(Internet. 24 Jan. 2009.)

1. D. Translate the following text from Russian into English.

В 2008 году объем рекламы в интернет-изданиях догонит аналогичный показатель в традиционных СМИ.

Роль Интернет-СМИ будет расти все больше. К ним будут перетекать рекламные деньги от традиционных СМИ. При этом интернет-издания будут взаимодействовать и сливаться с телевизионными, радио- и «бумажными» СМИ. Такой вывод следует по итогам круглого стола «Интернет против традиционных СМИ», проведенного сегодня в РИА «Новости» с участием Российской ассоциации по связям с общественностью и деловой газеты «Взгляд».

Постоянных Интернет-пользователей в России меньше четверти, тогда как в Западной Европе, США, Австралии в Сети постоянно бывают почти все жители. У нас ситуация будет приближаться к западной, то есть и интернет-СМИ, и соответствующий рынок ждет большой рост.

Интернет-аудитория в России своеобразна. Средний читатель Интернет-СМИ молод, хорошо образован (больше половины пользователей обладают высшим образованием), живет в крупном городе. По данным опросов, не более трех из ста граждан в возрасте за 55-60 лет посещали хотя бы однажды Интернет за последние полгода. Зато молодежь – от школьников до начинающих менеджеров – проводит время в Сети регулярно.

Сам по себе Интернет лишь средство коммуникации, а не СМИ. Но его существование многое изменило, каждый сайт или блог фактически являются средством распространения информации. В России 37% руководителей и менеджеров среднего звена ведут Интернет-блоги, в них ежедневно публикуется 1,5 млн. сообщений. Люди редко знают имена соседей по лестничной клетке, но знакомятся и узнают много нового из форумов и блогов. Кстати, легкость, с которой можно учредить СМИ, не говоря уже об открытии аккаунта в блоге, порождает снижение качества материалов. Журналисты федеральных газет черпают отсюда материалы для публикаций, и иногда это приводит к курьезам – слишком много некорректной информации. Так, недавно в федеральных СМИ на полном серьезе прошла «утка» о смерти сына губернатора Матвиенко, запущенная в одном из блогов.

Редактор телеканала Russia Today Алексей Николов отмечает, что бурно растущее количество новых СМИ в Интернете, к сожалению, не всегда сопровождается качеством. Уровень журналистики падает, а из вновь зарегистрированных интернет-СМИ через год «живы» не больше трети.

Главный редактор деловой газеты «Взгляд» Алексей Гореславский подчеркнул, что сетевые источники превращаются в интернет-СМИ только после получения лицензии, и тогда на них распространяются те же законы, что регулируют деятельность обычных газет и телевидения. Распространение информации без лицензии, например, в блоге, никак не регламентируется, к публикациям таких «домашних СМИ» нужно относиться с осторожностью.

По словам директора Всероссийского центра изучения общественного мнения Валерия Федорова, уровень доверия к сетевой информации порой больше, чем к официальным источникам, например, органам госвласти, а также бумажным газетам и ТВ. Ниша Интернет-СМИ уникальна и специфична, ее высоко оценивают издатели традиционных СМИ, неслучайно большинство газет и журналов имеют сайты с Интернет-версиями.

Исполнительный директор Института развития прессы Ольга Карабанова подчеркивает, что противопоставлять Интернет традиционным СМИ некорректно, так как они взаимодополняют друг друга. Однако между ними идет экономическая конкуренция: бумажные газеты получают около 70% доходов от рекламы, но сейчас эти поступления замедляются, так как бурными темпами растет рекламная выручка интернет-изданий. Вопрос в естественных ограничениях, которые в Интернете не преодолеть. Например, продажи услуг в Сети эффективны, а продажи недвижимости невозможны. Впрочем, возможна реклама риелторских услуг.

Президент Российской ассоциации по связям с общественностью (РАСО) Владимир Мединский также указал на специфику Интернет-СМИ. Граждане США делают до 30% покупок, ознакомившись с отзывами о товарах в блогах. Компании отреагировали – начали распространять информацию о себе в блогах с помощью агентов, которые хвалят товары под видом частных потребителей. Интернет проник в повседневную жизнь очень глубоко. Это же касается россиян. Для информации в Интернете нет преград. Здесь простор не только для рекламщиков и коммерсантов, но и, к примеру, для политтехнологов. К тому же российское законодательство пока почти не регулирует отношения в Сети.

Будущее Интернет-СМИ в России одновременно радужно и непредсказуемо. Никто не знает точно, какую роль информация в Сети будет играть через несколько лет. Но по некоторым данным уже в 2008 году объем рекламы в интернет-изданиях догонит аналогичный показатель в традиционных СМИ.

7. Notes

2. 
   I. Multiple Choice
   
3. 
   
   
4. 
   Choose the alternative that best completes the statement or answers the question.
   

a. Edison b. Scott de Martinville c. Berliner d. Maxwell

2. Which of the following was NOT used to record sound?

a. lamp black b. tinfoil c. shellac d. none of the above

3. Which of the following is true of digital recording?

a. It was developed in the 1980s b. Information is stored in binary code c. Encoded information is read magnetically d. all of the above

4. The recording industry and radio competed with each other for business until ___.

a. the jukebox was invented b. the 1950s c. radio stations began airing music d. the 1930s

5. Which of the following formats was used for two-sided singles?

a. 33 1/3 rpm b. 45 rpm c. 78 rpm d. 60 rpm

6. Which of the following is NOT true about Tin Pan Alley?

a. The term refers to an area of Manhattan b. The term "tin pan" was used to describe the sound of the music produced in the area c. The first sales of records originated there d. Its tradition of songwriters continued through the 1950s

7. The practice of rerecording songs written and recorded by other artists is known as _____.

a. stealing b. covering c. leasing d. duping

8. Rock and roll is credited with blurring the lines between _____.

a. high and low culture b. the upper and lower classes c. East and West d. swing and blues

9. Which of the following applies to cover music in the 1950s?

a. Songwriters were fairly compensated for their work b. Black artists frequently covered white artists' music c. White artists often had greater success with cover songs than the original black songwriters d. none of the above

10. Payola refers to the practice of ____.

a. paying radio programmers to play only certain songs b. charging radio stations for playing a certain song c. collecting fees for covered songs d. none of the above

11. The British Invasion changed the recording industry in the following way:

a. by proving that artists could write their own music b. by introducing a harder edge to rock music c. by demonstrating that American music forms could be marketed globally d. all of the above

12. The most successful group signed to the Motown label in the 1960s was _____.

a. the Supremes b. the Beatles c. Smokey Robinson and the Miracles d. the Four Tops

13. _____ music often has a conversational style that makes it a forum in which performers can debate such issues as gender, class, and drugs.

a. Grunge b. Hip-hop c. Electronica d. Glam rock

14. In a rebellion against the commercialized music world, the loud, unpolished ____ genre emerged in the late 1970s.

a. glam rock b. grunge c. punk rock d. electronica

15. Electronica, or techno music, has many subgenres including _____.

a. trance b. house c. jungle d. all of the above

16. Which of the following is NOT one of the five major record labels?

a. Sony b. Warner c. Polygram d. Universal

17. Indies, or independent record labels, control a total of only _____ percent of the recording industry.

a. 5 b. 17 c. 25 d. 35

18. The producer's duties include ____.

a. arranging the recording equipment b. booking the studio space c. mixing the master tape d. choosing the recording devices

19. The fee collected for the use of an artist's work on a television commercial is called a _____.

a. performance royalty b. copyright fee c. mechanical royalty d. none of the above

20. Unauthorized downloading of copyrighted songs is considered _____.

a. online piracy b. file sharing c. bootlegging d. legal

21.___ first captured sound using a hair and a coated cylinder.

a. Edison b. Scott de Martinville c. Freed d. Berliner

22. Which of the following is true regarding the development of records?

a. They were the first sound medium to be mass produced

23. ASCAP, which was founded to collect copyright fees for publishers and writers, stands for ____.

a. The Association of Science, Communication, Audio, and Publishing b. The American Society of Composers, Authors, and Publishers c. The Audio Society of Composers, Artists, and Producers d. The American Society for Communication and Audio Production

24. In the 1950s, two types of ___ systems entered the marketplace.

a. recording b. digital c. hi-fi d. console

25. In the 1950s, television programs _____.

a. borrowed heavily from radio formats b. stole listeners away from the radio c. caused the recording industry and radio to join forces d. all of the above

26. The improvisational music that developed in New Orleans is known as ___.

a. big band b. folk c. rock and roll d. jazz

27. Which of the following did NOT factor in the early growth of rock and roll?

a. It provided radio with inexpensive content b. It offered youths an escape from real world concerns c. It offered women a chance to perform d. Racial barriers were beginning to break down

28. Which boundaries were NOT tested by the growth of rock and roll?

a. masculine and feminine b. black and white c. the sacred and secular d. rich and poor

29. The song that finally placed higher on the charts than its cover was _____.

a. "Tutti Frutti" b. "Great Balls of Fire" c. "I Can't Stop Loving You" d. "Long Tall Sally"

30. In the late 1950s and early 1960s, rock and roll _____.

a. lost some of its rebellious edge b. became gradually more commercialized c. had its image cleaned up by the record companies d. all of the above

31. The music that took aspects of gospel, older R&B, and rock and added smooth vocal lines is known as _____.

a. blues b. soul c. jazz d. reggae

32. Music passed down through a culture and performed by largely untrained musicians is known as _____.

a. bluegrass b. funk c. folk d. traditional

33. Which of the following did NOT characterize rock music in the 1960s?

a. It focused on experimenting with drugs b. It protested social problems and the Vietnam War c. It moved from acoustic roots to a folk-rock style d. It featured lucrative advertising deals for artists

34. The larger label that encompasses such genres as punk and metal is called ____.

a. modern rock b. contemporary c. alternative rock d. album-oriented rock

35. In many ways, _____ can be seen as the black counterpart to the spirit of punk.

a. soul b. folk c. blues d. hip-hop

36. Which of the following is one of the five major record labels?

a. Reprise b. EMI c. Arista d. Columbia

37. A&R (artist and repertoire) agents act as _______.

a. talent scouts b. managers c. liaisons between songwriters and performers d. all of the above

38. During the recording process, the _____ handles the technical aspects, such as equipment issues.

a. engineer b. producer c. mixer d. manager

39. An unauthorized recording of a live performance is known as a _____.

a. pirated copy b. counterfeit c. underground copy d. bootleg

5. 
   40. The voluntary labeling of music with explicit content began in _____.
   

6. a. 1982 b. 1985 c. 1990 d. 1991

   
   
7. 
   
   
8. 
   (http://bcs.bedfordstmartins.com/mediaculture/pages/bcs-main.asp? v = chapter&s=14000&n=00030&i=14030.02&o=|00020| 00030 |&ns=0)
   
9. 
   
   
10. 
    II. Summary
    
11. 
    
    
12. 
    Summary 1 Read the summary of the section of Chapter 3 titled "Technology and the development of sound recording
    from wax cylinders to flat disks: Sound recording becomes a mass medium" and answer the multiple choice questions that follow.
    

13. 
    Technology and the development of sound recording
    From wax cylinders to flat disks: Sound recording becomes a mass medium
    
14. 
    The beginning of recording technology can be traced back to the 1850s and to Leon Scott de Martinville. He discovered that he could record sound by using a funnel, a hog bristle, and lamp black. Recorded sound could not be played back, however, until 1877, when Thomas Edison recorded voice on tinfoil wrapped around a cylinder with a needle, and played it back by placing the needle to retrace the groove. This first sound recording device was called a phonograph. With this innovation, sound recording entered its relatively short entrepreneurial stage. The possibilities and uses of sound recording technology were explored, and novelty items like Edison's telephone repeater were invented. In the 1880s, Emile Berliner used a flat five-inch shellac disc, the first record, to record and play back sound. Berliner created the first turntable, called a gramophone. Berliner also developed a system for mass-producing round records, and sound recording entered the mass medium stage. As records became more popular, new formats appeared to replace the original 78-revolutions-per-minute discs. By the mid-1950s, there were two common formats: the 33 1/3 rpm record for long-playing albums and the 45 rpm record for singles (used in jukeboxes). The development of the Victrola, polyvinyl records, and electric players furthered the medium's mass appeal throughout the first half of the twentieth century.
    
15. 
    
    From audiotape to CDs, DVDs, and MP3s: Analog goes digital
    As technology progressed, new methods of recording were developed. German engineers in the 1940s developed magnetized plastic tape called audiotape that led to sound editing, multiple-track mixing, and "home dubbing," or copying records or radio programs. Exploration of magnetic tape eventually led to the audiocassette tapes that became common by the 1970s. Sales of prerecorded cassettes never exceeded record sales, however. That feat was accomplished by the compact disc, a digital medium that allows for superior sound quality. CDs make use of digital recording technology that was developed as early as the 1970s. Stereo, which permitted the recording of separate channels, or tracks, made monophonic (one-track) records obsolete and allowed a more natural playback through two speakers. Digital recording, developed in the 1980s and used on compact discs (CDs), is played back by a laser translating the binary code, and offered a replacement for analog recording, which captured fluctuations of the original sound waves. After being on the market for only four years, CDs in 1987 were selling at a rate double that of records. The advent of recordable CDs (CD-Rs) has helped CD remain the dominant format. MP3s were initially used as part of a video compression standard, and have become increasingly popular. They offer sound quality close to that of CDs and allow music files to be compressed into smaller, more manageable files that can be sent or received easily.
    
16. 
    
    Records and radio: First hate, then love, then marriage
    
17. 
    In the early 1920s, the recording industry was faced with a major threat ‒ radio. Many stations used in-house orchestras to avoid paying royalties for copyrighted music. The American Society of Composers, Authors and Publishers (ASCAP) challenged radio, and collected set fees for music rights. The radio and recording industries would compete throughout the 1930s and 1940s, eventually reaching a partnership when another medium, television, made its appearance in the 1950s. In an effort to battle radio, the recording industry improved sound reproduction by developing two types of high fidelity (hi-fi) systems: console and component systems.
    
18. 
    
    
19. 
    1. The recording device crated by Thomas Edison in 1877 was called the __.
    
20. 
    
    
21. 
    a. telegraph b. gramophone c. phonograph d. Victrola

    2. The development of records by Emile Berliner signaled the beginning of the _____ stage of sound recording.

    
    

22. 
    a. mass medium b. entrepreneurial c. inventive d. novelty

    3. Which of the following was not a commonly used record format?

    
    
23. 
    a. 66 rpm b. 78 rpm c. 33 1/3 rpm d. 45 rpm

    4. Which of the following is true regarding MP3 files?

    
    

24. 
    a. They download less quickly than other audio formats b. Their sound quality usually rivals that of a CD c. They were originally developed as a part of a video compression standard d. All downloads of MP3s are considered a violation of copyright laws
    

25. 
    5. Hi-fi, or high fidelity systems, came in two varieties, console and ______.
    a. cassette b. encased c. stereo d. component
    
26. 
    
    
27. 
    Summary 2 Read the summary of the section of Chapter 3 titled "U.S. popular music and the formation of rock. The rise of pop music" and answer the multiple choice questions that follow.
    

28. 
    U.S. popular music and the formation of rock
    
29. 
    The rise of pop music
    
30. 
    Over the years, pop music has encompassed a wide variety of musical styles, with the common thread being the mass appeal, or popularity, of the music itself. In the late 1800s, the sheet music that was being produced by songwriting teams in Tin Pan Alley quickly gained popularity. The term referred to an area in Manhattan, as well as to the supposedly harsh sound of the songs written there. Once sheet music was successfully mass-produced, it provided the recording industry with a new and sizable income and helped move the industry from the novelty stage to business enterprise. The advent of sheet music also coincided with the growth of the improvisational style of jazz in New Orleans. With the coming of radio in the 1920s, music celebrities began to emerge. In the 1930s, vocal stars, usually coming from a vaudeville background, became widely recognizable. Jazz and swing bandleaders became household names. Radio exposure helped create an awareness and a desire for music recorded by its stars. Vocal music, by stars like Bing Crosby and Frank Sinatra, dominated the late 1930s and 1940s.
    
31. 
    
    
32. 
    Rock and roll is here to stay
    
33. 
    In the 1950s a new style of pop music emerged. Called rock and roll ‒ a blues slang term popularized by DJ Alan Freed ‒ it would have nearly as many effects on the music industry and society as it had sources. Developing as a combination of vocal, instrumental, rhythm and blues, and country sounds, rock and roll would revolutionize both the radio and the recording industries. The growth of rock and roll as a genre was assisted by several societal factors. In the 1950s, television was swiftly stealing popular shows from radio, and in response, radio began to replace dramas and comedies with music formats. In addition, rock and roll provided adolescents with a much-sought-after escape from an increasingly menacing world in the face of the Cold War. Finally, as racial barriers began to break down with President Truman integrating the armed forces during the Korean War in the early 1950s and the Brown v. Board of Education Supreme Court decision in 1954, rock and roll became integrationist music that provided an important reflection of the cultural climate.
    
    Records and radio: First hate, then love, then marriage
    
34. 
    Rock and roll did much to test the boundaries that society had established. It blurred the distinctions between high and low culture (with acts like Chuck Berry, Elvis Presley, and Bo Diddley), masculine and feminine roles (with Little Richard's flamboyant persona), black and white culture (breaching geographic boundaries by incorporating black urban rhythms and white country and western music), North and South (by bringing southern "lower-class" music to northern middle-class teens), and the sacred and secular (by incorporating gospel and biblical elements into music and lyrics).
    
35. 
    
    Battles in rock and roll
    
36. 
    The blurring of racial lines caused several struggles within the music industry. Black artists frequently found their songs being covered, or performed by white artists, who found more airplay and success with the songs. Only a few deejays such as Alan Freed played the original recordings, and black songwriters and artists sought ways to even out the playing field. Pat Boone was a major cover artist, scoring thirty-eight Top 40 songs between 1955 and 1962. A breakthrough came in 1956, when Little Richard's recording of "Long Tall Sally," a song with lyrics and delivery that couldn't be adequately reproduced by Boone, placed higher on the charts than its cover. By the early 1960s, black artists were finding more success, though racism still lingered in the music business through the 1960s. Determined to make the best use possible of radio, the recording industry sought out ways to promote its artists. A common method, dubbed payola, involved deejays being paid to play certain songs rather than others. By the late fifties, the practice had become so prevalent that it was investigated by Congress. In December 1959, prominent deejays such as Alan Freed and Dick Clark testified about payola, and Congress amended the Federal Communications Act to provide for fines and jail time for the practice. By this time, popular music was heading toward a tamer and therefore safer period. The recording industry protected its interests by putting forth wholesome, clean-cut artists like Frankie Avalon and Ricky Nelson.
    
37. 
    
    
38. 
    1. Pop music refers to music that is _____.
    

39. 
    a. popular b. appealing to a narrow audience c. not written by the performer d. none of the above
    

40. 2. The first vocal stars of popular music began making their appearance in the early _____.

    
    
41. 
    
    
42. 
    a. 1900s b. 1920s c. 1930s d. 1940s
    

43. 
    3. A song performed by an artist other than the original performer is a(n) _____ song.
    

44. 
    a. R&B b. copy c. cover d. pop
    

45. 
    4. The deejay credited with popularizing the term "rock and roll" is _____.
    

46. 
    a. Dick Clark b. Rick Dees c. Alan Freed d. Jay Haley

    5. The practice of promoters illegally paying radio programmers to play their songs is called _____.

    
    

47. 
    a. cash out b. payola c. pay and play d. packaging
    
48. 
    
    
49. 
    Summary 3 Read the summaries of the sections of Chapter 3 titled "A changing industry: Reformations in popular music" and "The British are coming!" and answer the multiple choice questions that follow.
    

50. 
    A changing industry: Reformations in popular music
    
51. 
    The British are coming!
    
52. 
    Until 1964, American artists dominated music charts in the United States, leaving little room for international artists. This all changed almost overnight in 1964 with the arrival of the Beatles and their appearance on Ed Sullivan's TV variety show. The harder-edged Rolling Stones also appeared on Ed Sullivan. The subsequent success of several British bands showed that not only could rock groups write their own songs, but many American music forms could be repackaged and sold around the world.
    
    Motor City music: Detroit gives America soul
    
53. 
    Soul music is a genre that adds smooth vocal lines to a combination of several older forms of music: gospel, blues, R&B and rock. Berry Gordy founded the first major soul label, Motown, in 1960. Motown groups rivaled the pop success of British groups throughout the 1960s, and the label was home to such stars as Smokey Robinson and the Miracles, the Temptations, and the Jackson 5, as well as the label's most successful group, the Supremes featuring Diana Ross.
    
    Popular music reflects the time
    
54. 
    Folk music is generally defined as music that is passed down orally and played mainly by untrained musicians. In the 1960s, folk also had a political edge. The advent of the electric guitar in the 1930s was very influential for blues artists, giving southern blues an urban style. Woody Guthrie was an important 1930s folksinger who wrote his own songs and brought music from the country to the city. Prompted in large part by Bob Dylan, folk music would eventually move away from its acoustic roots toward the electric sounds of folk-rock in the 1960s. Though drug use had been a part of the music industry since its early days, the increasingly accepting culture of the late 1960s and early 1970s brought it into the public eye. Examples include the much-publicized drug busts of the Beatles and the Rolling Stones in the late 1960s and early 1970s. The music of this period often focused on experimenting with drugs and often targeted a large college student population. The rock-drug connection was also seen as a form of social protest related to social problems and the Vietnam War. Occasional drug busts and overdoses caused an entire generation of parents to worry about the effects of music on their children. Since its beginning, rock music had been seen as rebellious, but by the time of the Woodstock concert in 1969, it had become a major commercial force. Rock bands became heavily marketed pop phenomena, and elements of rock began to appear in such unlikely places as church services, further blurring the line between the sacred and the secular.
    
55. 
    
    
56. 
    Alternative sounds of punk and grunge
    
57. 
    As a reaction to the commercialization of rock in the mid-seventies, new alternative types of music began to appear. Punk rock bands, such as the Ramones, the Dead Kennedys, and the Sex Pistols, attempted to bring back the rebellion and anarchy of the early days of rock with a loud and unpolished sound. While punk music has never been a commercial powerhouse, the genre has lasted, and has given birth to other music movements, like the grunge bands of the early 1990s. Nirvana was a breakthrough band of the grunge movement. Punk and grunge are often considered forms of alternative rock, a loose category that includes music not necessarily in the mainstream.
    
58. 
    Hip-hop redraws musical lines
    
59. 
    Another type of music that emerged as a rebellion against the more commercial genres was hip-hop. Beginning in the late 1970s in New York, hip-hop music was characterized by words spoken or "rapped" over records sampled or looped on turntables. With songs like the Sugarhill Gang's "Rapper's Delight," rap music took only a few years to become a major music category. By 1984, the success of groups like Run DMC had spawned several independent music labels specializing in rap. Over the past few years, rap has had more than its share of controversy. Performers have often used rap to debate such issues as gender, class, and drugs. Censorship, violence in music, and sampling rights continue to be key issues to rap artists and listeners alike.
    
60. 
    
    
61. 
    Electronica reinvents popular music
    
62. 
    By the late 1990s, the influence of rock music was languishing, and new forms of pop music were emerging. One of the most noticeable trends has been in the large genre labeled techno or electronica. Beginning in Europe in the early 1980s and with Detroit house music in the 1990s, electronica has spread via nightclubs and late-night raves. It has spawned countless subgenres such as drum 'n' bass, jungle, trip-hop, and trance. Being primarily an instrumental music, techno began appearing as background music in film and television, raising awareness and helping to popularize the genre in the United States.

    1. What year clearly marked the beginning of the British music invasion?

    
    

63. a. 1964 b. 1961 c. 1969 d. 1970

    
    
64. 
    
    
65. 
    2. _____ is the independent label that signed and encouraged new soul and black pop acts.
    

66. 
    a. Interscope b. Miracle c. Motown d. Reprise
    
67. 
    
    
68. 
    3. The larger label that encompasses such genres as punk and metal is called _____.
    
69. 
    
    
70. 
    a. modern rock b. contemporary c. alternative rock d. album-oriented rock
    

71. 
    4. The punk movement paved the way for future musicians, particularly evident in the more melodic _____ genre.
    
72. 
    
    
73. 
    a. glam rock b. goth c. grunge d. heavy metal
    

74. 5. Hip-hop music can be characterized by _____.

    
    

75. a. looped samples of other music works b. noncontroversial lyrics c. a distinct lack of female recording artists d. none of the above

    
    
76. 
    
    
77. 
    Summary 4 Read the summary of the section of Chapter 3 titled "The business of sound recording" and answer the multiple choice questions that follow.
    

Начало формы

The music industry is an enormous business, having a global value of about $40 billion in 2002. The industry has become an oligopoly, controlled by only a few major companies.

Independent labels have long struggled to bring a unique voice to the music industry, but they produce only 17 percent of American music. Major labels often rely on "indies" to discover and initiate music trends at the local level. Once an indie label proves successful, it is often swallowed up by one of the five major labels.

The music business is divided into several categories: artist development, technical facilities, sales and distribution, advertising and promotion, and administrative operations. The industry is typically driven by A&R (artist and repertoire) agents, who alternately act as agents, talent scouts, managers, and liaisons between recording artists and composers. The technical group is made up of audio technicians, engineers, and producers. Producers usually handle the nontechnical aspects of the recording, such as booking the studio space. Engineers handle the technical aspects, such as the placement of equipment. More specifically, there are mixing and mastering engineers who handle the more specific aspects of recording an album. The marketing division decides on packaging, advertising, and promotion.

Though CDs now cost an average of $16.98, only a fraction of that amount goes to the artist and the actual manufacturing of the CD itself. The wholesale price is about $10.70. The majority of the profits on a CD go to the record company (about $5.50). Recording and promotion costs usually must be paid back by the artist, so additional promotional activities such as touring must usually be done in order for the artist to make a profit on an album. Groups such as TLC and singers like Toni Braxton may sell many records but still owe their record companies large amounts of money.

Royalties are another source of income for artists. There are two kinds of royalties: mechanical and performance. Mechanical royalties are paid on record sales of a particular piece of music at 7.55 cents per song or 75 cents per album sold. Performance royalties are paid each time a song is used ‒ for example, in a television commercial. ASCAP and BMI are the two major organizations that keep track of recording rights.
Pirates, counterfeits and bootlegs

Almost as long as there has been recorded music, there have been those who copy and distribute it illegally. In the wake of the collapse of communist governments in Eastern Europe in the late 1980s, there was a boom in the illegal music market. There are four forms of illicit copying. The first, counterfeit recordings, duplicate the audio content and packaging. The second, pirated copies, just duplicate the audio. Bootlegging is the illegal recording and distribution of performances. Finally, online piracy-the illegal uploading, downloading, or streaming of copyrighted material-has become a major source of pirated music. File-sharing software like KaZaA and Morpheus are responsible for a 20 percent drop in CD sales since 2001.

A few artists concerned with maintaining creative control have forged alternate paths in the music industry. Artists such as Fugazi, Loreena McKennitt, and Ani DiFranco have started their own labels. Some performers also use the Internet to distribute their music.Конецформы

78. 
    
    
79. 
    Recordings, free expression, and democracy
    
80. 
    Much like other art and media forms, music has always been subject to scrutiny and censorship. In the music industry, this came to a head in the 1980s with the forming of the Parents Music Resource Center (PMRC), a series of Senate hearings, and the development of the record industry's voluntary parental advisory labeling system by 1985. The controversies run to the heart of democratic expression. Since pop music tends to move in cycles, we can expect to see different forms of music come and go along with waves of controversy, trading off popularity as the audience and society dictate.

    1. Which of the following is NOT true about the current music industry?

    
    

81. 
    a. It is an oligopoly, controlled by only five major companies b. Major labels rely on independent labels to discover new trends c. It is a $40 billion global market d. The United States accounts for nearly 60 percent of the world's music sales
    

82. 
    2. Which of the following is the largest of the five major record labels?
    

83. 
    a. Universal b. Sony c. EMI d. Warner Music
    

84. 
    3. The majority of music recordings are sold at ________.
    

85. 
    a. online stores b. general retail outlets c. direct retail stores d. outlets

    4. The highest percentage of profit made on any given CD goes to _____.

    
    

86. 
    a. the artist b. the store c. the manufacturer d. the record company

    5. The practice of unauthorized duplication of a recording and its packaging is dubbed _____.

    
    

87. 
    a. piracy b. counterfeiting c. replication d. bootlegging
    
88. 
    
    
89. 
    (http://bcs.bedfordstmartins.com/mediaculture/pages/bcs-main.asp ?v = chapter&s=14000&n=00030&i=14030.02&o=|00020 |000 3 0| &ns=0)
    
90. 
    
    
91. 
    III. Text reviewing
    
92. 
    
    
93. 
    Review the sections "Technology and the development of sound recording", "Surveying the cultural landscape U.S. popular music and the formation of rock", "A changing industry: reformations in popular music", "The business of sound recording" in your textbook. When you are ready, write a brief paragraph-length response to each of the questions that follow.
    

1. Briefly outline the three stages of development of the sound recording industry.

2. Focusing on the period between 1920 and 1950, give an overview of the changing pop music scene.

3. Explain the progression of folk-rock through the 1960s and 1970s.

4. What companies control the majority of worldwide music production?
(http://bcs.bedfordstmartins.com/mediaculture/pages/bcs-main.asp ?v = chapter&s=14000&n=00030&i=14030.02&o=|00020|0003 0|&ns=0)
IV. Focus Questions (1)
1. What kind of image does Little Richard project in this photo?
2. Does this photo lead you to assume certain things about the style of his music?

Questions
1. In what ways did Little Richard blur society's boundaries?

2.How did Little Richard finally break the trend of white artists covering black artists' songs?

3. How has image been connected to rock music, even from the early days?
Focus Questions (2)

1. Who makes the greatest profit margin on a compact disc?

1. How does this figure explain the fact that more and more artists are starting their own labels?

2. How might this figure explain why record labels often heavily back just a few superstars?

3. When a CD is discounted, which group loses profit?

a) the record company b) the artist c) the retailer d) promotion and advertising

1. 
   
   Directory: upload -> iblock
   upload -> City of rising star regular meting thursday, july 14, 2016
   upload -> Township of winfield
   iblock -> MC/dc coverage measurement of c programs
   iblock -> Спецификация к
   iblock -> Residence: (902) 555-1234
   iblock -> АҒылшын тілі нұсқау
   iblock -> Vorobyov Oleksandr Sergeevich
   iblock -> Application form
   iblock -> Guzenko Oleksandr
   
   
   
   Download 3.34 Mb.
   
   Share with your friends: