Music industry of Asia
The music industry of Asia is an industry in which people sell music-related products to earn money.
Music Industry of Asia | |
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Location | Central Asia, East Asia, North Asia, South Asia, Southeast Asia, West Asia |
History
Early history
Korean modern pop music firstly appeared in 1915, affected by Filipino pop songs.
Modernization Period
The development of Japanese music industry was hindered by World War II.[7] Subsequently, when Japan was occupied by the US, the US military played music such as boogie-woogie, mambo, blues ,and country music, introducing new music styles to Japan.[7] In 1948, the ‘Tokyo boogie-woogie’, Chiemi Eri's ‘Tennessee Waltz’, Misora Hibari's ‘Omatsuri Mambo’ and ‘Omoide no Waltz’ became the representative songs, and they were published as music records.[8] During the 1950s and 1960s, pop music was weakening in the mainland of China due to the introduction of Soviet music.[9]
Recent Development
And the 1990s were the heyday of J-pop when many records in the music market were broken.
Business Structure
Recorded music and radio broadcasting
In the early 1920s, EMI Records Ltd from French, whose main businesses are film and music recording, set up a branch in Shanghai, that provided the quickest way to spread European and American pop music in China.[5] In the end of the 1970s, the cassette tapes produced by Sanyo Japan and Pacific Audio & Video Co directly boosted Chinese popular music.[13] In 1990, 180 million cassettes were sold in India, and that makes it the world's second-largest market for cassettes.[14] In this year, Japan was ranked after the US.[14] In China, the new generation of musicians was absorbing nutrition from European, American and Japanese music industry at will.[5] They re-wrote the popular songs in the 1930s, carrying forward the past and forging ahead into the future.[5] In Guangzhou, China, ‘The Old Three Musketeers’, consists of Youzhong Jin, Jialin Ding, and Kang Situ, were leaders in the music recording industry.[5] In 2018, 66% of South Korean consumers listen to music by radio, and 50% of Japanese consumers listen to music by radio.[15]
Live house
"Live House", which is a club with live music, is also a popular business structure in Asia.[16] It firstly appeared in Japan, and was one of the four kinds of concert venues: music hall, arena, Dome and Live house.[16] A Live House is the smallest concert venue, and usually has a capacity of 100 to 500 people.[16] Zepp Tour appeared correspondingly, and it is a subsidiary of Sony Entertainment Music, which specializes in Live House.[16] Zepp has six chain stores in Japan, namely, sendai, Hokkaido, Tokyo, Nagoya, Osaka and fukuoka.[16] In Japan, a large Live House like Zepp in Tokyo is also the first choice for many overseas singers.[16] The Zepp Tour is the venue for Japanese premiers by overseas singers and groups.[17] In China, music consumers aged between 22 and 40 are increasingly interested in Live House performances.[18] From 2014 to 2016, Chinese live houses fell into low tide period.[19] Some high-quality Live houses (such as Beijing Sparrow House) closed down, and the well-known MAO Live House once confronted with the survival crisis.[19] However, the small and medium-sized Live industry did not stop growing.[18] With the consumption growth and consumption upgrade, millennials have higher requirements on the interactivity and experience of entertainment products, and the box office revenue of Live House has increased significantly.[18]
Digital and online distribution
In 1997, musician Zhe Chen set up the first music website in China.
Regional Music Industry
East Asia
Chinese Music Industry
Chinese music market values licensed music, as 96% of Chinese consumers listen to licensed music and 89% of them listen to licensed audio streaming.
South Korea Music Industry
Until the end of 2018, South Korean music industry is mainly contributed by local music, 66% of South Korean consumers listen to K-pop and 22% of them listen to K-trot.
Japanese Music Industry
In 2012, Japan was analysed as the world's largest music recording market for the first time.[29] In the Japanese music industry, J-pop is very popular since 66% of Japanese consumers listen to it.[15] Music from comics is also listened by 29% of Japanese consumers.[15] Moreover, 50% of Japanese consumers listen to music by radio.[15] Although Japanese idol industry sells multi-million dollars, many Japanese pop stars are paid with low salaries.[28] The private lives of Japanese stars are also controlled by their agencies, or bound by contracts.[28] Many of them have to ask their agencies for permission to date and even get married.[28] While Japan led the world in the adoption of mobile consumer culture, such as ringtones, from the 1990s to the end of the 2000s, it has lagged behind in the adoption of streaming formats.[30] Naming the online streaming service "radio" is not as familiar to new media as it is in the us.[30] The lack of a legal licence further constrains the growth of streaming services, so they must negotiate rights with record labels, which are reluctant to offer Japanese content, including current top charts and out-of-date catalogues, to streaming companies.[30] Finally, smartphones took longer to catch on in Japan because the flip phones of the mid-2000s were so advanced that the iPhone didn't look as groundbreaking when it was released.[30]
South Asia
Indian Music Industry
The Indian music industry is mainly contributed by local music, and the Indian top 5 favorite genres are new
Bangladeshi Music Industry
Bangladesh claims some of the most renowned singers, composers and producers in Asia. Bengali music spans a wide variety of styles. Music has served the purpose of documenting the lives of the people and was widely patronized by the rulers. It comprises a long tradition of religious and regular song-writing over a period of almost a millennium. Currently, the thriving Bangladeshi music industry is one of the best in both quality and market in South Asia. There are many bands and artists releasing songs both independently and for the cinema industry in various genres.[citation needed]
Southeast Asia
Singaporean Music Industry
There are various music genres in Singapore, such as rock, punk, pop, and western classical music, and Singapore pop stars like Stefanie Sun and JJ Lin are also popular in both Singapore and China.[32] Singaporean music is based on various cultures, such as Chinese culture, Malaysian culture, Indian culture, and classical European culture.[32] The popular music industry in Singapore advocates that the western music is superior to the local music in Singapore.[33] Singaporeans are often sceptical about the quality of Singapore's musicians because they have "unrealistic" stereotypes about music.[33] Therefore, starting from the phenomenon that music types such as J-pop and K-pop have become an indispensable part of music culture in Singapore.[33]
Philippine Music Industry
Music of the Philippines (ᜋᜓᜐᜒᜃ ᜈᜅ᜔ ᜉᜒᜎᜒᜉᜒᜈᜐ᜔) include musical performance arts in the
Worldwide impact
In the process of the development of Asian music industry, the overseas market has been highly valued. For example, SM Entertainment's business revenue grew rapidly from 96.9 billion in 2010 to more than 300 billion in 2014.[11] At the same time, SM entertainment's overseas revenue accounted for more than 50% of the total revenue in 2012 and 2013, most of which came from the Japanese market and Chinese market.[12] SM Entertainment also actively expands overseas, establishing business in North America, Europe, Western Europe and Asia.[12]
The song "
Until the end of 2018, three Asian countries joined the top 10 music markets (2nd in Japan, 6th in South Korea, 7th in China). Among the ‘global top 10 albums of 2018’, two albums of
As many Asian countries appear on the stage of the worldwide music industry, the Chinese music industry and the South Korean music industry have a positive influence on market growth.[15] Until 2018, Asia has become the 2nd largest music industry of the combination of physical and digital music for the first time.[15] However, by analyzing the development of the digital music market in Asia, most countries began their music industry with a large proportion of international music-related products, since early music lovers were more likely to be well-educated English users.[15]
Associations and organizations
- Hong Kong Recording Industry Alliance (HKRIA)
- Indian Music Industry (IMI)
- Philippine Association of the Record Industry (PARI)
- Recording Industry Association of Japan (RIAJ)
- Recording Industry Association of Malaysia (RIM)
- Recording Industry Foundation in Taiwan (RIT)
- Recording Industry Association (Singapore)(RIAS)
- Thai Entertainment Content Trade Association (TECA)
See also
References
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- ^ Shin, H. (2009). Reconsidering transnational cultural flows of popular music in East Asia: transbordering musicians in Japan and Korea searching for" Asia". Korean Studies, 101–123.
- ^ Alechnowicz, K., & Chapman, S. (2004). The Philippine tobacco industry:"the strongest tobacco lobby in Asia". Tobacco Control, 13(suppl 2), ii71-ii78.
- ^ K-Pop: A New Force in Pop Music, pp. 47–79
- ^ a b c d e Li, F. (2011). The development of China's music industry during the first half of the 20th century. Journal of NEO, 1, 1–20.
- ^ Schuller, Gunther (1968). The history of jazz. Oxford University Press. p. 259.
- ^ a b c Otmazgin, N. K. (2008). Contesting soft power: Japanese popular culture in East and Southeast Asia. International Relations of the Asia-Pacific, 8(1), 73–101.
- ^ "Full List of Inductees » Country Music Hall of Fame". Archived from the original on 19 April 2012. Retrieved 27 May 2019.
- ^ a b Jones, A. F. (1992). Like a knife: Ideology and genre in contemporary Chinese popular music (p. 149). Ithaca NY: East Asia Program, Cornell University.
- ^ a b Oh, I., & Park, G. S. (2013). The globalization of K-pop: Korea’s place in the global music industry. Korea Observer, 44(3), 389–409.
- ^ a b Otmazgin, N. K. (2005). Cultural commodities and regionalization in East Asia. Contemporary Southeast Asia, 27(3), 499–523.
- ^ a b c d e f g h Lie, J. (2012). What is the K in K-pop? South Korean popular music, the culture industry, and national identity. Korea Observer, 43(3), 339–363.
- ^ Iwabuchi, K. (1994). Return to Asia? Japan in the global audio-visual market. Sojourn: Journal of Social Issues in Southeast Asia, 226–245.
- ^ a b Simran Bhargava (15 January 1991). "As music market expands rapidly, India becomes one of the largest producers of cassettes". India Today. Retrieved 16 May 2019.
- ^ a b c d e f g h i j k l m n o "MUSIC CONSUMER INSIGHT REPORT 2018" (PDF). ifpi.org.
- ^ a b c d e f Loubet, E. (2000). Laptop performers, compact disc designers, and no-beat techno artists in Japan: Music from nowhere. Computer Music Journal, 24(4), 19–32.
- ^ "Rock the House". Metropolis Magazine. 17 September 2009. Retrieved 5 June 2019.
- ^ a b c "北京Live House玩耍指南——燥起来吧年轻人". 简书. Retrieved 11 June 2019.
- ^ a b 网易 (20 January 2018). "在北京, Livehouse 还能不能由着性子做下去?|100 个有想法的人". ent.163.com. Retrieved 11 June 2019.
- ^ a b c Chiang, E. P., & Assane, D. (2009). Estimating the willingness to pay for digital music. Contemporary Economic Policy, 27(4), 512–522.
- ^ a b c Shen, X., Williams, R., Zheng, S., Liu, Y., Li, Y., & Gerst, M. (2019). Digital online music in China–A "laboratory" for business experiment. Technological Forecasting and Social Change, 139(C), 235–249.
- ^ "Trade Mission Engages Key Korean Music Professionals". National Academy of Recording Arts and Sciences. 13 September 2012. Retrieved 16 May 2019.
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- ^ a b "腾讯音乐10月18日将赴美上市 市值达310亿美元". 金融界. Retrieved 5 June 2019.
- ^ "2018年10月在线音乐APP活跃用户排行榜TOP10-产业排行榜-排行榜-中商情报网". top.askci.com. Retrieved 5 June 2019.
- ^ a b c Liang, Y., & Shen, W. (2016). Fan economy in the Chinese media and entertainment industry: How feedback from super fans can propel creative industries’ revenue. Global Media and China, 1(4), 331–349.
- ^ "NYT Draws Attention to K-Pop Idol-Making Factories". english.chosun.com. Retrieved 17 May 2019.
- ^ a b c d e Oi, Mariko (26 January 2016). "The dark side of Asia's pop music industry". Retrieved 4 June 2019.
- ^ Kyodo. "Japan surpasses US as world's biggest recorded music market". ABS-CBN News. Retrieved 16 May 2019.
- ^ a b c d Manabe, N. (2016). Streaming Music in Japan: Corporate Cultures as Determinants of Listening Practice. In Networked Music Cultures (pp. 67–76). Palgrave Macmillan, London.
- ^ a b c d Nowak, F. (2018). Indian Regional Music Videos as Dreamcatchers in the Attention Economy. Volume!, 14(1), 161–173.
- ^ a b Miller, T., & Williams, S. (Eds.). (2011). The Garland Handbook of Southeast Asian Music. Routledge.
- ^ a b c Fu, L. (2015). Popular music in Singapore: cultural interactions and the "Inauthenticity" of Singaporean music. In SHS Web of Conferences (Vol. 14, p. 02013). EDP Sciences.
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