renewal. 2015 of the music industry big 北京林业大学教务处

The new music industry outlook: upstream to get the world original articles, author: new music industry | Liu Wen observed only at the beginning of the new year, renewal. 2015 of the music industry big, full of "copyright", "merger", "charge", "Star" and "fans economy". Only lack of enough attention to music originality. As the upstream of the music industry, music originality is placed on an insignificant position, and today we talk about the upstream production chain of the music industry. In 2016 does not appear similar to Jay Chou, Luo Dayou can affect several generations of music benchmark figures: 2016 is a special year of connecting, 90-95 after the crowd has entered the community, social responsibility, 95 is also slowly mature. (this generation I really do not believe that no one or two people are still stunning) however music industry piracy sequelae of violence continued — no one 90 musicians can lead the era of the music trend. Throughout the European and American music scene, the musicians who have been able to make up the beam have been initially domineering side leakage (specifically those will not be repeated one by one). And the Chinese music world has not seen, which person with the dawn, to greet the dawn of music. 2017 and 2018, however, is very different. Music benchmark figures will likely become the geometric exponential growth, because the industry chain layout of the music industry may be settled in 2016, just waiting for the wind! In 2016 the emergence of various subvert the music industry chain upstream: China good songs, although know TV not much benefit for the music industry. But the program was ok, and it was the only one that supported the original music, and it contributed itself to it. If you have enough appetite, mind is fine enough. It is not impossible to subvert the upstream industry chain by Chinese good songs. In the upper reaches of the music industry chain layout, there are many, but not too much action. So far, the mobile terminal APP is excellent behind the scenes, the volume, hum music three APP. It is said that Ali also shelves music stores, composing, arranging, lyrics and so on, as a commodity sold in the store. Here are some of the ideas I used after three APP: the most likely subversion of the upstream music industry chain is behind the scenes of this APP. QQ music, cool dog music, Ali music, the three giants have a thought to the layout of the music industry chain upstream, or they would like to buy copyright as direct money. The so-called upper reaches of the world, who takes the opportunity, who has the initiative. People are not optimistic about Ali is a music, Gao Xiaosong is not reliable, the two is to use commercial traders, rather than music, musical feelings in front of the commercial interest not worth a hair. In 2016 the popular "Star" and "fans economy" and "live" on the music industry chain upstream little benefit both "Star" and "live" or "fans economy", for the music industry upstream there is not much sense. Don’t expect too much. Sound observation

新音乐产业瞻望:得上游者得天下   原创文章,作者:新音乐产业观察 文 | 刘不二   新年伊始,万物更新。2015 音乐行业大事不断,充斥着 “版权”、“合并”、“收费”、“造星”、“粉丝经济” 等字眼。唯独对音乐原创缺少足够的关注。音乐原创作为音乐产业的上游反而被放在无关紧要的位置,今天就聊一聊音乐产业上游生产链的那些事。   2016年还不会出现类似周杰伦,罗大佑等能影响几代人的音乐标杆性人物:   2016 是一个承上启下的特殊年份,90-95 后人群已经步入社会,承担起社会责任,95 后也正在慢慢走向成熟。(这一代我就真不信没有那么一两个惊艳绝伦的人)然而音乐行业被盗版强暴的后遗症还在持续——没有哪一个 90 后音乐人能引领这个时代的音乐潮流。纵观欧美乐坛,能挑起大梁的 90 后音乐人已初步霸气侧漏(具体那些就不再一一赘述)。而中国乐坛还没有看到,有哪一个人身上带着曙光,去迎接音乐的黎明。   然而 2017,和 2018,就决然不同。出现音乐标杆性人物的几率将会成几何指数倍数增长,因为音乐行业的产业链布局可能会在 2016年 慢慢落定——只待东风!   2016年出现颠覆音乐上游产业链的各种可能:   中国好歌曲,尽管知道电视选秀对于音乐产业没有多大益处。但是这部节目还算可以,作为唯一一档支持原创音乐的节目,它也算贡献了自己一份力量。假如灿星胃口够大,心思够细。通过中国好歌曲颠覆音乐上游产业链也不是没可能。   在音乐上游产业链布局的有很多,但没有太大的动作。目前为止,移动端 APP 比较出色的有幕后圈、合音量、哼哼音乐三款 APP。   据说阿里也要上架音乐商店,把作曲、编曲、作词等都作为商品在商店里出售。下面是我用了三款 APP 后的一些看法:      最有可能颠覆音乐上游产业链的是幕后圈这款 APP。QQ 音乐,酷狗音乐,阿里音乐,三大巨头没有一个想到去布局音乐上游产业链,或者它们会像收购版权那样直接用钱砸。所谓得上游者得天下,谁占得先机谁掌握主动权。   个人不看好阿里音乐,一是高晓松不靠谱,二是商业化就要用商人,而不是音乐人,音乐情怀在商业利益面前一文不值。   2016年热门的 “造星”、“粉丝经济”、“直播” 等对音乐上游产业链益处不大   无论 “造星”、“直播” 还是 “粉丝经济”,对于音乐产业上游其实没有多大意义。不要期望太大。音乐人的利益点和商业巨头们的利益点并没有真正的重合在一起,也就造成各种音乐商业模式粉墨登场,可巨头还是赚不到大钱,音乐人也赚不到钱。   好消息是商业巨头们舍得砸钱,为各种实验付出代价,失败是成功之母。总会找到那么一种商业模式切合巨头们与音乐人的共同利益点,有钱大家一起赚。   2016年 中国可能会出现类似于Kobalt、AMRA 的公司   英国音乐版权服务商Kobalt是一家为音乐人提供发行和版权追踪、保护服务的互联网公司。AMRA 则是全美主流的音乐人服务平台之一,致力于最大化音乐人的作品价值。2015年 六月份,Kobalt 收购了 AMRA。   中国 2016年 约莫也会出现类似的专门服务于音乐人作品的服务平台:帮助音乐人追踪作品在网上的消费记录,发现侵权行为,并帮助创作者追版权费。但是前提是中心数据库一定要全,而关于录音作品版权和收益情况的中心数据库,还有很长的一段路要走。   总而言之 2016 音乐产业前景一片大好(主要因为国家层面也支持音乐发展,这点真的很重要),可革命尚未成功,同志仍需努力。还要各界人士共同的努力,才能振兴中国的音乐产业。中国的音乐沉寂那么久,我很想看到厚积薄发,音乐 “井喷” 的那种大好局面。   原创文章,作者:新音乐产业观察相关的主题文章: