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1
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Problem piractwa muzycznego. Alternatywne spojrzenia na spór o pobieranie muzyki z Internetu

100%
Blichiewicz S.
Media – Kultura – Komunikacja Społeczna
|
2013
|
issue 9
192-208
EN
The contemporary music industry is in a period of remarkable change. Thanks to the powerful internet and digital media technologies, the global audience has gained the access to the fast-expanding music catalogue, while the artists have discovered new ways to make their music available worldwide. There is an intense debate over the issue of internet piracy and the level of protection for intellectual property. Music piracy – the unlawful distribution of copyrighted digital music files that can be easily shared over the Internet – is widely considered a detriment to the music business and the main cause of declining album sales. As such, it remains a key challenge for the major record labels. But is piracy inevitably a lose-lose situation? This paper analyzes a number of alternative academic views on the file sharing issue and the ambiguous role of music downloading on the current downturn in CD sales. The findings show that rather than tackling piracy, it is now crucial for the music industry to implement new business and communication models, which will eventually exploit the emerging digital technologies, improve their public image and deliver high quality content which appeals to listeners more than piracy does.
2
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Zachowania konsumentów na rynku muzycznym: pokolenie X i Y

86%
Kaszycka I.
Annales Universitatis Mariae Curie-Skłodowska, sectio H – Oeconomia
|
2017
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vol. 51
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issue 2
EN
The first half of 2016 was the most successful time in the 21st  century on the Polish music market which value reached the level of almost PLN 110 million. The main aim of this paper is to describe differences in consumer behaviour of representatives of Polish Generations X and Y in music industry. Despite growing market, digitalization of everyday life as well as music industry and large number of researches on online music piracy – there is still lack of research and publications on Polish consumers in music industry. For the purpose of this article, the author decided to use dates that are the most adapted to Polish market – taking the year 1983 as the border for researched Generations.
PL
Pierwsza połowa 2016 roku była dotychczasowo okresem największych sukcesów rynku muzycznego w Polsce na przestrzeni XXI wieku, osiągając wartość rynku na poziomie niemalże 110 milionów złotych. Głównym celem tego artykułu jest opisanie różnic w zachowaniu konsumentów – przedstawiciela pokolenia X i Y – na rynku muzycznym. Pomimo rosnącego rynku, cyfryzacji zarówno codzienności jak i branży muzycznej oraz wielu publikacji na temat internetowego piractwa muzycznego – wciąż brakuje badań i publikacji na temat polskich konsumentów branży muzycznej. Na potrzeby tego artykułu autor zdecydował się przyjąć daty najbardziej przystosowane do polskiego rynku – przyjmując rok 1983 jako graniczny dla badanych generacji.
3

The Blockbuster Biopic Bohemian Rhapsody as an Expression of Cinema / Music Synergy

72%
Radošinská J., Rusňáková L., Točená Z., Schwarz M.
Communication Today
|
2023
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vol. 14
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issue 1
4-21
EN
The study focuses on Bohemian Rhapsody (2018, directed by Bryan Singer, later Dexter Fletcher), the biographical drama that reflects on the extraordinary lives and career patterns of the four members of the rock band Queen, predominantly the band’s frontman, Freddie Mercury. Given the fact that this feature film has changed the way we perceive the economic potential of biopics entirely, we offer an overview of some of the reasons why it was so successful in terms of the globalised film industry. The main objective of the study is to outline the biographical drama’s synergistic tendency in relation to the movie industry and the music business. Acknowledging Bohemian Rhapsody’s unprecedented global success, we work with the assumption that certain biographical dramas can, in fact, become globally popular, partly thanks to the fact that they utilise music as a nostalgia-driven narrative tool making portrayals of musicians deeper and more complex. The assumption is addressed via a theoretical reflection on the given topic and through a qualitative content analysis of the biographical drama Bohemian Rhapsody.
4
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„Mjuzica.hr“ kao poduzetnički projekt u modelu glazbene streaming platforme

72%
Lozić J.
Obrazovanje za poduzetništvo - E4E : znanstveno stručni časopis o obrazovanju za poduzetništvo
|
2020
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vol. 10/2
177-190
HR
Stara je medijska industrija ušla u razdoblje potpune transformacije proizvodne i menadžerske paradigme. Klasična medijska industrija, stvorena u krilu moderne, razvila se tek uz industrijsku proizvodnju i masovno oglašavanje. Glazbena je industrija nastala početkom 20. stoljeća razvojem radio prijemnika, a svoj će vrhunac vezati uz televiziju i „broadcasting“. Cilj je ovog rada otvoriti novi horizont u promišljanju razvoja novih medijskih odnosno glazbenih industrija i poduzetničkih projekata iz toga područja industrije. Model distribucije proizvoda glazbene industrije, kao fizičkih proizvoda u obliku gramofonskih ploča i prodaje u „brick-and-mortar“ prodavaonicama, zamijenjen je distribucijom na glazbenim streaming platformama. Poslijemoderno je društvo promijenilo naviku posjedovanja fizičkih nosača glazbenih zapisa u pretplatu na streaming servisu. Danas već posluje više globalnih streaming platformi koje distribuiranju glazbeni sadržaj te su višestruko prerasle oblike poduzetničkog projekta. Mjuzica.hr zamišljena je kao poduzetnički poduhvat u segmentu streaming platformi za hrvatske glazbenike.
EN
The old media industry has entered a period of complete transformation of the production and management paradigm. The classical media industry, created in the lap of modernity, developed only with industrial production and mass advertising. The music industry originated in the early 20th century with the development of radios, and its peak will be associated with television and “broadcasting”. The aim of this paper is to open a new horizon in considering the development of new media and music industries and entrepreneurial projects in this field of industry. The model of distribution of music industry products, such as physical products in the form of gramophone records and sales in “brickand-mortar” stores, has been replaced by distribution on music streaming platforms. Postmodern society has changed the habit of owning physical music carriers to subscribe to a streaming service. Today, there are already several global streaming platforms that distribute music content and have outgrown the forms of entrepreneurial project. The music streaming platform that distributes the music content of Croatian artists, as a form of entrepreneurial project, is still waiting for entrepreneurs who are ready to try their hand at this entrepreneurial venture.
5
Content available remote

Między "Odeonem" a "Polskimi Nagraniami" – organizacja państwowego przemysłu fonograficznego w Polsce po II wojnie światowej (1945–1955)

58%
Wojciechowicz M.
Toruńskie Studia Bibliologiczne
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2013
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vol. 6
|
issue 1(10)
23-40
PL
Artykuł przybliża historię fonografii w Polsce po II wojnie światowej (1945–1955) na tle sytuacji politycznej. Przedstawiono markę "Muza", która była najbardziej znaną firmą fonograficzną ery socjalizmu. Omówiono zasady funkcjonowania przemysłu fonograficznego w ujęciu historycznym i zbadano wpływ sytuacji społecznej i centralizacji na jego funkcjonowanie. Perspektywę fonografii poszerzono o prezentację marek handlowych, logo, etykiet i charakterystykę nagrań.
EN
The article presents the history of music industry in Poland after the Second World War, in the period 1945–1955, on political background. The "Muza" music company, a well-known label in Poland in the era of socialism, was described. The organization of Polish music industry was shown in historical perspective. The influence of social circumstances and centralization on music industry is also described. The music perspective is widened by the presentation of trademarks and logos, labels, and the characteristics of recordings.
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