Manuel Marino, Music and Thoughts » industry

History of Music and Current Recording Industry Crisis

Manuel Marino — Fri, 21 Mar 2008 04:08:53 +0000

Roger L. Bagula wrote this exclusive article for ManuelMarino.com.

History of Music and Current Recording Industry Crisis

In a time when the whole future of how music is distributed is in question, maybe we should look at the history of music for a guide.

Many of us find music is a part of our everyday life; both in terms of listening and making it. I have an egroup on the archaeology of prehistoric men. Music seems to have been part of what distinguishes men for other beats. The discovery of a bone hollowed out to make a flute by Neanderthals has made many speculate that music is one of the oldest “preoccupations” that didn’t actually produce survival rewards.

We picture men with low foreheads sitting around the campfire playing bone flutes and beating on hollow logs. The man who was good on the flute had to be subsidized by the other hunters. In the Sahara Arab culture the women are the make the music. There are ancient Egyptian drawing of people playing stringed instruments, The god Mot is said to have had music in his temples. The ancient Greeks had a very well developed theory of 5 tone music as well.

In the European tradition what is called “church music” was actually scripted in a staff in 8 tones during the medieval era. In both church and secular life music was an everyday entertainment and some people spent their lives as singers in the Jewish Cantor tradition. At this time a distinction between “holy” and profane (dance) music seems to have been made.

The age of reason gave us Bach fugues and well tempered music with twelve major tones instead of just 8. Keyboard instruments appeared in churches and the drawing rooms of the rich and famous. Europe was a center of world culture in the arts and sciences with university courses being taught in music theory.

Revolt against this almost always pleasant sounding music turned up in the form of Schönberg and his ideas of twelve tone sequences. Others experimented with expressionism and what they called “tone color” in trying to match the music and art of a puzzling modern world.

But little known to the European intellectuals a new music form came to life in America based on a African folk form and being fostered by the black community quite by itself. Jazz was a free form music where chord forms called progressions were used and many of the people playing the music couldn’t read sheet music at all. It involved syncopation, drums and rhythm fugues as well as multi-melodies in an ad lib setting. It was involved in moods as the blues and dance in terms of swing and jitter-bug and was considered profane in many white communities. Until recording and radio it was pretty much played for free in clubs where blacks went at night . But even as simple as the chord progression were it displaced classical forms in the hearts of most of the world’s population in less than 50 years form Rag time in 1900 to the 1950′s Rock and Roll. In the materialistic society success came with money and records by these artists sold so well that they became the new rich of the 20th century.

In the ’60′s I met a black sargent (hard stiriper) in Army who did this odd kind of poetic singing that he called rap. We all scorned him because we knew that Rock and Roll was king and it was here to stay. Again out of the sub-community of the black in a America and off shot of funk music used as backing for this rap singing came out of seeming nowhere in the 90′s to become a real musical movement world wide. The poor black was angry: he had been promised “equal rights”, but he got welfare and lingering on street corners while dope dealers preyed on him and his community.

Urban renewal meant that he was shoved out of his generational neighborhoods so that up town whites could have new condos closer to work. Gangs took control of streets and whole communities and had shooting wars while the mostly white police forces hid in their substations until the shooting stopped. As far as I know there has been little reform in response to this widely popular music style and the angry and profane words involved.

Another trend in music has been multi-tonality. Everyone knows listening to a slide trombone that there are an infinite scale of notes possible to music. Mostly we think in terms of a scale based on powers of two. The twelve tone scale came about when the Greek pentatonic scale was rationalized with the church 8 tone scale. Adding an C flat and an F flat (or two more sharps) seems to even out the keyboard in 14 tones instead of 12. The Arab musical intellectuals who were influenced by ancient Indian musical theory added twelve “between” tones and special Indian like tuning forms. To western ears Indian and Arab music has a unique blue or “color tonal” feel to it that is attractive to a mind tired out by a limited tone scale of 12 tones.

In the early 20th century an electronic instrument called a Theremin was invented using the electronics that came with shortwave and AM radio. This instrument involved producing tones of all kinds of sine waves. By the 50′s this kind of music found it’s way into science fiction classics as Alien music.

In the 60′s with the use of computers the digital slicing and dicing of sound had started. The result as we all know is the compressed digital sound file called the mp3, but electronic music had become more than this ! From digital midi sequencing and interfaces that captured keyboard notes as score notes on an electronic staff to distortion electronics that could make a guitar sound completely different with feedback and reverberation effects, new music that had never been heard by human ears before was being invented and circulated. Like rap music, it wasn’t at first very easy to get such music to the mass audience, but the European “House” dance music of night clubs began to change that in the 80′s. Here a century long decline in European music began to turn around, so that the German school of electronic music is a leader in innovation and Americans seem to be trailing behind?

The conversion of the CD digital formate files (Aiff and wave) to mp3 in the 90′s by Classic Mac SoundJam which was taken over by Mac and called iTunes made upload of digital files to the Internet easy. People began to share their favorite music internationally. Downloads of digital music even at several megabytes each became very common.

The recording Industry being on the back end of this movement and historically behind in the innovation curve was caught unprepared. They began suing private citizens (college students who are the poor). For the rich to be openly prosecuting the poor for the crime of “downloading” became the democratically most unpopular move in ages.

It is the royalty money from the sale of recoded media that has made the new music rich like the Beetles. The failure of recording industry executives to find a way to plug this hole in revenues seems to signal a decline in such music as a way of passing music around that has been popular since the 1920′s and AM radio started it off. Before that it was sheet music that passed the music from one place to another.

The result of this crisis is that we are faced with a change in how music is given to the public. From my own experiences the recording industry corporate model hasn’t been a perfect one. We are looking at an art form where their are several kinds of artists who need to support their families: composers, performers and song lyrics writers. If these people “suffer”, then the listeners will be affected shortly after in not being able to get music that they want.

Survival and eating are usually a little above making music on the daily calendar.

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How Has the Internet Affected the Music Industry?

Manuel Marino — Sat, 19 Jan 2008 14:04:29 +0000

This article is written by web designer Josh Gutteridge who runs Skyte Media. Skyte Media is based in the Midlands (England) and is a professional web design company that specialises in web design and development. Josh would like to receive comments about this article on his blog. But of course you can comment it also here, on ManuelMarino.com!

How Has the Internet Affected the Music Industry?

Music has always been something that has inspired mankind. Sir Thomas Beecham once said ‘a musicologist is a man who can read music but can’t hear it’. The pure beauty of music is that we can all listen to the same notes played by many different instruments, yet make our own individual conclusions with regards to what the music means to us; and nobody can argue.

It is not in the nature of this post to go in depth on musical history. Nonetheless, music has developed rapidly through the ages with the vinyl when it was first really used in 1948 by Columbia Records. Since then the music industry has seen the use of the Audio-Cassette and Compact Disc (CD).

Consequently, since the internet became more widely available it has made music more easily accessed by such means as Online Music Stores. There are thousands of these stores online including three of the most famous: iTunes, Napster and Rhapsody (US only). Let’s focus in on iTunes; an offshoot of the Apple Company.

I refer to iTunes as the ‘pied piper of the 21st century’ lulling people into easily downloading content with minimal hassle. iTunes is a free piece of software developed by the Apple company at Macworld Expo in San Francisco. This allows you to download digital music, music videos, television shows, iPod games, audio books, various pod casts and in the USA feature length films, and ringtones. Downloaded content can then be used to create your own play lists and personalised albums to burn to CD. It can also be transferred onto various different types of iPod including the new iPhone making music more accessible and easy to get hold of.

How does this affect the ordinary person who enjoys listening to their preferred genre(s) of music?

In this case, music has never been so easily manipulated and accessible. We live in a convenience obsessed world with personalised portals such as Last FM where you can listen to any artist known to mankind, you can listen to personalised internet radio with Pandora and also listen to all the music and view the videos on YouTube. It doesn’t take much effort to rip music (ripping is the term for digital audio extraction). The cost of downloading an album from the net is generally cheaper than an album brought in the shops, after all, downloads should cost less as there are less overheads for the record label to pay for: CD sleeve, CD case, CD cost, copying equipment etc.

How does this affect the music industry?

Some artists find the concept of the internet hard to adapt to; however, as they are forced into the mould of technology modern artists tend to embrace the internet as a friend rather than a foe. They view it as a ‘creative and inspiration-enhancing workspace where they can communicate, collaborate, and promote their work’ – Mary Madden (Research Specialist) in her project ‘Artists, Musicians and the Internet’. Sites such as MySpace have helped Artists and Musicians address their target audience rousing more interest in their style of music.

But let’s face it; there will always be people that are looking to find a loophole. I’m talking about those who engage in illegal music downloading. Experts admit that illegal downloads will never be stopped. This messes up the system and makes it unfair for both the artist and the people who are paying for downloads. The British Phonographic Industry (BPI) has joined forces with the Federation of Phonographic Industries (IFPI) to take legal action against internet file-sharers.

How will illegal downloader’s effect record labels? A record label makes, distributes and markets sound recordings; basically at the end of the day they’re out there to make money. The music industry produce mainly alums…how many albums have you brought just because you like one song? I have! We’re forced to buy albums to get the songs we love. As sales figures are falling record labels will be forced to look at the logic. Are people going to buy a whole album or just download one song? What effects do you think this will bring? Might we see a rise in the cost of internet downloads?

So in conclusion we have seen that the music industry has created stronger ties with new technology over the past decades and now can only go forward. We have seen that internet music downloads can be both an advantage and a disadvantage as we see the battle between the illegal downloader and the record companies continues. However, it is safe to conclude people – adapt or die!

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Growing Independent Film Industry in the Southeast

Manuel Marino — Fri, 11 Jan 2008 00:07:25 +0000

Heidi Yost wrote this exclusive article. Heidi (photo) is a talented actress. In this article, she explains Film Industry situation in the southeast, talks about her experience as artist and gives also important hints for the new actors.

Growing Independent Film Industry in the Southeast

When I returned home to Louisville, Kentucky from my three year-long stint in Los Angeles as a professional actress I expected more. I anticipated that my recent win as a Marilyn Monroe Look-Alike by Premiere Magazine and my appearances on Beverly Hills 90210 and Matlock would have every talent and casting agent in Louisville falling over themselves to represent and utilize my homegrown talents and experience. It didn’t happen. I felt like Yukon Cornelius after I swung my mining pick into the ground and brought it to my mouth to taste for traces of the delicious silver and gold acting opportunities at home and “Nuthin’. Hello, I won the Marilyn Monroe look-alike contest!

Fifteen years later, to my delight everything is coming up roses in the Southeast independent film industry. Is it because I am no longer a platinum blonde ingénue and now a sultry redhead? Is it due to widely available and affordable video and film equipment? Has the increase of Los Angeles film location shooting in Kentucky infused the film community here: ELIZABETHTOWN, SEABISCUIT, THE INSIDER, STRIPES, etc, etc? The 48 Hour Film Festival, among others may have tempted some independent film makers who otherwise would not have stepped behind a camera with simple, short formats and alluring prizes. How wonderful to have developed an extensive filmography in my own hometown due to the indy boom.

Louisville has had a thriving arts community for the entirety of my life. The city has claimed a local ballet, orchestra and professional theater company: Actors Theater of Louisville (that had everyone I auditioned for in Los Angeles inquiring). The River City also boasts a cultural center, the Kentucky Center for the Arts that is used for a myriad of artistic and mind expanding events—from K.D. Lang concerts to poetry readings by Maya Angelou.

The semi-professional theaters in Louisville are also noteworthy and prolific. I cut my teeth at the KY Contemporary Theater before I got my B.A. and moved west. Pandora Productions produced a compelling version of SOUTHERN BAPTIST SISSIES. Since, then Susan Linville, Founder and actress at the Necessary Theater has offered amazing productions with compelling new scripts as does Looking for Lillith. The recent one-woman show WOMEN SPEAK IRAQ developed and performed by Shannon Woolsey was performed with such virtuosity and passion for the widest range of opinions and postures I could imagine.

My training, my stage and life experiences experience have given me the depth that I claim and utilize now as a film actress. Oftentimes, people will ask me which medium is my favorite. They both have their draws. In the live theater experience, the actress has the opportunity to get immediate feedback from the audience, has a substantial amount of time to build emotional crescendos and has the obligation and luxury to live in the moment and keep going whatever the immediate reality (not fun when scenery or a co-actor is falling on your head).

Film offers the luxury of another take, if the first one or fifteen takes aren’t the cat’s meow, you can do another. Film tends to pay better. (However, anyone who acts for the pay is a little misguided). You can capture the moment forever on film (This can be most upsetting for some who aren’t involved in savory productions). Most films have a larger audience than the theater does.

Advice for the film actress: study. If you wish to be an actress, learn from the best in your community who teach. Do not study under an opera diva and expect that you will be taught the subtleties of a fine camera performance. Do not study at modeling agencies who are primarily interested in increasing their bank accounts. Study under those who have the experience you are seeking. Universities are an excellent place to learn and perform as an actress.

If you are younger than college-age and wish to act, go see as many plays and films as you can. If you enjoy someone in a stage performance, find out his/her name and if you may have a few minutes of their time to see how they gained their polish. Community theater is a great place to start. Hopefully you will get a sane director and be able to squeeze into the cast despite the member of the board of director’s narcissistic casting. If you think that Hollywood is political—spend a summer in a community theater!

Surround yourself with positive people. If you consider someone incredibly talented as an actor or director, but he/she is constantly negative, overbearing or abusive—go elsewhere. Life is too short and no matter how badly you want to act—it’s not worth it.

The directors that have had the distinct pleasure of working with are great collaborators. Chris Courson from Lightspeed Productions first cast me as a lead in his film called EMMA’S CODE for Louisville’s 48 Hour Film Festival. Immediately after that in July 2007 he wrote the most amazing short called CIRCUS NUTS and cast me again as a lead. We were so pleased with the results we will be shooting a feature-length on this premise this summer.

Chase Dudley is a young director who was open to my suggestions when he needed other quality actors for the independent feature film LAST SEEN ALIVE (knowing people always helps good actors who are easy to work with get cast). Tracy Dudley his wife wrote an amazing screenplay with a strong female lead, Detective Malone. Tracy was very open to working together to make the script and character as believable and formidable as possible. The process and final product was such that we are planning on working together on a sequel in 2008. LAST SEEN ALIVE will be available at www.amazon.com in late January 2008.

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Recording Music Industry

Manuel Marino — Thu, 06 Dec 2007 16:57:15 +0000

This is a post I’ve received from Julien Bernier-Haineault and he is a music producer from Quebec, Canada. He made several songs for a lot of bands that never really got appreciated to their real value. I can say that trying, failing and trying again, now he absolutely knows a lot about Recording Music Industry.

He said me: It’s countless hours, in fact I could count it as months, I’ve put into this industry for very low results in the end. This is my first attempt at writing articles and I hope people gets the point across that this art is reserved to an elite and that you must obey to some fixed rules to get into their circle. I hope to help people understand what are those traps and guide them to avoid those.

Julien, your voice can be heard now, thanks to ManuelMarino.com!

Recording Music Industry

Lately I’ve questioned myself why was there so much newcomers in the music industry that didn’t grab my attention. Soul less recordings, heavy thumping bass, yells and screams is all I hear these days. Where is the hear candy? You know that kind of song you listen once and you’re not sure you like until you give it more listens. The kind of lyric that hooks you and makes you want to change something about you, or even the world. The strange feeling of nostalgia, of fear or faith. That is all gone since the music industry is now all about money and none about feelings.

What people want these days are instant rewards, premature orgasms while what we need from the music industry is more like a long term relationship. Don’t get me wrong; I understand why people want it that way, but there’s one kind of songs that’ll eventually fade in history while the other one will be there to stay. I think music needs a second chance, a change in the way of thinking, a split for newcomers that don’t want to fit in the prefabricated mold that today’s industry is.

Most contemporary musicians want to have the right “recipe” for success. The recipe that would get their songs top the charts and generate a buzz. They want the special ingredient that would get them out of normal life and throw them right into the elitist artist world. And that is understandable since the industry demands it. Instant success stories are heard all over the newspapers but from experience I know that most of those stories are forgotten shortly after. And if they are not, maybe they should.

What’s sad is that the music that doesn’t fit the standards gets pushed on the midnight playlist on Tuesdays, or worst, not played at all. So the infamous Verse Chorus Verse type of song is filling the entire rush hour playlist. Miss “Perfect Body” and Mr. “Perfect Voice” are all over the radio stations. We’ve come to an era where the beauty of the singer is more important than the beauty of the song. And that’s where it must stop. Sure an anti-charismatic singer won’t attract much audience at first, but fans listen to the music more than looks at the eyes, do they?

I really don’t care what the band looks like. They could be just “okay” but if what they do is pure genius, nobody will notice. What people will notice after some time is the music, the real reason why the band existed in the first place. Since when does a rock star need to be a supermodel to sell tickets? What we want is presence not nude skin.

Maybe I’m wrong a little bit though, since so much people are going to Justin’s or Britney’ shows. As they say “sex sells” and this can’t be truer. A lot of artists are betting on this to make their stash bigger. Think Janet Jackson at the superbowl. Publicity, marketing and word of mouth are what is important now, no matter what you do to get it. Good or bad, talk about it, heh? That’s what they want… And it works! What’s sure though is that good rock music has left its place to rap, screaming rock and pop music this decade and I can only hope it will be back for the next.

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Music Biz

Manuel Marino — Mon, 03 Dec 2007 18:40:49 +0000

Marcos Marado wrote this exclusive article about Music Biz. Is the situation really so dramatic as he explains? Leave your comments, this could be our first really important debate on ManuelMarino.com.

Music Biz

I’m, first of all, a passionate for music. My passion for music before I can recall it, and grew with the fact that I had the luck to have older brother and sisters whose music collection was wide enough to feed my music interests. Also since a little kid I was interested in technology, and started programming at the age of four. Being nowadays a music lover and also a musician, and at the same time graduated and working as a Computer Science Engineer, I feel myself lucky to have some ground bases to analyse the state of music business.

The music business is in a chaotic state. The record industry is declining, and is throwing the guilt of it to what they like to call “piracy” – the unauthorised downloading of music. While they blame it, the truth is music market is falling, whos to blame? The fault is from the music industry itself. Doug Morris, Universal Music CEO, recently admitted he knows nothing about the music industry of nowadays. They decided to sue their customers by suing music fans that do unauthorised downloads instead of suing those who really make money out of copyrighted works, and restricting their clients’ rights with technologies like DRM.

It is surely true that it’s hard to find a completely fair way of compensating musicians while promoting the access to culture, but there are efforts to design market models that work – at least better than the actual one. The biggest problem is that the music industry – defined by the four major labels – doesn’t get it. The music market has changed, music, musicians and music lovers adapted themselves to new trends and technologies, but the music industry decided to ignore all the signs, refusing to see the big elephant in the room, and kept doing business in an obsolete way.

The proof that they simply don’t understand what’s going on is right in front of everyone wanting to see it, when we get news that Elton John wants the Internet shut’ed down, or when countries try to impose Internet Services Providers to filter illegal downloads, even if that’s technicly impossible to do and the music industry does political pressure to make the countries change their laws.

They spend tons of money implementing DRM systems, and others sell the rights that were restricted to listeners back, making money from what they first took, even if it’s known that DRM systems cause sales losses, music artists and fans are against such systems and new businesses are arising just by the fact that they don’t adopt DRM technologies, radio stations create petitions against DRM. Now, it’s too late for them – but what’s going to happen to the music market?

Well, we’re also seeing a lot of emergent business models. First of all, we have to realize that while CD sales are decreasing, music consumption is rising twice as fast. Also, if you open your eyes and start considering the music business as everything around music and not just music sales, then you’ll see that, for instance, in North America, the music business will total $26.5 billion in 2011, growing at an average annual rate of 2.8% from $23.1 billion in 2006. Recorded music revenues will still declining as declining CD sales cancel out the sharp gains in digital sales. Music publishing and live music will grow. Norway has a party that wants to free file sharing and sampling, shorten the commercial copyright and ban DRM.

The number of web services for bands is wildly growing. Artists have now the means of making money while giving music for free, for instance. Musicians are finding new ways of doing their work by themselves, even if sometimes things aren’t simple. While there’s no formula on how to create the perfect record label, there are some labels and distributors that understand nowadays music market and know how to do business in it.

The future is smiling at us – we just have to let obsolete formulas and vices die.

Of course, new issues to be solved will appear. New fights have to be fought and won, or we’ll end like citizens of a dystopian world.

But soon enough it is going to be a great time to live – as a musician, a music lover or even a technologist.

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