Freedom & Challenges of Music Distribution in the 21st Century

A little bit about us…

Founded in 1959, the CANADIAN MUSIC CENTRE is Canada’s only organization mandated to house and actively promote and disseminate the music of Canada’s classical music composers within Canada and internationally.

As a primary resource for scores, parts, recordings and information about Canadian composition, the CMC is an essential body in the cultural landscape.

Business Functions

• Archival Collections all works (approx. 500-600 yr.) upon arrival are digitized along with sound/score samples

• Library Services above works are catalogued, made accessible to public via online database for loan

• Music Publishing Services prints unpublished scores for sales and parts for orchestral rentals to customers around world

• Communications and Product developmentCMC e-newsletter,press releases, marketplace outreach

• Recording and Distributions - Centrediscs label, and Indie Distributor

10 Years Ago

The world of music distribution and access to music was limited.

Since then – the freedom

The world opened up for all music listeners and they are no longer dependent on the 3 traditional

distribution channels.

Today - the challenge

Changes in listener behavior have lead to increased on-demand content.

This is changing our models of music distribution.

January 2007 - Sony BMG Masterworks announced that legendary recording artist Yo-Yo Ma is the first in the label's history to have an album sell more digital copies than CDs in its first week.

Online Distribution Channels

Podcasts Streaming Audio Track Downloads Online Video

Subscription Satellite Radio Social Networking Online Concert Halls

Who will do the job?

3) How can ensembles, orchestras, performers, presenters adapt (and benefit) from the new distribution tools?

5) How can they syndicate their concerts beyond their own websites?

7) How can one market this content online?

9) Is there a way to further develop this paradigm to suit the specific needs of the New Music Community?

Where is the Canadian Music Centre in this new paradigm?

The CMC has developed a technical infrastructure in order to adapt to new methods of music distribution.

Podcast – Sounds New

Streaming AudioAnn Southam Audio Archive

Web Radio

Track Downloads - IODA

e-retail

Web Projects

Online Score Sales

Tactical Overload…

Podcasting vs. Streaming

Podcasting

• Coined in 2004• Combines “iPod” and “Broadcasting”• Method of distributing audio or video segments over

the Internet using RSS (Syndication feeds) using software (like iTunes)

• Automatic mechanism / Subscription based• Files downloaded to user’s hard drive• Copied, edited, redistributed at will• Uses a larger portion of bandwidth for a short amount

of time

Streaming Media

• File is streamed from a media server to user• User must initiate stream from a webpage• User can pause or stop the stream• User cannot save, copy or edit or redistribute

– More secure for protecting media files

• Most common requirement is Flash Player– Approx. 98% penetration in mature markets

• Uses a fixed amount of bandwidth for a longer period. Can be tailored to the users’ speed.

How can we help?• Take advantage of our existing technology infrastructure• Use our existing website and marketing tools as a vehicle

STREAMING AUDIO• Offer streamed

audio/video of your concerts as a whole or as individual tracks

• Offer direct links to purchase your tracks/concerts/CDs on our e-commerce site

PODCASTING• Offer Podcasts of your

concerts as a whole on our www.musiccentre.ca

• Add-on a professional MC to educate the listener

• Help get your Podcast published in iTunes, other directories

Isn’t this all great? Now what?

Why is radio still so important to us?

Comprehensive Distribution Strategy

Making the music available is simply the first step

1) Distribution2) Appreciation3) Conversion

We have not yet developed and integrated a comprehensive distribution model for music

that encompasses the three necessary steps

Where do we go from here?

Is the old way of broadcasting really dead?

What are the implications of moving to webradio & streaming access – where there is often a

lack of proper contextualization?

Is it possible to develop a new economic model?