Pesquisa Nielsen : Rádio Alcança 98% Dos Hispânicos Nos EU

Nielsen: Radio Reaches 98 Percent of Hispanics Each Week

The number of Hispanic radio listeners grew from 39.5 to 42.4 million from 2013 to 2017, according to a new Nielsen report; audio streaming among Hispanics grew 29 percent in 2016. 

Radio is the best way to reach the U.S. Hispanic audience, with 98 percent of U.S. Hispanics listening to radio each week, according to a new report by Nielsen. And that audience is growing. Radio's reach among Hispanics significantly exceeds the overall national average of 93 percent, the Nielsen report found.

According to Nielsen’s new "State of the Media: Audio Today 2017" report, the number of Hispanic radio listeners grew from 39.5 to 42.4 million from 2013 to 2017. That increase was tied to a 29 percent jump in Latinos using smartphones to stream audio in 2016 alone. According to Nielsen’s research, 42 million Hispanics use radio each week, with each person tuned in for an average of 12.5 hours a week.

The Regional Mexican format was the favorite of the majority of measured Spanish-dominant Hispanics between the ages of 12 and 64. The exceptions were the 12-17 age group, and English dominant Hispanics of all ages, who prefer Pop Contemporary Hit Radio over any other format.

Nielsen's Audio Today 2017 report, subtitled "A Focus on Black and Hispanic Audiences," found that nearly 75 million radio consumers are Black or Hispanic, with those ethnic groups making up a third of total American radio listeners.

The number of black Americans streaming audio on their smartphones jumped 30 percent in 2016. Radio’s black audience grew from 30.8 million to 32.3 million between 2013 and 2017, with 32 million people currently tuning in to radio each week, for an average of 13.58 hours -- more than any other group of listeners. Urban Adult contemporary is the preferred format among all black listeners from ages 12-64.

McDonald’s was the top advertiser on Urban Adult Contemporary, as well as on Regional Mexican and other Spanish language stations. The fast food giant spent $8,646,126 in advertising on U.S. stations aimed at Black and Hispanic listeners in 2016. 

Os 2 Erros Que Os Compositores Fazem

Two Big Mistakes Songwriters Make

In the twenty-five years that I’ve been writing songs and, more recently, since I’ve been teaching, I’ve made and/or seen some common mistakes in both writing and navigating a songwriting career that can be avoided. Here are two of them.

Forfeiting Craft for Emotion and Vice Versa We all write songs because we’re moved to, so it’s understandable that sometimes we get caught up in conveying an abundance of emotion while not paying attention to communicating it within a solid song structure. But even though understandable, this mistake will almost always confuse listeners because without a discernable structure, we don’t give them something to hold onto, which is crucially important if you’re trying to write commercial music. And since our ears are trained to hear certain consistencies when we listen to music, other craft speedbumps that are important to avoid include inconsistent rhyme schemes, not keeping verb tenses the same and changing the use of pronouns in the middle of a song. Paying attention to all these details while making sure your lyric stays conversational and your melodies fresh may a be a lot to remember, but it is one of the most effective ways to communicate your song’s message. And although perfect craft without emotion certainly won’t hold a listener’s attention for obvious reasons, emotion in a song without craft causes a song to ramble, losing the listener as well. The key is to find the balance and keep both craft and emotion in mind when writing and rewriting your songs.

Forgetting that Songwriting is a Business While I understand that it’s essential to be passionate about the art of songwriting, this should never come at the expense of remembering that songwriting - if you’re hoping to generate income from your songs - is also a business. Forgetting this fact can lead to several missteps, starting with not pitching your songs and building important relationships, to overdoing it in a networking situation by pushing yourself or your songs too hard or losing your cool on the phone or via email. But before even considering pitching, every songwriter first needs to take a good hard look at their songs and ask themselves what would make a publisher, artist or record label interested in what they have to offer. Are you giving them something they don’t already have? Are your songs going to make them money? That may sound harsh but it does come down to more than art when commerce is involved, and it’s important to remember not to rush in before your songs are ready for the marketplace. Finally, following up is another part of the business where songwriters need to strike the delicate balance of doing enough but not too much. This is easy to forget when we’re excited about our work, still, you simply have to remember that it’s an important part of acting like a professional.

If you’re hoping to turn your passion into an income generating activity, then anything and everything you can do to avoid mistakes is worth your while. It’s hard enough to sustain a songwriting career when you’re doing things right. Don’t sabotage yourself by making these common, but avoidable, mistakes.

YouTube É O Site Mais Popular Para Music Streaming

Report: YouTube Is The Most Popular Site For On-Demand Music Streaming

First of all thanks to Hugh McIntyre for this article.

Though YouTube wasn’t created to be a streaming music service, the Google-owned platform remains the single most-used website in the world to listen to music legally. While competitors like Spotify and Apple Music are growing by leaps and bounds, the majority of music lovers all around the world still prefer to head to YouTube to hear their favorites. 

Every year, the IFPI (the International Federation of the Phonographic Industry) publishes its Music Consumer Insight Report, which analyzes how millions of people in the world interact and access music. This year, one of the focuses of the report was YouTube, which is becoming as controversial as it is popular to many in the music industry.

According to the 2017 report, video takes up 55% of all time dedicated to on-demand streaming. Incredibly, YouTube is responsible for 46% of all on-demand streaming time.

For comparison, all other on-demand streaming channels, such as Spotify, Apple Music, Tidal, Deezer, Napster and the handful of others that have been able to collect even a minimal number of either free or paid users, make up the rest of listening time (just 45% combined), so it’s clear that none of them come even close to matching the ubiquity of YouTube.

According to the report, 85% of YouTube users went there for music in just the past month (from when the information was compiled). That adds up to about 1.3 billion people—several times larger than the total number of listeners who have signed up for a proper streaming platform like Spotify (which now has over 100 million users) or Apple Music (which is approaching 30 million).

Somewhat sadly, it appears that while there could be hundreds of thousands of different acts and bands on YouTube with tens of millions of songs available, the vast majority of people are only looking for the hits they already know and love. The report states that 76% of YouTube users are listening to songs they’re already familiar with, which suggests that at least some of them are still learning about new music somewhere else, and then accessing them on the world’s most beloved video hosting site.

Those billion-plus people generate revenue for artists, record labels and many involved in the creation of hit songs every time they press play, but many would argue that the money just doesn’t add up and that the company isn’t paying its fair share. That may very well be true (based on which side you’re interested in hearing and believing), but it is clear that despite huge advancements in the on-demand streaming industry, YouTube is still the preferred choice for millions (or billions) of people, and that lead isn’t going to disappear anytime soon.

Cientistas E Escritores De Discurso Falam Como Uma Música Pode Gerar Idéias Criativas

Scientists And Speechwriters Say This Music Style Sparks Creative Ideas

First of all thanks to Carmine Gallo for this article.

As I write this sentence, the soundtrack from the movie, Rudy, is playing in the background. It always inspires me. By the next paragraph I might hear my favorite film score, Gladiator. The last song, “Now we are free”, gets me every time. I know it’s only a movie, but I want Russell Crowe to be reunited with his family. Thanks to streaming services like Pandora, I get to hear endless scores from composers such as Hans Zimmer, John Williams or James Horner.

All great presentations begin with writing. Most people don’t open a PowerPoint and randomly insert photos or type out bullet points. They think about how they want to articulate their ideas, what they want to say and how they want to say it. A great presentation should build like a great movie — tension, conflict, and a rousing ending.

Since a great presentation tells a story, why not listen to a style of music that complements great stories on the big screen? Speechwriters and neuroscientists have weighed in on the topic.

Ronald Reagan’s speechwriter, Peggy Noonan, is a fan of listening to film scores as background music. In her article titled, Music in the Key of America, Noonan talks about the scores that remind her of America and its values. Noonan says Leonard Bernstein’s score for On the Waterfront is “dramatic, crashing, tender…it reminds me of the importance of everyday human endeavor — that even if you think you’re just a beat-up nobody, a former contender with a one-way ticket to Palookaville, you can find within yourself a nobility you never guessed was there.” That’s a lot of insight from a piece of music.

One of my daughters plays piano. We sat down together recently to watch a new documentary about film scores aptly titled, Score. In the documentary, psychology professor, Dr. Siu-Lan Tan, says movie soundtracks trigger many structures of the brain simultaneously. Melody and pitch are processed by one system in the brain, tempo and rhythm are processed in other parts of the brain. She says certain kinds of music trigger neurochemicals in the reward centers of the brain—the ventral striatum and nucleus accumbens. In non-scientific language, the music makes you feel good.

Movie music can evoke a range of emotions. It can make you cry (Schindler’s List) run into battle (Braveheart) or just run (Rocky). Film scores and public speaking sometimes combine to make magic. In Score, composer Trevor Rabin recalls the night Barack Obama accepted the democratic party’s nomination in Chicago. His score from Remember the Titans was blaring in the background, which you can see here on YouTube. The video is from CNN, but its like a movie. If you watch the reaction of the crowd and listen to the music, there’s no question that the two — music and emotion — are connected. “If it gives me goose bumps, there’s a pretty likely chance it will give other people goose bumps,” Rabin said.

Film scores drive the narrative. Movies wouldn’t be the same without them. Perhaps listening to scores will infuse your next presentation with a little movie magic. It’s worth a try. The worst that can happen is you’ll feel like taking on the world.

Apple Não Fará Mais O 'Apple Music Festival' Em Londres

Apple is shutting down its 10-year-old London music festival, Apple Music Festival

For the past decade, Apple has thrown a series of free music concerts in London every year, featuring big-name acts ranging from Elton John to Lady Gaga.

But no more: Apple Music Festival is shutting down.

First launched in 2006, and then called iTunes Music Festival, the event has always been designed to promote Apple's music apps. Its format was a series of concerts over multiple nights — originally for a month, and later for 10 days.

Members of the public could apply for tickets for any specific night via Apple's apps — iTunes and later Apple Music, its music streaming platform.

It was normally held in September at the Roundhouse in Camden, North London — but Music Business Worldwide is reporting that Apple has decided to scrap the event this year. (The company did not immediately respond to Business Insider's request for comment.)

The events provided an opportunity for fans to see some significant acts free of charge — Ed Sheeran, Pharrell, deadmau5, Justin Timberlake, Kendrick Lamar, and the Arctic Monkeys, to name a few.

I hold fond memories of the event: I won tickets to two nights in 2009, to see Simian Mobile Disco and Friendly Fires. It was absolutely terrific, some of my first gigs away from home, and I wouldn't have been able to afford to pay for tickets. It's a shame to see that go.

As Music Business Worldwide notes, Apple hasn't entirely turned its back on live events. It has done one-off shows in London, SXSW festival, and elsewhere, including Skepta, Lana Del Rey, and DJ Khaled.

Spotify E Apple Mataram Outro Competidor - R.I.P. Microsoft

Spotify and Apple Music just killed another competitor

The cutthroat market for premium on-demand music streaming keeps claiming casualties. Microsoft announced on Monday that it will be shutting down Groove Music, the former Xbox Music streaming music that it rebranded two years ago.

Microsoft will be discontinuing its Groove Music Pass subscription service by the end of the year, and Groove Music app users will no longer be able stream, purchase, or download music at that time. Microsoft is teaming up with Spotify to allow Groove Music Pass customers to port their curated playlists and collections directly into Spotify. The migration swag bag will also include 60 free days on Spotify's premium platform for Groove Music accounts that aren't already there. It's a peaceful surrender to the market leader, and it makes sense. Microsoft and Spotify have worked together before, and there was no way the software giant was going to hand over its displaced music buffs to Apple.

Pump up the volume

Premium on-demand streaming has become a two-horse race. Spotify is the undisputed leader with 60 million paying subscribers and 140 million active users. Apple Music -- despite its late entry to the game -- topped 30 million premium accounts last month.

If you're looking for the bronze medalist here you will probably have to squint. Pandora may have 76 million active listeners on its platform, but they are mostly freeloaders. Pandora has less than 5 million premium accounts. Pandora finally rolled out a Spotify-like on-demand offering earlier this year, but that was only good for a net sequential gain 150,000 subscribers during the second quarter. Spotify gains that many net new premium users in just two or three days 

This is clearly Spotify's race to lose at the moment, a good thing as it inches closer to an IPO that could value the company at around $20 billion later this year. Apple Music isn't sulking. The world's most valuable tech company has taken advantage of controlling the iOS experience to nudge its captive product users to Apple Music. Everyone else just seems to be shut out of the race.

There was a time when the titans of tech were all over the on-demand streaming revolution with dreams of being the new Spotify. Microsoft thought that branding its music platform to its popular Xbox gaming console would help it attract paying customers, but that didn't happen. Other tech behemoths have tied their premium music offerings as included goodies for Prime and YouTube Red subscribers, primarily because they haven't been able to stand out on their own the way that Spotify and Apple Music have so far. 

Microsoft didn't reveal how many Groove Music Pass subscribers it would be evicting by year's end, but it obviously wasn't a number large enough to make its platform successful, or even viable. Groove Music will join the many indie apps and platforms that have called it quits in the wake of Spotify's dominance, and it won't be the last.

Mixcloud Assina Acordo Com Universal Music

Mixcloud Inks Deal With Warner Music As It Readies Its Own Subscription Service

Warner Music has become the first major record company to sign a direct licensing deal with Mixcloud, the U.K.-based streaming radio platform that specializes in long-form dance and EDM mixes -- and has been increasingly touted as a rival to SoundCloud.

Following in the footsteps of its more established and far larger competitor, Mixcloud has steadily built up a loyal audience among the EDM community with DJs like Carl Cox, Richie Hawtin, Moby and Tiesto among the one million curators who have uploaded mixes, DJ sets and exclusive music content – typically lasting around 45 minutes-plus -- to the service.

The ad-supported platform has a catalogue of over 12 million on-demand radio shows, DJ sets and Podcasts, attracting around 17 million listeners each month, according to the London-based company, which launched in 2009. It uses its own proprietary Content ID system to identify individual songs within mixes and track and monetize usage. Agreements are in place with a number of international collecting societies and PROs including SoundExchange, ASCAP, BMI, SESAC and U.K.-based PPL and PRS for Music.

Mixcloud's licensing deal with Warner Music Group is the first stage in the company's plans to launch its new subscription offer that will enable consumers to subscribe to 'individual creator channels' for -- what it describes as -- "a more innovative listening experience."

Billboard understands that discussions are also taking place with Sony, Universal and independent rights organization Merlin about striking similar license deals to that agreed with Warner. Mixcloud previously launched 'Pro' and Premium' subscription tiers in 2014, although neither offered users the chance to download mixes or access music offline – something it intends to remedy with its latest subscription offering.

"Since the beginning, we have worked with rights holders to both monetize long-form audio and champion the importance of curation in the streaming industry," says Mixcloud's co-founder and director of content Nico Perez in a statement announcing today's (Oct. 9) deal.

"As we embark on direct licensing relationships with the major labels," he continues, "we are committed to doing what is best for artists, curators, music fans, and the industry."

"As streaming opens up access to a vast universe of music, we are seeing a complimentary rise in fans' engagement with curated experiences, such as playlists, on-demand radio shows, and DJ sets," adds Ole Obermann, EVP, business development and chief digital officer, Warner Music Group.

Obermann cites the "curiosity and passion" of Mixcloud's user base as a key factor in its growth and says, "As we see that user base expand, this partnership will unlock new commercial value for our artists and their music."