Vi consiglio di leggere questo articolo di David Byrne (se non lo conoscete date un'occhio alle sue produzioni su Discogs) apparso qualche giorno fa su Wired.
Parla delle strategie di sopravvivenza degli artisiti nel mondo della musica che sta cambiando radicalmente. Identifica 6 possibilità:
1- Equity deal (l'artista percepisce un fisso e la casa discografica si occupa di tutto)
2- Standard deal (l'artista percepisce una percentuale sulle vendite di dischi)
3- License deal (l'artista mantiene i diritti sulle sue produzioni)
4- Profit sharing (l'artista divide i profitti con l'etichetta)
5- Manifacturing & Distribution deal (l'artista fa tutto tranne la produzione e la distribuzione)
6- Self-distribution (l'artista ha il controllo totale)
Interessantissima la definizione di musica che dà Byrne
"In the past, music was something you heard and experienced — it was as much a social event as a purely musical one. Before recording technology existed, you could not separate music from its social context. Epic songs and ballads, troubadours, courtly entertainments, church music, shamanic chants, pub sing-alongs, ceremonial music, military music, dance music — it was pretty much all tied to specific social functions. It was communal and often utilitarian. You couldn't take it home, copy it, sell it as a commodity (except as sheet music, but that's not music), or even hear it again. Music was an experience, intimately married to your life. You could pay to hear music, but after you did, it was over, gone — a memory.
Technology changed all that in the 20th century. Music — or its recorded artifact, at least — became a product, a thing that could be bought, sold, traded, and replayed endlessly in any context. This upended the economics of music, but our human instincts remained intact."