Baisse de 84 % de la fréquentation des salles de spectacle en 2020

La pandémie de COVID-19 a laissé son empreinte sur le secteur des arts de la scène en 2020. Après avoir atteint 8,7 millions d’entrées dans les salles de spectacle en 2019, un sommet depuis le début de l’enquête en 2004, la fréquentation a chuté de 84 % en 2020, pour atteindre 1,4 M d’entrées.

Lire les résultats de l'Institut de la statistique du Québec

How Has Twitch Managed to Become a Go-To Music Platform During COVID?

COVID upended everything. We’re still dealing with the ramifications of the virus but one thing that hasn’t changed is the desire to consume music. However, due to access to public spaces being restricted, many are now getting their music online via live streaming platforms such as YouTube and Mixcloud.

Lire sur Attack Magazine

Music and entertainment have important roles to play in the climate crisis

Entertainment, in particular, has a special role to play in solving the climate crisis, culturally even more so than pragmatically. Humans have always turned to storytelling, music, and games as a way to connect with themselves and one another; to learn about their place in the world, and how to interact with it.

Lire sur Hypebot

Tribes are the future of fandom (and that may or may not be a good thing)

Whereas, as Asian entertainment companies have become adept at industrialising fandom in this new paradigm, Western companies are less so. In music, big record labels still have a mindset of wanting to create mainstream, global hits. But the fandom playbook is changing. Global success now depends less on how wide your message can reach, and more on how deep it can go. Mass reach is becoming superseded by conversion, and mainstream is become replaced by tribes.

Lire sur Midia Research

Have Non-Musicians Taken Over Music Scholarship (and Should We Care)?

This splintering of knowledge is, perhaps, inevitable. But the absence of a significant, ongoing dialogue between music scholars and these other disciplines is regrettable. Perhaps neuroscientists, for example, are overreaching and reductionist in their attempts to ‘explain’ music—but no matter what your views on that topic, the efficacy and value of their research will be improved if musicologists engage with them in constructive dialogue. And the same is probably true of many STEM fields that are now ‘encroaching’ on music studies—just wait and see what damage will be wrought by algorithms and artificial intelligence.

Lire sur The Honest Broker

The future of media plurality in the UK

The ways in which consumers and citizens interact with news media have changed dramatically in recent years. New technology has enabled people to engage with news in previously unforeseeable ways and has challenged the business models of traditional news media organisations. Against this backdrop, media plurality remains the cornerstone of a well-functioning democratic society.

Lire la déclaration d'Ofcom

Google et l’AFP sont parvenus à se mettre d’accord sur les droits voisins

Google et l’Agence France-Presse ont annoncé le 17 novembre, par un communiqué commun, la signature d’un accord sur les droits voisins. Les droits voisins proviennent d’une directive européenne de 2019, transcrite dans la législation française dans la foulée. Elle impose aux plateformes numériques de négocier une rémunération avec les éditeurs pour diffuser leurs contenus.

Lire sur le Siècle digital

Global Value of Music Copyright up 2.7% to $32.5bn in 2020; scales tip in favour of labels whose boom in streaming growth offset the bust in public performance for publishers

In short, the annual reports from labels, publishers, and collective management organizations (CMOs) have been added together and then the double counting has been stripped out.

Lire sur Tarzan Economics

China’s booming music streaming industry

China is still the 7th biggest music market in the world, behind South Korea and before Canada. China’s roots in its rise in music streaming has come from a major cultural shift in its protection and value of copyrights during this decade. Our previous blog highlights this shift.

Lire sur MusicInfo

Spotify finally rolls out real-time lyrics to global users

After years of ignoring consumer demand for in-app lyrics, particularly in the U.S., Spotify announced today it will make a new Lyrics feature available to all global users, both Free and Premium, across platforms. The feature is powered by lyrics provider Musixmatch, and expands on a prior deal Spotify had with the company to offer lyrics to users in India, Latin America and Southeast Asia.

Lire sur Tech Crunch

Is there really a Canadian music? With its digital platform Picanto the Canadian Music Centre provides an answer

So what actually is Picanto? Its self-described mission is “to nurture, support and showcase Canadian musical talent at home and abroad,” celebrating “a world of new and uncommon music from diverse genres through music-video offerings, documentaries, educational videos and livestreaming events.”
A work in progress, it seeks “to increase the national and international listenership of Canadian music,” inviting artists to submit projects for exposure though the platform and, as Hodgins puts it, that includes collaborations with non-Canadian sources.

Lire sur The Star

Early On-Demand Music Streaming Required Lots of Nickels

“Joyce” was no Cold War spy, however. She was one of a small army of women in Washington State who worked as DJs for Multiphones, telephone-based jukeboxes. The devices were the Spotify of their day, providing what some might consider to be the earliest form of commercial streaming.

Lire sur Atlas Obscura