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by the Resonate team The last few months since we presented Resonate at the Platform Coop conference in NYC has seen a flurry of activity. We’ve recruited half a dozen new labels, hundreds of… 
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Scoop.it!
Resonate is a streaming music service that is owned by the people that use it – musicians, small labels and fans. Stream it until you own it at Resonate.
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Musician Imogen Heap shares her take on where music is heading — as a community and industry. Can it exist as a "fair trade” industry?
Kimberly Bernardo's curator insight,
February 12, 2016 4:08 PM
This article ties in with Shazam, and how this artist has used it to help promote her work.
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etYou might also like: https://www.youtube.com/watch?v=h11_rHz7vYc (Bowie interviewed on same day in same place by different person)
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British music artist Imogen Heap discussed how blockchain technology could help empower musicians at TechCrunch Disrupt London yesterday.
Michael Allen's curator insight,
November 13, 2016 6:05 PM
The source of this article provides news related to blockchain technology. This is an interesting article/video because it examines an artist who already has experience releasing music through blockchain.
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Can Bitcoin and the blockchain help independent artists make a living?
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A Manhattan comics artists has put Steve Jobs into 94 pages of other peoples' comics, where he articulates every word of Apple's iTunes user agreement.
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Report excerpted from Lydia Polgreen: “For many Africans, the phone is not merely, or even principally, a communications device.
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In Mali’s “digital Bamako” markets, vendors fill old phones with new songs — and jump-start a homegrown musical community.
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From
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Why the music industry should be tackling three major problems: infrastructure, transparency, and technology.
Bailey Kane's curator insight,
April 20, 2016 4:04 PM
The music industry has had its troubles with downloading since 2000. Once music wass ni kinger being sold in CDs, but rather downloaded, it started a wave of issues regarding people pirating which doesnt give the industry the credit it deserves. There are ways like this article says, to improve the music industry, and it all starts by creating aa structure, and the firm want for music to be purchased. Start finding a way to secure the music industry so its not getting the short end of the stick.
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On today’s show...
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Are you a songwriter hoping to collaborate with others or a musician looking for a songwriter with which to collaborate? You've now got at least 3 more options you may not have known about to connect with songwriters.
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The rise of peer production and the notion of the produser (Bruns 2009) have contributed to changes in a number of expectations and social norms surrounding the creation, sharing, and use of music. These include an expectation that recorded music will be cheap, if not free; a familiarity with media creation and manipulation as regular activities; and acceptance of widespread copying and sharing. As a result there have been significant challenges to traditional ideas of authorship, ownership, artistic control, creative roles, and income from music. Media discussion and scholarship on peer production comes mainly from the Global North and is usually urban centred, with a focus on particular kinds of music as somehow ‘naturally’ central. Associated technology and social practices have driven these changes; from the Internet, personal computers to smartphones. Although no doubt unintended, this has the consequence of placing the effects of such phenomena on the Global South as peripheral, despite the fact that much of the technology is created in Asia, and distributed globally in places where Internet access is growing rapidly.
Dustyn Knapp's curator insight,
October 15, 2016 4:02 PM
I found this article also interesting because as a true artist and appreciator of original material, I get sort of disgusted with the fact that there are so many individuals copying each others sound and style. There is a lot of music that sounds much of the same as other artists music. It goes back to the point of boring and emotionless music being released for publicity and the material side of music. |
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Playing For Change is a movement created to inspire and connect the world through music. Join the movement here
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Brian Eno had some interesting comments on genius vs “scenius” at the Sydney Luminous Festival: I was an art student and, like all art students, I was encouraged to believe that there w…
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Articles - OpenLedger and MUSE bring blockchain benefits to music industry
Vivalist's curator insight,
January 26, 2016 5:17 PM
"One [interesting] feature worth mentioning are the Tokens: limited and tradeable tokens that artists can use to give fans a VIP pass into their world, offering anything from discounts on merchandise to concert tickets and backstage passes, and even advertiser give-aways. Tokens are a tool that helps the undiscovered artist gain exposure while helping the already discovered artist engage with his or her fan base."
more on the future of Blockchain technology (and it's development backed by Big Bank and Silicon Valley VCs) in this article referring to Aite reports http://www.weforum.org/agenda/2015/12/whats-the-future-of-blockchain/ 
Entric Bruce Leroy's curator insight,
February 14, 2016 11:27 PM
Keeping the rights to your music and licensing are even more important now a days. The amount of old music used to sell things and present other forms of media are at an all time high I feel. 
Christopher Vaughn's curator insight,
September 13, 2016 12:59 PM
In the ever changing world of music this is a ground breaking change to how royalties, fees, and charges can be handled. I think that this is big news because of how much i have seen as far as artists suing labels over royalties and vice versa. The bitcoin has just started to stand out as a profitable avenue to generate funds so with music, making sure there are no licensing problems are key, and making sure everyone involved with the project gets paid their dues is very important.
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Antonio A Johnson's curator insight,
October 16, 2016 12:13 PM
Piracy in music has decreased from 80 to 4 percent in the past five years from 2008 to 2013. Norway relies on streaming services like spotify, and tidal.
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The big name in recent “blockchain” (Bitcoin) hype is Imogen Heap. As far as I can tell, it’s still the case that nothing about this is going to work. (Rocknerd passim: blockchain…
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In our age of Spotify, most artists fail to get a fair deal. But with help from coders, Imogen Heap is leading the fightback
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Earlier this month, the New York Times Magazine reached out to Future of Music Coalition with regard to a forthcoming feature. We like to help out with this sort of thing, because we know that music business structures and practices can be quite complicated, and think it’s important that journalists get the facts and context as correct as possible, whatever narrative they’re advancing. Last week, fact-checkers from the magazine followed up with FMC staff. There was a good deal of back and forth as we were provided short paragraphs, and later, individual sentences, from the article and asked to verify whether they were “true.” (Unfortunately, we weren’t provided with much context.)
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Rethink Music study claims cryptocurrency system could help to ensure musicians get paid fairly and quickly for their work
Kevin Berganza's curator insight,
July 19, 2015 11:05 PM
A lot of doubts have appeared since multiple artist complained about their low salary for streaming services. Here, Blockchain claims to have a method that will ensure fair payment for musicians and transparency on the money movement within streaming services.
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The Bitcoin Blockchain could save the music industry and help artists monetize and track their creations. However, failure to understand this technology means it may go the way of Creative Commons.
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There’s a point in Don Letts’ Clash documentary Westway to the World where bassist Paul Simonon talks about the uncertainty that they all felt about their status after they’d signed their first record contract with CBS Records (for £100,000) in January 1977.
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In the debate over music copyrights and royalties, both sides are using the musicians themselves, not just as spokespersons, but as lobbyists in the corridors of legislative power.
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