Money for Something: Music Licensing in the 21st Century

[Excerpt] The laws that determine who pays whom in the digital world were written, by and large, at a time when music was primarily performed via radio broadcasts or distributed through physical media (such as sheet music and phonograph records), and when each of these forms of music delivery represented a distinct channel with unique characteristics. With the emergence of the Internet, Congress updated some copyright laws in the 1990s. It applied one set of legal provisions to digital services it viewed as akin to radio broadcasts and another set to digital services it viewed as akin to physical media. Since that time consumers have increasingly been consuming music via digital services that incorporate attributes of both radio and physical media. However, companies that compete in enabling consumers to access music may face very different costs to license music, depending on the technology they use and the features they offer. These differences in technology and features also affect the amount of money received by songwriters, performers, music publishers, and record companies. U.S. copyright law allows performers and record labels to collectively designate an agent to receive payments and to negotiate the licensing fees that certain types of digital music services must pay to stream music to their customers. Groups representing public radio and educational stations reached voluntary agreements with the agent, SoundExchange, in 2015. Rates paid by parties that do not reach voluntary agreements with SoundExchange during a limited negotiation period are instead set by the Copyright Royalty Board (CRB), a panel of three judges appointed by the Librarian of Congress. On December 16, 2015, the CRB set rates for online music streaming services for the period 2016 through 2020. For nonsubscription services, the CRB reduced the per-stream rate it had set in the previous rate proceeding, but the costs paid by several “small” music streaming services are likely to increase. Advocates of the small streaming services have launched a petition asking Congress to either allow their previous agreements to continue indefinitely or discontinue the requirement that small streaming services pay royalties to performers and record labels. SoundExchange has objected that the rates set by the CRB do not provide adequate compensation to performers and record labels. Members have introduced several bills in the 114th Congress that would change the amounts various participants in the music industry pay or receive in royalties. These bills are controversial, as they could alter the cost structures and revenues of broadcast radio stations, songwriters, performers, and others at a time when the music industry’s overall revenues are not growing. At the same time, the U.S. Department of Justice (DOJ) is continuing a review of consent decrees it entered into with music publishers in the 1940s. The outcome could affect the extent to which songwriters can control the use of their works

Music in electronic markets: an empirical study

Music plays an important, and sometimes overlooked part in the transformation of communication and distribution channels. With a global market volume exceeding US$40 billion, music is not only one of the primary entertainment goods in its own right. Since music is easily personalized and transmitted, it also permeates many other services across cultural borders, anticipating social and economic trends. This article presents one of the first detailed empirical studies on the impact of internet technologies on a specific industry. Drawing on more than 100 interviews conducted between 1996 and 2000 with multinational and independent music companies in 10 markets, strategies of the major players, current business models, future scenarios and regulatory responses to the online distribution of music files are identified and evaluated. The data suggest that changes in the music industry will indeed be far-reaching, but disintermediation is not the likely outcome

Extremely low frequency based communication link

The paper discusses the literature review and the possibility of using the ground itself as transmission medium for various users’ transceivers and an administrator transceiver using Multi-Carrier-Direct Sequence-Code Division Multiple Access (MC-DS-CDMA), Orthogonal Frequency Division Multiplexing (OFDM),16-Quadrature Amplitude Modulation (16-QAM), Frequency Division Duplex (FDD) and Extremely Low Frequency (ELF) band for the applications of Oil Well Telemetry, remote control of power substations or any system that its responding time is not critical

When does an ostrich become a bird? The role of typicality in early word comprehension

Which objects and animals are are children willing to accept as referents for words they know? To answer this question, the authors assessed early word comprehension using the preferential looking task. Children were shown 2 stimuli side by side (a target and a distractory) and heard the target stimulus named. The target stimulus was either a typical or an atypical exemplar of the named category. It was predicted that children first connect typical examples with the target name and broaden the extension of the name as they get older to include less typical examples. Experiment 1 shows that when targets are named, 12-month-olds display an increase in target looking for typical but not atypical targets whereas 24-month-olds display an increase for both. Experiment 2 shows that 18-month-old display a pattern similar to that of 24-month-olds. Implications for the early development of word comprehension are discussed