxy Express 2 LTE, the Galaxy Core Advance and the Galaxy Grand 2 include RadioDNS Hybrid Radio functionality as standard, enabling a significantly improved FM tuner app with visual accompaniment, interaction and automatic FM-to-internet following.


A packed program, which offered plenty of evidence of collaboration, the EBU Digital Radio Summit clearly demonstrated that the radio industry is increasingly working together across Europe and with other global broadcasters on its digital future. 

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RF8, la plateforme musicale de Radio France en bêta, premières impresssions

RF8, la plateforme musicale de Radio France en bêta, premières impresssions | Radio 2.0 (En & Fr) | Scoop.it

A la question "Qu’est-ce qu’on pourra trouver sur RF8" : on apprend que "c'est le site sur lequel vous trouverez toute la musique sélectionnée avec soin par les programmateurs, les animateurs et les journalistes de Radio France. Dans des playlists thématiques, dans une webradio et dans de beaux programmes web interactifs. il y aura des nouveautés, des jeunes talents, des pépites oubliées et des grands classiques. Il y aura du rock et du jazz, du classique et de l'électro, des musiques venues d'ailleurs et des chansons françaises. Toutes les musiques et toutes les époques seront sur RF8.”


Via Mediamus
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[INTERVIEW] Spotify's Yann Thebault discusses the evolution of streaming and the future of digital music

[INTERVIEW] Spotify's Yann Thebault discusses the evolution of streaming and the future of digital music | Radio 2.0 (En & Fr) | Scoop.it

In the final of my interviews with top music tech leaders participating at MIDEM this year I speak with Yann Thebault, Managing Director Southern Europe for Spotify.  In our discussion, Thebault goes into more depth about the importance of startups for Spotify, how streaming is still very much on an evolutionary path, and how the connected home will be at the heart of the future digital music experience.

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RFI s'enrichit sur YouTube via RadioEyeLiner de RadioLine | LaLettredelaRadio

RFI s'enrichit sur YouTube via RadioEyeLiner de RadioLine | LaLettredelaRadio | Radio 2.0 (En & Fr) | Scoop.it
Diffusée mondialement en français et en 12 langues étrangères, en FM via 156 relais répartis dans 62 pays, en ondes moyennes, en ondes courtes, sur une trentaine de satellites couvrant les cinq continents, RFI lance sa "radio visuelle" grâce à la technologie RadioEyeLiner™ de la jeune entreprise multimédia française Radioline. C’est la première fois qu’une radio française propose un service de radio "enrichie" sur Youtube.


En parallèle de l’écoute en direct des programmes en français de la radio, un diaporama d’écrans dynamiques défile sur le lecteur vidéo pour enrichir l’expérience des internautes/auditeurs avec notamment les informations diffusés par RFI en continu sur son site Internet et sur les réseaux sociaux (Facebook, Twitter, Instagram…), les informations urgentes en temps réel, des infographies, ou encore le thème et les invités du programme en cours.
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Warner va utiliser le data de Shazam pour découvrir ses nouveaux poulains

Warner va utiliser le data de Shazam pour découvrir ses nouveaux poulains | Radio 2.0 (En & Fr) | Scoop.it

Warner Music Group a révélé avoir établi un partenariat avec Shazam, démontrant une volonté louable de moderniser ses pratiques. (...) Une maison de disque "Shazam" devrait être créée pour signer les révélations les plus prometteuses.


Via ParisMix, GilCasta
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Hounds Wave radio station for dogs - BelfastTelegraph.co.uk

Hounds Wave radio station for dogs - BelfastTelegraph.co.uk | Radio 2.0 (En & Fr) | Scoop.it

A radio station for dogs and dog lovers will run for 24 hours on March 7 as part of a Be Lungworm Aware campaign.

Hounds Waves radio is backed by charities such the Blue Cross, Hounds for Heroes, The Retired Greyhound Trust, Wood Green - The Animals Charity and Hearing Dogs for the Deaf. Celebrities backing the campaign include Martine McCutcheon, Huey Morgan and Sean Hughes.

It will feature "dog-umentaries", fashion tips for pooches, live link-ups to Crufts and advice for dog owners such as keeping their pets happy, healthy and safe.

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iHeartRadio first digital radio service to work on the new Samsung Gear 2 smartwatch | MWC2014

iHeartRadio first digital radio service to work on the new Samsung Gear 2 smartwatch | MWC2014 | Radio 2.0 (En & Fr) | Scoop.it

The app is compatible with more than 30 devices, including of course Samsung's Galaxy branded smartphones and tablets. Samsung announced its latest smartwatch a day before, along with another new version, the Gear 2 Neo, at Mobile World Congress in Barcelona. The watches are due out globally starting in April.

Gear 2 will serve as a remote control for the content you hear via the iHeartRadio app. From your wrist, you'll be able to access favorite live and custom stations, save favorites, scan live stations, skip and pause songs, and rate songs with a thumbs up or thumbs down. iHeartRadio covers more than 1,500 live stations, as well as the ability to create custom stations from more than 450,000 artists and more than 18 million songs. You'll be able to view album art on the watch display.

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Stingray : un géant musical montréalais

Stingray : un géant musical montréalais | Radio 2.0 (En & Fr) | Scoop.it

On ne les voit pas, mais on les entend un peu partout. Quoi? Les listes de lecture musicales de l'entreprise montréalaise Stingray Digital, qui compte 200 employés et a un chiffre d'affaires de 100 millions de dollars.


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Pierre Creff's curator insight, March 3, 10:05 AM

Inconnu au bataillon, Stingray impressionne

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Radio's Challenge is in the home (audio) | Radio Ink

Radio's Challenge is in the home (audio) | Radio Ink | Radio 2.0 (En & Fr) | Scoop.it

Larry Rosin (pictured) and Megan Lazovick of Edison Research presented detailed information about the Country radio listener at CRS yesterday in an "Ethnographic Study." Lazovick went out across the country and spent days with listeners, observing how they consume music and what the country music format means to them. In addition to reinforcing the fact that Country music songs make an emotional connection with the listener, Edison uncovered more details about how consumers take in their audio entertainment. And, it's all about the path of least resistance. If consumers are in their automobiles, the radio is a very easy selection. If they are in their homes however, radio is facing many more challenges. Listen to our interview with Rosin and Lazovick about this project HERE


Among the study’s key findings were:
 
- Radio’s competition is no longer only between stations. The fight today is against all of the other media: Television(outlets like CMT/GAC/TCN), YouTube, Pandora, and even personal mobile devices. 
 
- People are choosing to listen to the device that presents the path of least resistance.  In the car, that remains radio.  At home or in the workplace, there is a much more competitive situation: television, in particular, at home and the Internet at work.
 
- If one listens to radio today, it is often devoid of emotion.  And yet when you talk to people in their homes, they place the emphasis on the emotions that country music elicits.
 
- One of the challenges that Radio faces is the fact that country fans don’t spontaneously equate country music strictly to country radio like the used to. This poses a challenge to radio provide talented DJs/hosts to guide the listeners in a more personal manner.
 

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James Cridland: Nokia and Sony push their own music services at Mobile World Congress – RAIN News

James Cridland: Nokia and Sony push their own music services at Mobile World Congress – RAIN News | Radio 2.0 (En & Fr) | Scoop.it

At the Mobile World Congress in Barcelona this year, one of the most interesting things to me was the prominence that radio got.

No, not FM radio — more of which later — but the radio and music services run by the mobile phone companies.

The truth is that algorithmic jukeboxes (marketed to consumers as “radio”) are all relatively similar. Sure, Pandora contains some carefully curated Music Genome Project data to produce theirs. Other companies use The Echo Nest’s algorithmic technology, or even Fraunhofer’s magic audio fingerprinting stuff, to do the same job. Any of these systems will do a passable, and refinable, job of playing me more of the music I love, and less of the music I don’t. The game is less about competence and more about distribution these days.

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Eight in Ten Millennials Listen to Internet Radio « Edison Research

Eight in Ten Millennials Listen to Internet Radio « Edison Research | Radio 2.0 (En & Fr) | Scoop.it

The changes happening in media consumption are vastly more pronounced in the younger age groups.  Our study of online 18-34s shows that in every location of listening outside of the car, online 18-34s are more likely to listen to online radio (including the streams of AM/FM stations) than radio from a traditional transmitter.  Of course, the change in consumption is being driven primarily by the adoption of smart phones.

As shown by other studies – Internet Radio usage does not lead to a wholesale abandonment of ‘traditional’ radio – indeed 89% of 18-34s reported listening to over-the-air radio stations in the week before they were surveyed.  The advent of Internet Radio has surely led to some time-shifting from one form to the other, but meaningfully there is little doubt that Online delivery has expanded the time people spend with audio

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Radio France : Mathieu Gallet nouveau président

Radio France : Mathieu Gallet nouveau président | Radio 2.0 (En & Fr) | Scoop.it

Les choses n'auront pas trainé. Alors qu'il s'était donné jusqu'au 7 mars au plus tard pour choisir le nouveau président de Radio France, le Conseil supérieur de l'audiovisuel (CSA) a désigné à bulletin secret (et à l'unanimité) pour 5 ans l'actuel président de l'Institut national de l'audiovisuel (INA) Mathieu Gallet. A 37 ans, il succédera le 12 mai prochain à Jean-Luc Hees, 62 ans, candidat à sa propre succession. "Nous avons choisi une personnalité jeune, la plus jeune de l'histoire de Radio France", a fait valoir le président du CSA Olivier Schrameck en assurant que ce choix était "celui de l'audace et du dynamisme", vantant notamment la "conscience aigüe des enjeux du numérique" et "le tempérament volontaire" de M. Gallet. 

Le projet stratégique de Mathieu Gallet en 19 points

Le CSA a en outre publié sur son site une synthèse du projet stratégique de Mathieu Gallet pour Radio France. On peut retenir :

- Le management de groupe reposera sur une direction resserrée et un encadrement responsabilisé.La structuration verticale laissera place à une organisation intégrée et transversale. La direction de l’entreprise s’appuiera sur les managers de proximité.

- La parité entre les femmes et les hommes sera un objectif partagé dans l’entreprise, à tous les niveaux de la hiérarchie et dans l’ensemble des métiers.

- Le dialogue social sera rénové, grâce à un nouvel accord d’entreprise qui garantira l’équité tout enpermettant de récompenser l’effort et le mérite.

- La gouvernance des formations musicales évoluera, en s’inspirant de l’exemple outre-Rhin : les musiciens seront plus impliqués dans la vie de l’orchestre et du chœur et davantage consultés sur les choix de répertoires, de chefs invités, de compositeurs en résidence.

- Le développement des ressources propres et la dynamisation des revenus commerciaux seront encouragés.

- La culture du « tout gratuit » sera examinée à l’aune de la révolution numérique : les contenus enrichis et les nouveaux usages pourront faire l’objet d’une valorisation. L’écoute différée implique un coût d’archivage, d’éditorialisation et de distribution pouvant justifier l’acquittement d’une contrepartie, même modeste.

- Le déploiement d’une offre numérique riche et diverse est indispensable pour assurer lerenouvellement générationnel de l’audience. Les antennes doivent assurer un service globalprojetant l’image d’une diversité de marques : programmes, vidéos, textes, interactivité, créationd’une communauté des auditeurs, services associés. Cet enrichissement sera toutefois différencié enfonction de l’identité de chaque antenne et s’attachera en priorité aux grandes émissionsemblématiques.

- Le rôle de France Info dans le nouveau paysage médiatique global de l’information en temps réel doit être rénové. L’antenne doit revenir à ses caractéristiques fondamentales de « média chaud » : ledirect sera la règle, le préenregistré l’exception. Elle doit se consacrer pleinement au journalismed’investigation.

- La place de l’information sportive sera renforcée et diversifiée, notamment par la création de rendez-vous d’analyse et de commentaire et la constitution d’une équipe de consultants professionnels.

- Les commandes à de jeunes écrivains et dramaturges seront encouragées, afin de renouveler le genre des créations radiophoniques, et la création musicale sera développée, en utilisant les nouvelles technologies qui permettent de mettre en relation les créateurs du monde entier.

- Il est indispensable de rénover l’offre musicale du groupe, en clarifiant les missions respectives des deux orchestres et en réformant l’organisation de la direction de la musique.

- La politique de captation et de diffusion audiovisuelle s’appuiera sur les sites de Radio France mais aussi les carrefours d’audience que sont les plateformes de partage de vidéos.

- Le nouvel auditorium sera utilisé comme plateforme multimédia de concerts numériques (captation des répétitions, diffusion d’extraits, organisation de concerts-rencontres à des horaires décalés, diffusion en direct sur un multi-canal HD).

- Le plan de formation des collaborateurs de Radio France privilégiera l’adaptation à l’environnement numérique.

- La place de l’autopromotion des programmes sur les antennes sera accentuée ; les rappels de la signature de la radio publique et de ses différents modes de diffusion seront plus réguliers.

- Il faudra renforcer l’identité des radios, clarifier leurs lignes éditoriales et proposer une offre globale cohérente.

- Le Mouv’ sera profondément renouvelé pour en faire véritablement la chaîne des jeunes et descultures urbaines. Ce repositionnement éditorial sera accompagné d’un changement de marque et d’une campagne marketing. La radio sera associée à une offre musicale en ligne par abonnement à partir de l’expérience antérieure de RF8. Un partenariat avec des scènes de musiques actuelles sera mis en place.

- L’ouverture du nouvel auditorium imposera de définir une stratégie de l’offre ainsi qu’unepolitique marketing et commerciale, afin d’élargir et de renouveler les publics des orchestres.

- La place respective accordée aux différents domaines de l’information devra tenir compte de la spécificité éditoriale de chaque antenne : une information généraliste sur France Inter, davantage d’informations de proximité sur France Bleu, une place prépondérante pour l’actualité culturelle sur France Culture, un éclairage adapté aux codes d’une audience jeune et urbaine sur Le Mouv’. La place accordée à l’information européenne et internationale dans les journaux et magazines de France Inter devra être renforcée.


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How P2P University, MIT, and NYU Analyzed Music Taste to Improve Learning

The folks at MIT Media Lab, NYU, and Peer 2 Peer University recently set out to teach the world how to manipulate music with a computer and a browser through interactive classes onPlayWithYourMusic.org.

When 5,282 people registered for the course, their suspicion that people would be interested in this were confirmed. Then, they had a new problem: how to split all of these people into groups, so that the people in each group would be into the same kinds of music. After all, one person’s beautiful bebop is another’s frantic nightmare, some people simply cannot abide reggae, and so on.

Before learning how to produce music together, these students first had to get along as music fans.

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This Product Prioritization System Nabbed Pandora 70 Million Monthly Users with Just 40 Engineers

This Product Prioritization System Nabbed Pandora 70 Million Monthly Users with Just 40 Engineers | Radio 2.0 (En & Fr) | Scoop.it
When it went public in 2011, over a decade after the company’s founding, Pandora employed fewer than 40 engineers. With this skeleton crew, the company built products for 70 million monthly users on the web, iOS, Android, Windows Phone, a thousand consumer electronic devices, and in over 100 types of cars. It also generated half a billion in revenue — laying the groundwork for its $7 billion valuation today.
Compared to Twitter and Facebook, with their armies of engineers, Pandora is one of those rare Hail Mary success stories that keeps entrepreneurs and investors betting on long-shots. From day one, it pushed against constraints that these other companies didn’t have. Namely, the fact that it had to hand a huge chunk of its funding over to the music industry, leaving it with a scrappy budget that forces companies to stay lean and get creative.
That’s how the Pandora prioritization process was born. In an exclusive First Round CTO Summit talk, Tom Conrad — the company’s CTO since 2004 — broke down how the company figured out the exact right things to build fast and literally demanded buy-in from stakeholders (albeit with fake money, as you’ll see).
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Information et journalisme radiophonique à l’ère du numérique | Colloque GRER 21/22 Mars (Strasbourg)

Information et journalisme radiophonique à l’ère du numérique | Colloque GRER 21/22 Mars (Strasbourg) | Radio 2.0 (En & Fr) | Scoop.it
Pour les universitaires du GRER, Le média radiophonique ne semble pas menacé de disparition à court ou moyen terme. Pour autant, de nombreuses mutations marquent son évolution. A l’occasion de ce colloque, plusieurs questions seront néanmoins abordées  : comment le numérique a-t-il transformé la production de l’information à la radio ? Les acteurs qui contribuent à cette production ont-ils changé, ou vont-ils changer ? L’identité professionnelle des journalistes de radio a-t-elle été modifiée ? Les contenus médiatiques seront-ils différents ? Comment écoute-t-on l’information à la radio aujourd’hui, et comment va-t-on l’écouter demain ?
DEUX AXES ET DES PARTENAIRES
Ce colloque s’articulera autour de deux axes : les pratiques professionnelles de l’information radiophonique (remises en questions et évolutions) et les contenus et leurs usages (extension des territoires radiophoniques). 


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