In an increasingly globalized context, Italian labels have begun to bring their most deserving and productive performers abroad. Some of the names of those artists who in the 1990s were so well communicated abroad still survive today and even today they are able to bring big profits to the coffers of labels through their international work. The arrival of the crisis in the recording market, which came along with the birth of the World Wide Web, however, led to a sharp slowdown in the market: CDs, as well as vinyls, were no longer sold, and the most awaited titles were put free of charge to internet users (sometimes in advance of scheduled exit) which could conveniently download them via P2P platforms. The record industry - especially the major labels - has not been able to keep up with the times and has not been able to offer a better alternative in terms of quality and efficiency. Even the videoclips, which until the mid-90s had become the main vehicle to reach the ears of possible buyers, suffered a sharp decline. This explains also the abrupt turnaround by TV channels such as MTV, which from a totally music-centric programming has slowly changed its schedule, almost completely eliminating the musical element. Other actors, belonging to other types of industry, have stretched their hands in an attempt to save the record industry from certain death, with results that, in recent years, are hoping for a glorious rebirth. The attitude of some artists and some record companies, however, seems to be still too anchored to the old business models, and leads to look with contempt at the digital revolution as an enemy to fight and defeat. The idea that leads to the creation of this thesis, however, is that the new tools, beyond some limits and frictions with the current system of recognition of rights, should be exploited to the full rather than combated. New streaming platforms, digital stores, video sharing sites, blogs and webzines can - and must - be seen as possible allies rather than as enemies. Through the synergy of all the actors involved and a courageous transformation, with eyes focused on the future and beyond our territorial borders, piracy as a powerful threat will remain only a distant memory.
In un contesto sempre più globalizzato, le etichette italiane hanno iniziato a portare all’estero i propri interpreti più meritevoli e più produttivi. Alcuni nomi di quegli artisti che negli anni ’90 sono stati così bene comunicati all’estero sopravvivono ancora oggi e ancora oggi riescono a portare grossi profitti alle casse delle etichette attraverso il loro operato internazionale. L’arrivo della crisi del mercato discografico, giunta a pari passo con la nascita del World Wide Web, ha però portato ad una brusca frenata del mercato: i CD, così come i vinili, non venivano più venduti, e i titoli più attesi venivano messi gratuitamente a disposizione degli utenti di internet (a volte in anticipo rispetto all’uscita programmata) i quali potevano comodamente scaricarli attraverso le piattaforme P2P. L’industria discografica - soprattutto le etichette major - non ha saputo stare al passo con i tempi e non ha saputo offrire un’alternativa migliore in termini di qualità ed efficienza. Anche i videoclip, che fino alla metà degli anni ’90 erano diventati il principale veicolo per arrivare alle orecchie di possibili compratori, hanno subito una forte decrescita. Si spiega in questo modo anche la brusca inversione di rotta da parte di canali televisivi quali MTV, che da una programmazione totalmente incentrata sulla musica ha lentamente cambiato il proprio palinsesto, arrivando ad eliminare quasi totalmente l’elemento musicale. Altri attori, appartenenti ad altri tipi di industria, hanno steso la loro mano nel tentativo di salvare l’industria discografica da morte certa, con risultati che, in questi ultimi anni, stanno facendo sperare in una gloriosa rinascita. L’atteggiamento di alcuni artisti e di alcune case discografiche, però, sembra essere ancora troppo ancorato ai vecchi modelli di business, e porta a guardare con disprezzo alla rivoluzione digitale come un nemico da combattere e sconfiggere. L’idea che porta alla creazione di questo elaborato di tesi, però, è che i nuovi strumenti, al di là di alcuni limiti e frizioni con l’attuale sistema di riconoscimento dei diritti, debbano essere sfruttati a pieno, piuttosto che combattuti. Le nuove piattaforme streaming, gli store digitali, i siti di condivisione di video, i blog e le webzine possono - e devono - essere visti come possibili alleati, piuttosto che come nemici. Attraverso la sinergia di tutti gli attori in gioco e una coraggiosa trasformazione, con gli occhi puntati verso il futuro e al di là dei nostri confini territoriali, la pirateria come potente minaccia rimarrà solo un lontano ricordo.
Put your money on me. La rinascita dell'industria discografica nell'era digitale
MEGGIOLARO, DAMIANO
2016/2017
Abstract
In an increasingly globalized context, Italian labels have begun to bring their most deserving and productive performers abroad. Some of the names of those artists who in the 1990s were so well communicated abroad still survive today and even today they are able to bring big profits to the coffers of labels through their international work. The arrival of the crisis in the recording market, which came along with the birth of the World Wide Web, however, led to a sharp slowdown in the market: CDs, as well as vinyls, were no longer sold, and the most awaited titles were put free of charge to internet users (sometimes in advance of scheduled exit) which could conveniently download them via P2P platforms. The record industry - especially the major labels - has not been able to keep up with the times and has not been able to offer a better alternative in terms of quality and efficiency. Even the videoclips, which until the mid-90s had become the main vehicle to reach the ears of possible buyers, suffered a sharp decline. This explains also the abrupt turnaround by TV channels such as MTV, which from a totally music-centric programming has slowly changed its schedule, almost completely eliminating the musical element. Other actors, belonging to other types of industry, have stretched their hands in an attempt to save the record industry from certain death, with results that, in recent years, are hoping for a glorious rebirth. The attitude of some artists and some record companies, however, seems to be still too anchored to the old business models, and leads to look with contempt at the digital revolution as an enemy to fight and defeat. The idea that leads to the creation of this thesis, however, is that the new tools, beyond some limits and frictions with the current system of recognition of rights, should be exploited to the full rather than combated. New streaming platforms, digital stores, video sharing sites, blogs and webzines can - and must - be seen as possible allies rather than as enemies. Through the synergy of all the actors involved and a courageous transformation, with eyes focused on the future and beyond our territorial borders, piracy as a powerful threat will remain only a distant memory.| File | Dimensione | Formato | |
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https://hdl.handle.net/10589/140915