Power Field Studio

Power Field Studio

terça-feira, 16 de janeiro de 2018

Universal Music Group Aumenta Acima De 10% Os Ganhos Do último Trimestre

Universal Music Group Q4 Earnings Up 10 Percent, According to Early Report


Universal Music Group will see a 10 percent growth in earnings in its fourth quarter, according to an early guidance report issued by parent company Vivendi. 
The report also notes a nearly a 20 percent boost in overall earnings before interest, taxes, depreciation and amortization (EBITDA). A full report will be released next month. 
Looking ahead, last year's deals with Spotify and YouTube are highlighted as cause for optimism, as the report states, "enabling improved flexibility and better monetization of artist content while creating new revenue streams for the years to come." Other opportunities for growth include licensing deals inked with China's leading digital music platform Tencent last May and Facebook in December -- the first of any majors. 
Last quarter, UGM's operating profits fell to €161 million ($188.2 million), down almost 8 percent from €174 million ($192 million) in the same period last year. But its revenues rose nearly 1 percent (0.08 percent) to €1.32 billion ($1.54 billion) from last year's €1.31 billion ($1.45 billion).


'The Greatest Showman' - Trilha Sonora Pela segunda Semana No Primeiro Lugar Do Top 200

'The Greatest Showman' Soundtrack Spends Second Week at No. 1 on Billboard 200 Chart


The soundtrack to the musical drama film The Greatest Showman scores a second week at No. 1 on the Billboard 200 chart, as the set earned 104,000 equivalent album units (down 3 percent) in the week ending Jan. 11, according to Nielsen Music. Of that sum, 70,000 were in traditional album sales (down 10 percent).
The Greatest Showman is just the fifth soundtrack in the last 10 years to spend multiple weeks at No. 1.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new Jan. 20-dated chart (where The Greatest Showman spends a second week at No. 1) will be posted in full on Billboard’s websites on Wednesday, Jan. 17 (one day later than normal, due to the Martin Luther King Jr. Day holiday on Jan. 15).
In the past 10 years, 21 soundtracks have hit No. 1 on the Billboard 200 chart and, of those, just five have netted multiple weeks atop the list: The Greatest Showman (two, so far), Suicide Squad: The Album (two, in 2016), Guardians of the Galaxy: Awesome Mix Vol. 1 (two, 2014), Frozen (13, 2014) and Glee: The Music, Volume 3 -- Showstoppers (two, 2010). The last live action musical released in movie theaters to see its soundtrack notch more than a week at No. 1 was the Dreamgirls album, with two weeks in the penthouse back in 2007. 
Since The Greatest Showman’s release in theaters on Dec. 20, the movie has earned an estimated $95 million at the U.S. and Canada box office, according to Box Office Mojo.
The Greatest Showman album features performances by the movie’s stars, including Hugh Jackman, Zac EfronZendaya and Michelle Williams. Four songs from the album debuted on the Billboard Hot 100 chart dated Jan. 13, led by “This Is Me,” by Keala Settle and the film’s ensemble.
Back on the new Billboard 200 chart, Ed Sheeran’s ÷ (Divide) holds at No. 2 with 53,000 units (down 21 percent), while G-Eazy’s The Beautiful & Damned returns to its peak (and debut position) at No. 3 with 38,000 units (down 10 percent).
Bruno Mars’ 24K Magic hits its highest rank in eight months, and returns to the top 10 after more than four months, climbing 15-4 with 37,000 units (up 75 percent). The set's rise is driven by the strong start of its new single, “Finesse,” which has been boosted by a new remix with rapper Cardi B. (The remix is merged with the original version of "Finesse," and contributes to the SEA and TEA units of the song's parent album, as most remixes do.)
The album has not ranked this high since the April 22, 2017-dated list, when it placed at No. 4; and has not been in the top 10 since Sept. 2, 2017, when it was No. 10. The album debuted and peaked at No. 2 on the Dec. 10, 2016 chart.
Post Malone’s Stoney ascends 8-5 on the latest Billboard 200, with nearly 37,000 units (down 6 percent), Taylor Swift’s Reputation falls 3-6 with a little over 36,000 units (down 24 percent) and Eminem’s Revival dips 6-7 with 36,000 units (down 11 percent). Kendrick Lamar’s DAMN. slides 5-8 with 35,000 units (down 15 percent), Huncho Jack’s Huncho Jack, Jack Huncho is steady at No. 9 with 32,000 units (down 17 percent), and Sam Smith’s The Thrill of It All climbs back into the top 10, rising 12-10 with 29,000 units (up 5 percent).

Universal Expande Parceria Global Com A 'Disney Music'

UMPG Expands Global Partnership With c Publishing


Universal will now administer Disney's iconic catalog in the U.K., Ireland, continental Europe and beyond. 

The Universal Music Publishing Group has expanded its agreement to handle Disney Music Publishing to administering the latter's catalog in the United Kingdom, Ireland, continental Europe, as well as Israel and countries in Africa and the Caribbean. Previously, UMPG handled and retains Disney Music Publishing in Southeast Asia, and many territories in Latin America, Africa, the Middle East and the Caribbean. 
"We are thrilled to expand our relationship with UMPG into Europe and beyond," Disney Music Group president Ken Bunt said in a statement. "Their creativity and entrepreneurial spirit make for the perfect match for Disney Music Publishing."
Since 2004, UMPG has been serving as sub-publisher for the Disney Music Publishing catalog in Southeast Asia; and in 2015, UMPG's representation added responsibility for the catalog in Latin America (excluding Argentina, Uruguay and Paraguay), and various countries in the Middle East, North Africa, East Africa and the Caribbean. In 2016, the relationship was enhanced yet again to include South Africa and additional African countries.
"Disney is home to one of the most iconic catalogs in history, one that spans cultures, generations and genres," UMPG CEO and global chairman Jody Gerson said in a statement. "We are honored to expand our global collaboration with Disney and we look forward to developing outstanding creative opportunities that build on the company's outstanding legacy."
In another deal, UMPG through Aftercluv Dancelab dance label, has signed an exclusive publishing agreement with Brazilian artist Bruno Martini, who, according to UMPG, is the second most streamed artist in South America.
"Bruno Martini is showing that he's a proven talent, even in the early stages of a promising career that has positioned him as a rising star on the global music scene," UMPG Latin Music executive vp Alexandra Lioutikoff. "UMP Brazil MD Marcelo Falcão and the UMP Latin team are thrilled to welcome Bruno to our family of songwriters and look forward to his continued success."
For his part, Martini says the new relationship with UMPG will open a "lot of opportunities for me as a writer and producer, including working with a range of different artists. This is a huge moment in my career," he added.
In yet another move, UMPG signed country music songwriter Derrick Southerland to a global music publishing deal, Southerland has written or co-written songs for Carrie Underwood, Tim Hicks, and the Swon Brothers, among others. The deal was led by UMPG Nashville's senior creative director Missy Roberts.
"An exciting addition to our UMPG Nashville roster, Derrick is a wonderfully gifted songwriter with a talent for collaborating with writers across genres to create hits," UMPG Nashville evp/gm Kent Earls said in a statement. "Between his work ethic and lyrical sensibilities, we are honored that he has joined us and look forward to his future success."

quarta-feira, 10 de janeiro de 2018

Como Escrever Uma Canção Que 'Gruda'

How to Write Song Hooks That “Hook” You in

First of all thanks to Jason Blume  for this article.

The more you have, the better your chances of having a hit


What constitutes a hook? Any element of a song that grabs a listener’s attention and “hooks” them in. With there being so much competition for our listeners’ attention, including multiple hooks throughout our songs has become more important than ever.
According to an article in The Atlantic magazine, “A short-attention-span culture demands short-attention-span songs. The writers of Tin Pan Alley and Motown had to write only one killer hook to get a hit. Now you need a new high every seven seconds—the average length of time a listener will give a radio station before changing the channel.” In that same article, Jay Brown, co-founder of Jay Z’s Roc Nation label, was quoted as saying, “It’s not enough to have one hook anymore. You’ve got to have a hook in the intro, a hook in the pre, a hook in the chorus, and a hook in the bridge, too.” Mega-hit songwriter/producer Ester Dean, with hits by artists including Rihanna, Selena Gomez, Nicki Minaj, Katy Perry, Kelly Clarkson, echoed this sentiment almost word for word.
Note that some people refer to a song’s chorus as its hook, using the word “chorus” and “hook” interchangeably. But hooks can be in any section of a song. Let’s take a look at some of the various types of hooks we can incorporate into our songs.
Instrumental Hooks
Including musical hooks—catchy melodic phrases that repeat throughout our songs and do not include lyrics—can help keep our listeners engaged. In some instances, such as those listed below, an instrumental lick serves as the heartbeat of the song.
It would be hard to find a more iconic musical hook than the one that is the basis of the Rolling Stone’s seminal hit “Satisfaction” (written by Mick Jagger and Keith Richards). Keith Richards’ driving guitar lick is every bit as memorable as the melodies Mick Jagger sings.
Layla” (recorded by Derek and the Dominos and written by Eric Clapton and James Beck Gordon) is fueled by Clapton’s iconic lick. This musical motif is heard during the song’s intro and repeatedly throughout the chorus. It is interesting to note that the song ends with an entirely different instrumental segment.
Notice the use of multiple instrumental hooks in Vanessa Carlton’s self-penned hit “A Thousand Miles.” The song opens with an instantly identifiable musical phrase played on piano. It also features a piano interlude between the lines sung in the verses, as well as an additional hook (played by strings) in the pre-chorus.
A strong case could be made that in the aforementioned songs, the instrumental hooks are the songs’ most memorable and important components.
Signature Licks
In many cases the musical hook is introduced at the onset of the song. In these cases, they can also be considered signature licks. In my article for BMI’s The Weekly I defined a signature lick as a memorable melodic motif—an instantly recognizable musical phrase—that is heard at the beginning of the song. It is also sometimes heard throughout the song, especially during the turnaround, the musical interlude between the end of the first chorus and the subsequent verse.
Unique Instrumentation
The instruments chosen to perform a riff or a lick can make a major contribution to the song sounding hooky and differentiating itself from the competition. The Beach Boys’ “Good Vibrations” is a prime example. It features a catchy lick paired with the sound of an electro-theremin to create a hook that played a big role in propelling the song to countless critics’ “Greatest Songs of All Time” lists.
An excellent example of a musical hook made more memorable by the sound of the instruments playing it can be heard in Little Big Town’s first #1 single and CMA Country Song of the Year, “Pontoon” (written by Barry Dean, Natalie Hemby, and Luke Laird). The catchy lick, played by a mandolin and mellotron synthesizer, is heard during the song’s introduction, throughout the verses, and in the song’s turnaround.
In Phillip Phillips’ “Home” (written by Phillips with Drew Pearson and Greg Holden) an instrumental section essentially takes the place of a chorus and is the most unforgettable part of the song. It is interesting to note that the melody of this section is performed primarily by vocals singing the syllables “ooh” and “ahh” and includes no other lyrics.
Wipe Out” (written by Bob Berryhill, Pat Connolly, Jim Fuller, and Ron Wilson, and performed by the Surfaris and covered by the Ventures), one of the most recognizable songs from the sixties, was probably most famous for its use of a drum pattern as a hook.
Another instantly identifiable drum pattern serves as an exceptionally effective hook in Imagine Dragons’ “Believer” (written by Daniel Reynolds, Justin Tranter, Benjamin Arthur McKee, Daniel Wayne Sermon, Robin Lennard Fredriksson, and Mattias Per Larsson). This pattern provides a melodic hook throughout the entire song, except for the breakdown section.
Non-Lyric Vocal Hooks
Sounds such as “ah,” “oh,” “ooh,” “hey,” and “I” can create powerful hooks when sung to memorable melodies. One of the most memorable elements in the Bee Gees’ disco classic “Stayin’ Alive” (written by Maurice, Barry, and Robin Gibb) comes each time they sing the phrase “ah ah, ah ah,” followed by the title.
Nonsense syllables, such as “rah rah, ah-ah-ah, ro mah ro-mah-mah,” and “Gaga oh-la-la,” are sung by Lady Gaga to establish an utterly unique hook that burns into listeners’ brains in her massive #1 hit “Bad Romance” (written by Lady Gaga and Nadir “RedOne” Khayat).
And there is no overestimating the contribution of “yeah, yeah, yeah” to the Beatles’ “She Loves You” (written by John Lennon and Paul McCartney).
Catchy Rhythms
Listen to the songs referenced below and you’ll hear how unique rhythms can become a song’s most hooky element. The syncopated rhythms heard throughout Jason Mraz’s breakthrough single “The Remedy (I Won’t Worry)” (written by Mraz with Lauren Fownes, Scott Spock, and Graham Edwards) create a hook in and of themselves.
The catchiest, most memorable moment in the Supremes’ iconic hit, “Stop! In the Name of Love” (written by Lamont Dozier, Brian Holland, and Eddie Holland) is the pause after the word “stop.”
A “Money Note”
An unexpected, ear-grabbing note can serve as a powerful hook. The “money note,” as it is sometimes called, refers to that “wow” note that can be largely attributed to a song’s success. It can be a high or low note, as long as it demands attention. For a great example, listen to the low note that accompanies the word “low” in Garth Brooks’ “I’ve Got Friends in Low Places” (written by Dewayne Blackwell and Earl Bud Lee).
Lyric Hooks
While most people associate hooks with melodic elements, lyrics can be hooky, too. A compelling story that keeps a listener waiting to learn what happens can keep our audience hooked in. Great examples of story songs include “Ol’ Red,” recorded by George Jones, Blake Shelton, Kenny Rogers, and written by Don Goodman, Mark Sherrill, and James Bohan) and “Lola” (recorded by The Kinks and written by Ray Davies).
A unique title or a phrase within the lyric can also serve as a hook. Listen to Sugarland’s clever “It Happens” (written by Kristian Bush, Bobby Pinson, and Jennifer Nettles) to hear an exceptional example of a lyric hook.
Summary
Note that in all of the referenced songs the hooks are heard repeatedly. While we want to serve up multiple hooks, we also want those hooks to repeat throughout the song, so they become familiar to the listeners.
Whether your hooks are comprised of memorable instrumental phrases, unique sounds, nonsense syllables, unexpected rhythms, attention-grabbing titles, money notes, they are the tools you can use to hook in your listeners—and keep them on the line.

Sony/ATV Assina Acordo De Licença Com Facebook

Sony/ATV Signs Licensing Deal With Facebook



Sony/ATV Music Publishing and Facebook have completed a multi-year licensing deal that will allow users to share videos on the social network and its popular Instagram service, giving songwriters a long sought after path to generating more royalties.
Under the agreement, which covers multiple territories, users of Facebook, Instagram and Oculus will be able to upload and share videos containing songs in the Sony/ATV catalog -- which includes artists ranging from The Beatles to Michael Jackson to The Chainsmokers. Social media users will also be allowed to use Sony/ATV-administered tracks to "personalize their music experiences" across their profile pages.
"We are thrilled that in signing this agreement Facebook recognizes the value that music brings to their service and that our songwriters will now benefit from the use of their music on Facebook," Sony/ATV chairman/CEO Martin Bandier said in a statement. "We are looking forward to a long and prosperous relationship."
At last count, Facebook had more than 2 billion monthly users, while Instagram had 800 million-plus. Sony/ATV oversees a catalog of more than 3 million songs, and has spent most of the last five years as the No. 1 publisher in the music business.
"We're excited to work with the largest music publisher in the world to bring amazing songs which deepen connections between friends and fans," said Tamara Hrivnak, head of music business development and partnerships at Facebook, in a statement. "Sony/ATV is a true leader and an absolute champion of writers in the digital space, and we’re thrilled to work with them as they grab new opportunities by the horns across all of our platforms."
Late last month, Facebook announced a licensing deal with Universal Music Group, making its recorded and publishing catalogs available for use across the platform. Other major publishing entities include Warner/Chappell Music, BMG and Kobalt.

Sundance 2018 Trará Joan Jett Até Usher

Sundance 2018 Preview: From Joan Jett to Usher, The Most Anticipated Music Films



The Sundance film festival has long showcased breakout actors and potential Academy Award contenders. But in 2018, major music artists will be driving much of the conversation at the annual film summit in Park City, Utah. “This, by far, was the year with the most options,” says Jarom Rowland, senior manager of the festival’s film music program.
The fest has already established its music-documentary bona fides with premieres of the Oscar-winning films Searching for Sugar Man in 2012 and 20 Feet From Stardom in 2013. The long-awaited MATANGI/MAYA/M.I.A. will be unveiled on Jan. 21 after years of delays; it captures the life and provocative art of M.I.A. by using an archive of the Sri Lankan performer’s own footage. Punk trailblazer Joan Jett is the subject of Bad Reputation, named after her defiant rock’n’roll anthem: Directed by music video veteran Kevin Kerlsake, the doc charts the Rock and Roll Hall of Famer’s rise from 1970s band The Runaways to mainstream solo stardom.
Established actors, meanwhile, are turning their attention to music stories. Ethan Hawke co-wrote and directed Blaze, the saga of country great and Texas outlaw Blaze Foley, with Arkansas rocker Benjamin Dickey in the lead role; Hearts Beat Loud finds actor-comedian Nick Offerman portraying the owner of a failing record store in Brooklyn’s Red Hook neighborhood who rekindles his musical ambition after an impromptu jam session with his college-bound daughter. Finally, R&B superstar Usher appears in Burden, about a breakaway Ku Klux Klan member who takes refuge in a black church community. With such a promising selection, Rowland admits that some quality projects simply couldn't be squeezed in: “Turning down [those other] films was heartbreaking.”

2018 BAFTA Indicados Para Melhor Trilha Sonora

2018 BAFTA Nominations Announced

The British Academy of Film and Television has announced the nominations for the 2018 Orange British Academy Film Awards. The winners will be announced at the Orange British Academy Film Awards ceremony at the Royal Opera House in London on Sunday, February 18. For a full list of nominations.
Here are the nominations in the ‘Original Music’ category:
Blade Runner 2049 – Benjamin Wallfisch & Hans Zimmer
Darkest Hour – Dario Marianelli
Dunkirk – Hans Zimmer
Phantom Thread – Jonny Greenwood
The Shape of Water – Alexandre Desplat