Will the cloud bring the heavy rain of revenue or will it cover the sun for a longer period of time? There are a lot of myths and assumptions in the industry, but one thing is certain: it´s not a 'black or white' issue; it's both a technology on one side and part of business ideas on the other, and every cloud is a kind of fog for which you need a kind of navigation system to lead you through. That´s why the panel would like to offer some facts about „Living inside and outside the cloud.“ We expect many pros and cons to be considered as the involved parties are looking at this technology and the opportunities it offers from different angles and with different perspectives. And, of course, we are looking for some interesting questions and contributions from you ...
This session is hosted by AUPEO! Personal Radio.
Theme track BUSINESS MODELS is presented by MUSIKWOCHE.
Mehr Informationen zu unserem Wettbewerb für Bands & Solo Artists erfahrt Ihr hier: #a2n_werkstatt.
More details on our contest you will find here: #a2n_werkstatt.
This contest is supported by FRITZ RADIO, TRACKS & FIELDS, and AUDIOMAGNET.COM.
Mehr Informationen zu unserem Wettbewerb für Bands & Solo Artists erfahrt Ihr hier: #a2n_werkstatt.
More details on our contest you will find here: #a2n_werkstatt.
This Contest is supported by FRITZ RADIO, TRACKS & FIELDS, and AUDIOMAGNET.COM.
Nach der Berliner Schulreform gibt es im Sommer statt der bisherigen Haupt- und Realschule eine neue Schulform, die sog. Sekundarschulen. Dort sollen nachmittags verstärkt AGs und Projekte stattfinden, auch im musikalischen Bereich.
Der Referent wird sein Projekt SONGS FROM THE WORLD vorstellen, das schulübergreifend an einer neuen Sekundarschule und einer benachbarten Grundschule in Prenzlauer Berg im kommenden Schuljahr 2010/2011 durchgeführt wird.
Es werden auch verschiedende andere Betätigungsfelder von Musikern in öffentlichen und privaten Bildungseinrichtungen beschrieben und Verdienstmöglichkeiten diskutiert. Da die öffentlichen Mittel immer knapper werden, geht es dabei auch um Fundraising und die Frage, wie man die Wirtschaft durch Sponsoring für die musikalsiche Bildung einbinden kann.
Interessierte Musiker sind ebenso herzlich eingeladen wie Leute, die schon Erfahrung im Bildungsbereich haben. Das Treffen soll auch als Kontaktbörse dienen, um möglichweise gemeinsame zukünftige Projekte zu initiieren.
Theme track BUSINESS MODELS is presented by MUSIKWOCHE.
In cooperation with EXBERLINER.
Theme track POLITICS & CULTURE is presented by ZEIT ONLINE.
In einem Essay in der Wochenzeitung DIE ZEIT forderte Marius Müller-Westernhagen eine Unterhaltungskultur mit Haltung. Künstlerische Glaubwürdigkeit werde von einem immer stärkeren Quotendruck untergraben. Dabei liege in Zeiten des Internets gerade in der ehrlichen Haltung die Wirtschaftlichkeit der Zukunft.
Davon ausgehend stellt sich die Frage, unter welchen Bedingungen Musiker, die eine Aussage wagen, in Deutschland erfolgreich sein können. Welche Mechanismen innerhalb der Branche erleichtern oder erschweren den Aufbau nachhaltig wertvoller Künstler? Woher kommen die Stimmen, die zu hören sich lohnt, und wie können sie verstärkt werden?
Theme track POLITICS & CULTURE is presented by ZEIT ONLINE.
Veranstalter und Veranstaltungsorte sind zentrale Akteure im
Musikgeschäft, zumal bei zunehmender Bedeutung des Live Geschäfts, sowie
eine Stadt und Szenen prägende Kultureinrichtungen. Gleichzeitig sind
sie oftmals von ihrer Rolle her das letzte Glied in der Kette, und den
Bedingungen von Agenturen einerseits und Stadtverwaltung andererseits
untergeordnet. Wie kann man die Rolle der Veranstalter besser gestalten?
Welche Verbesserung von Rahmenbedingungen und Kooperationen sind nötig?
Theme track ROLES & IDENTITIES is presented by "MUSIKMARKT".
Die Macher der legendären Kaffee Burger Show "Ein Hit ist ein Hit" sezieren die Popgeschichte von 1950 bis heute. Texte, Filme, Auftritte internationaler Topstars und nationaler Sternchen geben dem Publikum eine tiefen Einblick in die verzweigten Beziehungen zwischen Musikern, Industrie und Presse. Die Pop-Autoren Lothar Berndorff und Tobias Friedrich, begleitet von Host Adrian Kennedy, Statisker Olaf Schumacher und ihrem musikalischen Leiter Nikko Weidemann, tragen das a2n-Publikum heute abend im Rahmen einer Minishow bis in die Untiefen der Musikhistorie.
"unterhaltsam und informativ" (triggerfish)
"Zur Stärkung des historischen Gedächtnisses" (taz)
"Verlottert!" (bz)
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The cult music show from Berlin's legendary Kaffee Burger dissects the history of popular music from 1950 to the present day. The multimedia-appearance featuring show-stopping performances from top recording artists provides unique insights into the genesis of hit songs and the ever-shifting relationship between the pop industry and the creative artist. Pop authors Lothar Berndorff and Tobias Friedrich, teamed with host Adrian Kennedy, statistician Olaf Shoemaker and musical director Nikko Weidemann, can take you to the crossroads but are you ready to make the deal? A special edition in English.
"Pulsating with the rhythms of the music the team feel passionate about
these events are wildly unpredictable and reliably entertaining"
(Hit-Magazine)
Johnny Klimek and Reinhold Heil, two thirds of renowned film composing project "Pale 3" (film director Tom Tykwer being the third one) will show you how film composing is done - by decomposing structures and by contrasting different scenes.
This experience will be a hands-on one, when scenes from "One Hour Photo", "Run Lola Run" and "The Parfume" are shown and commented on by the composers themselves.
Get an intense insight in the working process of scoring.
This session is hosted by TAPE.TV.
This session is not focused on the issue of Creative Commons NC (Non Commercial) licences not being defined exactly enough to allow for exploitation by standards.
It's about the issues that artists are fighting when trying to make money from Creative Commons content.
Or is it just like, CC vs. Money - that's a paradox?
Why not deciding to license under Creative Commons so that you can decide yourself as an artist and composer whom to license to? Why does it represent a much more challenging task than to license with existing collecting societies?
Which ways are there to earn money with Creative Commons licences? What are the constraints? What can be done about it?
Theme track POLITICS & CULTURE is presented by ZEIT ONLINE.
In cooperation with TAZ.
Theme track MEDIA & TECHNOLOGY is presented by AMIANDO.
Theme track ROLES & IDENTITIES is presented by "MUSIKMARKT".
Do you think it is possible to produce a musically satisfying performance on a one hundred dollar children's laptop, using a software, made for children at the age from 2 to 5? A: Yes, it is - better will be even two, three or up to ten!
Im diesem Workshop werden Content Aggregatoren und ihre Geschäftsmodelle erläutert. Fragen wie "Was ist der Nutzen für Contentuser und -anbieter" werden behandelt und am Beispiel iTunes erklärt. Nach der Pause werden einige weitere Beispiele für Content Aggregatoren Musik (Kostenaspekt) genauer betrachtet und gemeinsam diskutiert.
Theme track ROLES & IDENTITIES is presented by "MUSIKMARKT".
The artist's decision to launch into a self defined yet uncertain travel in business-land often is preceded by finding two extremes: freedom in its entirety vs. missing cooperation with labels & media.What to do if I decide to go the hard way? Is there anyone who can tell an artist which, or at least how to find out useful strategies - and how to avoid the wrong ones? More basically, there has to be the one and only master plan, hasn't it? Or maybe... it this rather naive to believe?Who is the one to ask for? Who can lend a hand, give a guide, simply advise a whole generation of artists? Whom to trust - consultants, strategists, agencies... are those the new label people, just exxploiting artists?And finally... is there one basic approach how to present yourself and how to relate to fans?
Theme track ROLES & IDENTITIES is presented by "MUSIKMARKT".
Evolution in technology in marketing allows for worldwide hubs and networks - and for playing alone.
Actually, you can market your own, play alone, communicate with fans on your own. After all, you (being the artist) are left doing every little thing on your own.
It's great and you have maximum freedom, though this is right the issue when artists feel constrained and limited by just too much tasks.
This challenge might be one too high.
So - why doing it? For the reason of complete control? To present a thourough work of art? But is there any time left for creativity?
And which role does technology represent in your work?
„Zuviel Rummel setzt ein falsches Signal. Jazz hat damit nichts zu tun, er ist etwas Beständiges und eben gerade keine Popmusik. Also hat er auch keine Künstler nötig, die jede Woche neue Hits produzieren und in den Top Ten vertreten sind. Jazz sollte gleichbleibenden Wert besitzen. Deshalb ist es auch nicht wichtig, einen Vertrag mit einer dieser großen Plattenfirmen zu haben, die von einem vor allem erwarten, dass man sich für sie verbiegt.“ (Christian Broecking: Sonny Rollins – Improvisation und Protest). „Ich habe mir alles, was mit Musik zu tun hat, selbst beigebracht. Und ich habe im Laufe meines Lebens die unterschiedlichsten Kompositionen geschrieben. Wollen Sie wissen wie mir das gelang? Durch Tränen, Traurigkeit und Einsamkeit.“ (Christian Broecking: Ornette Coleman - Klang der Freiheit)
An important issue to discuss is sustainability for artists.
How can we as a business create a sustainable ecosystem where artists can grow and make a living on a stable basis? How to make use of the unique opportunity to create new structures, goals and values based on the way that the reality we live in looks like? These are just some of the issues to be discussed - between label and artist, as well as from an analytical point of view.
Theme track BUSINESS MODELS presented by MUSIKWOCHE.
The topic of Digital Distribution in music is a massive one. Meanwhile, it's rather a situation or state of time, not that much of a simple "topic". A separate conference on this would have been perfect. This session, however, goes about 90min.
When focusing Digital Distribution in terms of out-of-the-box solutions following a more commercial approach vs. DIY and Direct-to-Fan: What's important with services like BandCamp, Audiomagnet, Topspin, TuneCore, Nimbit? Which services can and must artists be provided with?
Also, can a DIY/D2F approach be the right one for everyone? Does it provide suitable tools for everyone? Is there anything special about DIY, D2F that commercial channels like iTunes, Napster, labels do not offer at all? In particular, it's worthwhile discussion what pros & cons there are compared to common distribution.
Yet another aspect in analysing distribution channels is the discussion that has arisen between Tom Silverman (Tommyboy Entertainment) and Jeff Price (TuneCore). No charts, no breaking – what does it take to become a „breaking artist“?
Do we need other scales than some charts measuring questionable figures of sales? Any artist selling his songs or maybe even giving them away for free on his site - where are these numbers? Why should he or she with several 10.000 downloads for free not be considered a "breaking" artist? And why are they preferring an independent presentation compared to a commercial platform?
Returning to digital distribution services themselves - are artists satisfied with how their work is presented and sold? Regarding browsing & searching - do current solutions support the customer?
Concluding it all, where is digital distribution heading to? Is there a tendency towards independent artists, acting on their own, taking over the market as entrepreneurs themselves?
What's the fall-out - and is there a life after digital distribution?
This session is hosted by .MUSIC.
Rupert’s career spans more than 30 years and 120 albums, including 11 of his own as both writer and singer, and was asked to write the Foreword for Billboard’s 'The Encyclopedia Of Record Producers'.
His own entry states: "Few producers have worked with as wide a stylistic range of platinum-selling artists as Hine including Tina Turner, The Fixx, Howard Jones, Chris de Burgh, Rush, Bob Geldof, Stevie Nicks, Thomson Twins, The Waterboys, Kate Bush, Suzanne Vega, Teitur and Duncan Sheik.”
Rupert’s unique musical and artistic diversity has made him an authority on musical creativity and his forthcoming symposiums and workshops examine the totality of communication through song.
At all2gethernow, he speaks about his upcoming book dealing with the art of songwriting. The ability of being a songwriter and shaping an overwhelming and brilliant song from a good one - this ability might help a songwriter to become an excelllent producer.
And it's even more than that. Being a great songwriter is about what you tell and how you do it. It's about authenticity.
But, in 2010 - is there room for a perfect song? For the perfect song? What is music's value in 2010 anyway?
Langfristig relevante und somit wirtschaftlich erfolgreiche Künstler benötigen Zeit um ihre Karriere und ihre Werke zu etablieren. Ein Ansatz hierfür ist die langfristige Planung auch auf der Seite derer die diese Rechte erwerben. Das verlegerisch handelnde Prinzip lässt sich ausdehnen auf die Masterrechte wenn es darum geht Werthaltigkeit zu schaffen und ist durchaus im Einklang mit einer sich verändernden Landschaft in der Nutzung der gebündelten Rechte sowie deren Vergabe. Künstler und Managements werden immer unabhängiger und treiben ihre Karrieren in einem weitaus höheren Masse voran als noch vor wenigen Jahren. Ein partnerschaftlicher Ansatz zeichnet sich durch wirtschaftlich sinnvolle Investitionen auch langfristig aus.
Theme track ROLES & IDENTITIES presented by "MUSIKMARKT".
Theme track POLITICS & CULTURE is presented by ZEIT ONLINE.
... über ein Leben mit dem Jazz. - Anschließend: Kurzkonzert.
„Es ist vielleicht das spannendste deutsche Jazzbuch des Jahres 2009, und man wundert sich, warum niemand früher auf die Idee gekommen ist, die Geschichte des Klarinettisten Rolf Kühn festzuhalten, der in den späten 1940er und den 1950er Jahren als junger Star des deutschen Jazz gefeiert wurde, den es dann nach New York verschlug, wo er mit Benny Goodman und Billie Holiday spielte, bevor er in den 1960er Jahren wieder zurück nach Deutschland kam, sich avancierteren Stilrichtungen zuwandte, bevor er in den 1980er Jahren vor allem als Dirigent und Filmkomponist in Erscheinung trat. Es ist ein Musterbeispiel einer von der Herausgeberin mit sicherer Hand geführten Autobiographie, die am Schluss neugierig macht auf den Klang des Protagonisten.“ (Wolfram Knauer über Maxi Sickerts Buch Clarinet Bird)
Just Temptation will support a panel discussion with international speakers about the business side of soundtracks at the all2gethernow congress in Berlin. What makes an artistically and commercially successful soundtrack? What are the differences in the American and European soundtrack production? What is there to know about soundtrack financing, copyrights and marketing of scores and soundtracks? What are the possibilities of cross-media exploitation?
Confirmed speakers include composer team Johnny Klimek and Reinhold Heil and Thierry Baujard (Just Temptation), moderation by Michael P. Aust (Soundtrack_Cologne)
The panel aims at music industry audience and attending film and content producers, directors and composers.
Theme track BUSINESS MODELS presented by MUSIKWOCHE.
Gespräch mit Musiker und Klangkünstler Ignaz Schick über experimentelle reduzierte Klänge und Improvisation als Lebenshaltung.
DIY marketing more than your label marketing relies on fan/artist relationship. True relationships, meaning that the artist doesn't hide from the hand that feeds. Actually, fans are willing to do hard and effective work. Good fans are loyal.
But... where does it evolve from? How even to start a fanbase? How to involve potential fans with what you do? More importantly, how to develop a sustainable relationship?
And the most delicate task is - how to convert the relationship in a business one without losing credibility?
Theme track ROLES & IDENTITIES presented by "MUSIKMARKT".
Interview with Alec Empire (Atari Teenage Riot) on outcomes and highlights of the previous 4 days of conversations at all2gethernow.
Theme track ROLES & IDENTITIES is presented by "MUSIKMARKT".
