THE MUSIC PATRONS' NETWORK - Classical musicians can save classical
music by using technology to grow their own audiences. This solution is
fatefully rooted in the reasons why "purveyors of live classical music
are struggling."
I. PROBLEM
The majority of the music industry, including record labels and music
publishers, have been controlled by an oligopoly of multinational media
corporations. Their operations are vertically integrated, and focused
strategically on the control of rights, venues, and promotional
resources.
In the late twentieth century, since the number of promotional channels
was limited by the constraints of contemporary media (radio, and TV
before cable), music industry profits were maximized through the
promotion of a few superstar performers. Resources were appropriated
accordingly; and classical music, with its higher costs in talent,
development, and authorship, was starved as a result.
In particular, the industry's administration of rights as enforced in
the courts has translated into effective control over the creation and
distribution of content. Much of the industry's revenue depends upon
the enforcement of rights, which in recent years has been undermined by
Internet file-sharing, largely through peer-to-peer (P2P) networks.
However, what is bad news for the media conglomerates is good news for
classical music.
In United States courts, brokered P2P networks have been charged
responsible for enforcing copyright laws, while decentralized P2P
networks have not. File-sharing has since moved to decentralized
networks, but an opportunity for classical music remains in brokered P2P
systems. Because of the intrinsic, time-tested value of classical
music, it does not depend upon expensive, multimedia saturation
campaigns in order to find listeners. Classical music therefore can
benefit from a system that allows music lovers to find what they want
and support it by direct transactions with classical artists.
II. RECOMMENDATIONS
A. Design and deploy a brokered P2P network for distribution of
original sheet music, both new and in the public domain, and for instant
payment of royalties for music not yet in the public domain.
B. Rather than use live performances to promote CDs, freely
distribute digital audio files to promote performances. Using the
network to promote sheet music sales as well will reconnect artists
directly to emerging composers (as composers benefit from having their
music performed), creating opportunities for collaboration and
profit-sharing not available under record company contracts. Profits
will be realized by making music, not by selling recordings.
C. In tandem with the brokered file-sharing network, deploy a
structured environment for the creation of self-governing groups built
around enthusiasts, composers, and performers of classical music both as
individuals and as ensembles. These relationships could contribute to
the development of on-demand performance ensembles based upon input from
group members.
D. Target optional subscription to artists rather than the
file-sharing service. The record companies have tried to adapt by
offering subscription services for downloading popular music, but their
subscribers still function as consumers of content. What is recommended
here is a network of patrons, each connected directly to their favorite
artists for free tickets or discounts, solicitation of appearances, and
other opportunities.
