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Europe tuned into its music industry

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Subido el 3 de julio de 2007 por EducaMadrid

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European music is not only part of our cultural heritage. It's also a major industry creating 600.000 European jobs. A perspective on this sector and the issues at stake at the prize giving ceremony for "Border breakers" during MIDEM in 2004 in Cannes (France).

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On the Croisette in Cannes, movers and shakers in the music world gather for MIDEM, 00:00:00
the 38th annual get-together of the international music industry. This year, 00:00:05
Europe decided to top the bill by organizing the Border Breakers Awards. These new awards, 00:00:11
supported by the music industry, recognize European artists whose first album sold 00:00:16
most widely throughout the European Union. For the organizers of the prize, the idea is to 00:00:20
promote Europe's cultural diversity. We are European because we know that there are Greeks, 00:00:30
Spaniards, Portuguese, Norwegians, Finns, etc., and we love it. That's our identity. 00:00:36
We are not a single population, we are different, and it is in this diversity that we find ourselves. 00:00:41
At the same time, MIDEM provided the opportunity to discuss challenges and perspectives for the 00:00:50
music business. What was clear, this is an important industry for Europe in terms of 00:00:55
jobs and earnings, yet it suffers from something of a paradox. 00:01:00
It suffers and benefits from diversity, that is, languages, cultures, feelings in 00:01:03
the different countries, which means that music, like cinema, circulates too badly, 00:01:12
and there is a very clear need to make artists or songs of a country better known in other European 00:01:18
countries. In one part of Europe, let's say in Greece, they don't know what is happening in the 00:01:26
north of Sweden, and vice versa. We don't know very much about what is happening in the south 00:01:34
of Spain, so there is no natural incentive to move the artist from one part of the Union to another. 00:01:41
For those involved in the business, there's one recurring question. How to improve the 00:01:48
mobility of artists and their work, both inside and outside the European Union? 00:01:55
I would like to see better distribution facilities. I'd like to see some practical solutions. I think at an artistic level, there's quite a lot of support, but the business-to-business is where you 00:02:00
find the gaps. Help European artists to tour and do showcases in other countries. There are big, 00:02:30
significant problems for smaller companies to reach the market. The barriers to entry are very 00:02:41
difficult. The cost of marketing is prohibitively expensive. The difficulty with accessing mass media, 00:02:47
radio, TV, newspapers, is more difficult than it should be. If it's already tough to promote 00:02:55
exchanges between European countries, what happens when you decide to take on the biggest music market 00:03:01
in the world? The United States is a bit more nationally oriented than they were before 00:03:07
September 11, 2001. That made them a little bit more close to the outside world. The opportunity 00:03:17
to sell European music in the United States is becoming more difficult, but I suspect that 00:03:25
that's just a business process. I think once there is a realization that the European music 00:03:32
needs to reach the American market, we'll just have to find new ways of doing it. But at the 00:03:38
moment it looks difficult, but everything is cyclical. Some countries have taken steps to 00:03:44
help their artists tackle the major markets outside Europe. That's certainly the case in 00:03:50
Germany, France and the United Kingdom. Initiatives which the European Commission has watched with 00:03:55
interest. I think international it's more about access. It's more about knowledge maps, 00:04:00
understanding how the markets work, understanding who the players are, how retail, how radio, how 00:04:08
the clubs work. So we wanted to introduce an appropriate mechanism to support music artists, 00:04:16
managers, producers, publishers and the record companies themselves. And one of those is the 00:04:23
UK office in America. In France, it's not necessarily obvious when you're looking for something in 00:04:28
Australia, with the time difference, with the different cultural barriers that may exist, 00:04:34
to find good contacts and to arouse an interest for your product in the country concerned. We have 00:04:42
a network of nine offices in the world, on four continents, which actually allow us to be 00:04:50
a relay for these French professionals, to help them either find distributions, 00:04:56
licenses, to organise tours, to be present at festivals abroad. 00:05:01
The industry has made proposals for pilot projects that the European Union has funded, 00:05:06
and which have shown the practices in the different Member States to stimulate their 00:05:11
export, but also to create bridges between these different institutions and to see how 00:05:15
we can find a strong and European response to the American difference, for example. 00:05:20
This pilot project studied the feasibility of an export office in New York, and this year we 00:05:27
will deepen the results of this study, which are quite encouraging. 00:05:34
These sorts of initiatives are all well and good, but the key to success is often more about getting 00:05:37
the chemistry right. The key to success is simply the talent and the fact that the artist 00:05:44
directly addresses not only the French public, but all the public. What is interesting is to 00:05:49
see that the record is close to the gold record in Germany, but in its French version, 00:05:55
while the success is explained in France, in particular by the quality, the strength of the lyrics of the songs. 00:06:00
You can always find all kinds of explanations, but I don't think there are any. 00:06:05
That's what's magical about this job. 00:06:11
Another sizeable obstacle to the free circulation of artists and their work in Europe is the 00:06:18
differences in national legislation, an area where most musicians feel powerless. 00:06:22
And now the next big issue is how to stamp out pirating and illegal downloading from the Internet. 00:06:53
This is an explosive phenomenon with consequences all down the chain. 00:07:03
You have to set the rules of the game on the Internet. I believe that the Internet gives a lot of opportunities to music, 00:07:22
provided that it is paid for. As for piracy, it is illegal. So, indeed, the public authorities at the local level, 00:07:28
but also the European institutions, and they are not going to allow it, have to do something about it. 00:07:37
What's clear is that Europe's music industry is facing some major challenges for the future. 00:07:44
Some of those challenges are already being tackled through European legislation, which offers better protection to artists. 00:07:48
But more needs to be done, which is why the European Commission is working in concert with the industry itself, 00:07:54
to give the music business the support it needs. 00:08:00
But more needs to be done, which is why the European Commission is working in concert with the industry itself, 00:08:03
to give the music business the support it needs. 00:08:11
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Idioma/s:
en
Niveles educativos:
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Autor/es:
The European Union
Subido por:
EducaMadrid
Licencia:
Reconocimiento - No comercial - Sin obra derivada
Visualizaciones:
712
Fecha:
3 de julio de 2007 - 14:43
Visibilidad:
Público
Enlace Relacionado:
European Commission
Duración:
08′ 16″
Relación de aspecto:
4:3 Hasta 2009 fue el estándar utilizado en la televisión PAL; muchas pantallas de ordenador y televisores usan este estándar, erróneamente llamado cuadrado, cuando en la realidad es rectangular o wide.
Resolución:
320x240 píxeles
Tamaño:
40.58 MBytes

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