数字音乐15年

数字音乐15年 数字化革命对音乐产业的冲击 每日电讯报道 从哪下载音乐更省钱 （Getty） 很久很久以前（说不定哪一天我们就会这样告诉我们的孩子），我们去音像店买音乐，在广播上听音乐，在杂志上了解音乐信息，在电视的音乐资讯节目上看MV。20世纪失落的流行文化，耳熟能详的热门专辑，豪华生活圈里的超级明星，这一切看起来都太古董了。 如今，我们从近乎无限的在线曲库里下载音乐，在电脑上听，在YouTube上看，在Blog上讨论，在包括iPod、iphone在内的移动设备上个性化设置播放曲目。 但我们并不喜欢为下载的音乐付钱。 在过去的15年中，易获取的数字音乐（不论是免费的、盗版的，还是便宜的正版音乐）完全地 破坏了音乐工业的获利能力。主流唱片公司在这个全新的世界里挣扎起伏，不断地缩小、合并， 到现在只剩两家真正的全球性唱片公司（环球和索尼，排在其后的是处境艰难的华纳和EMI）和越来越多的独立制作公司。所有这些公司都在绝望地挣扎，寻求着除了出售音乐以外的其他（紧 密围绕着音乐的）赢利途径，比如商品同步销售，品牌赞助和网络广告。 尽管在过去的10年里进行了种种创新，但没有人能够阻止资金源源不断地流出音乐行业。I-tunes是一项巨大的商业成功，但其居主导地位的单曲下载业务完全摧毁了整张专辑所 表 关于同志近三年现实表现材料材料类招标技术评分表图表与交易pdf视力表打印pdf用图表说话 pdf 现的 整体气质（整个现代音乐工业都建立在这一基础之上）。 但这些有害于音乐工业的问题，已经被证明有益于音乐本身。对世界各地的音乐人来说，价格低 廉的电脑录音系统和免费的数字发行体系降低了音乐行业的准入门槛。也就是说，人人都可以在 自家的录音里成为传奇人物。也许赚不到钱，但至少，你的音乐将被别人听到。 消费者比历史上任何时期都能接触到更多的音乐，尽管过多的选择本身就是一项挑战。纸媒、广播、电视等等旧媒体失去了它们的影响力，因为消费者们开始在博客和社交网站上自行推介音乐 作品。所造成的结果就是，流行文化的中心消失了，所有的一切交织成了一张广阔的网络，任何 一种品味都会被照顾到。 为了生存，音乐人们必须回到他们的根源，回到唱机发明前的状态：走进大众，在他们晚餐时歌 唱。现场演出可以说是最后一块没有被数字音乐侵占的阵地。顺便提醒一下，演唱会的门票可以 在线购买，演出的精彩部分可以拍到手机上，然后在YouTube上与朋友们一起分享。 这就是数字音乐诞生15年后的情景：充满了不确定性、音乐资源极大地丰富、赢利模式尚未建 立。 而音乐工业就像笼子里的金丝雀，第一个被扔进了数字化的矿井。 金丝雀还没有死，但她在不断地喘息，而其他的所有版权行业都焦虑地跟在她的身后，急切地想 知道下一个该轮到谁。 15 years after the launch of Telegraph.co.uk, the digital revolution has left the music industry gripped by uncertainty. By Neil McCormick Published: 2:55PM GMT 26 Nov 2009 Where to download music for less Photo: GETTY Once upon a time (as we might one day tell our children) we bought music in record stores, listened to it on the radio, read about it in magazines and watched it on Top Of The Pops. All of which already seems archaic, the lost era of 20th pop culture, of hit records we could all sing by superstars who lived in the lap of luxury. Today, we download music from an infinite online library, stream it on computers, watch it on YouTube, discuss it on blogs and individually soundtrack our lives with personalised playlists on mobile devices, iPods and phones. What we don’t like to do is pay for it. In the 15 years since telegraph.co.uk was launched, the easy availability of digital music (whether free, streamed, pirated or cheap and legal) has completely undermined the profitability of recorded music. Dragged kicking and screaming into this brave new world, major record companies have shrunk and amalgamated, until there are only really two big global players left (Universal and Sony, with the currently endangered Warners and EMI bringing up the rear) and an ever-expanding independent sector, all desperately trying to find new ways of profiting not from sales of music itself, but everything around it, merchandise and sync deals, brand sponsorship and online advertising. For all the innovation of the past decade, nobody had been able to stem the flow of money out of the business. I-tunes has been a big success story, but the primacy of the single track download model has undermined the entire ethos of the long playing album (on which the economics of the modern business had been built). But what’s been bad for the music business has, arguably, been good for music. Affordable computer recording programmes and free digital distribution demolished entry level barriers for musicians everywhere, which means that everyone can be a legend in their own home studio. You might not make any money from it, but at least you can be heard. Consumers have more access to more music than ever before in history, although an excess of choice provides challenges in itself. The old media filters of print, TV and radio are losing their power to influence, as consumers begin to aggregate personal recommendation filters through blogs and social networking sites. The result is that there is no centre of pop gravity, as everything has migrated to an ever-expanding margin, where every possible variation in taste is catered for. To survive, musicians are effectively returning to their historical roots, back where they were before the record player was invented: going out and singing for their supper. A live show is possibly the only place immune to digital takeover. Mind you, you’ll still probably buy your tickets online, film highlights from the show on your phone, and then share it with your friends on YouTube. And that’s where we are after fifteen years of music on the web: in the grip of uncertainty, with more access to music than ever before, and no idea how anyone is going to make money from it. But then I often think the music business has been the canary in a cage, first down the digital mine shaft. It’s not dead yet, but it’s gasping for breath, while all copyright business follows nervously in its wake, wondering who’s going to be the next to keel over.