Summus es un término procedente del latín que describe la grandeza de algo. En nuestro caso, SUMMUS es la conferencia que celebra la grandeza de la música: un encuentro en el que expertos de la industria de la música de todas partes se reúnen para compartir experiencias, crear consenso sobre los retos actuales y diseñar el panorama futuro.
SUMMUS es un foro ideal para debatir y conocer en detalle propuestas y necesidades para la identificación y distribución de derechos utilizando herramientas de vanguardia.
Javier Asensio, Director regional América Latina en IFPI
Flowers by Bornay, Carrer de Melcior de Palau, 36, 08028 Barcelona
Flowers by Bornay, Carrer de Melcior de Palau, 36, 08028 Barcelona
La conexión entre artistas y fans es más fácil que nunca gracias a la digitalización de la cadena de valor de la música. El número de artistas independientes (sin contratos con discográficas) está creciendo en todos los mercados emergentes, y parece que va camino de convertirse en uno de los segmentos más relevantes de la industria.
¿Seguirá creciendo el número de artistas independientes? ¿Cuáles son los vacíos en la industria que esto podría estar poniendo en evidencia?
Debatiremos acerca de la relevancia de estos artistas independientes en el mercado, examinaremos las herramientas actuales que están utilizando y discutiremos lo que pueden necesitar en un futuro cercano.
Los productos financieros siempre han formado parte de la industria musical – los pagos anticipados a los artistas pueden servirnos de ejemplo. Ahora vemos no solo a grandes artistas que venden sus catálogos sino también a instituciones financieras importantes que directamente han empezado a poseer activos musicales.
¿De qué manera la transición de la propiedad creativa de los activos musicales a la propiedad de las instituciones financieras impactará en los incentivos detrás de la industria de las regalías musicales?
Exploraremos el estado actual de esta tendencia, cómo está evolucionando y el potencial impacto en todos los que participan en el sector de las regalías musicales.
Web3 y NFT se han convertido de la noche a la mañana en términos familiares en la industria, y se están promocionando como una solución disruptiva para que los artistas moneticen su música. Conceptos como el copyright y las regalías están siendo cuestionados, y estamos siendo testigos de todo este proceso.
¿De qué manera esto puede cambiar los cimientos de la industria musical? ¿Cómo pueden las iniciativas de web3 alcanzar la descentralización? ¿Pueden hacerlo sin contradecir sus propios principios?
Trataremos de comprender cómo interactúan estas nuevas tecnologías con los ya conocidos desafíos a los que se enfrenta la industria musical en la actualidad.
Los 1.400 millones de consumidores de China se muestran como un gigantesco y tentador pastel con un mágico potencial. La edición y publicación musical está en su fase inicial en China y todavía hay muchos misterios por descubrir.
¿En qué se diferencia la edición musical en China del resto del mundo?
Trataremos de comprender los desafíos e identificar la singularidad del panorama chino.
Hay fuerzas que están pujando hacia la hiper-fragmentación del copyright: la explosión de artistas que hacen colaboraciones en canciones, la proliferación de IMEs, el aumento de plataformas de concesión de licencias, la ventaja financiera de los activos de copyright, las adquisiciones frecuentes, los nuevos tipos de uso, el creciente alcance de representación multiterritorial, las sublicencias… solo por nombrar algunas. Hasta ahora, las licencias han reunido a todos estos factores, pero la industria podría estar adaptándose a una nueva realidad más compleja.
¿Siguen los derechos mecánicos a los de ejecución? ¿Las ganancias del escritor y el editor se dividen de forma justa?
Trataremos de comprender hasta dónde puede llegar la fragmentación de las licencias, así como las diferencias que existen por país.
Los servicios de streaming y música bajo demanda ahora pueden sumar a la pandilla al mundo del gaming, de la creación de microvídeos y de las plataformas de redes sociales. La creciente abundancia de estas plataformas sigue desafiando el status quo de la concesión de licencias musicales, la identificación, el procesamiento, la recopilación y la distribución de datos.
¿Los procesos actuales evolucionarán o deberán crearse otros nuevos para adaptarse a los servicios de las plataformas actuales y futuras?
Exploraremos los cambios que ya se están realizando para lidiar con la proliferación de plataformas digitales.
Entre la creciente oferta de Vídeo bajo demanda (VbD), las emisoras han empezado a lanzar sus propias ofertas a la carta para competir con empresas como Netflix y Amazon. En medio de todos estos cambios, la concesión de licencias musicales, el procesamiento de regalías y las cue-sheets para las plataformas de Video bajo demanda están en el punto de mira.
¿Cuáles son los desafíos a los que se enfrenta la industria musical a la hora de conceder licencias para servicios VbD? ¿A cuáles hay que enfrentarse en las tareas de procesamiento, recopilación y distribución? ¿y quiénes lo hacen?
Exploraremos las tendencias y los desafíos de la concesión de licencias musicales y las regalías en la era del VbD.
Durante décadas los rankings han sido una medida del éxito en la industria musical. Sin embargo, a medida que los criterios para determinar el éxito continúan evolucionando, los rankings, tal y como son hoy en día, podrían ser cada vez menos relevantes para artistas, discográficas y consumidores. Quizás las listas deberían empezar a superar las normas de la industria para seguir siendo relevantes.
¿Cuáles serán los nuevos parámetros para determinar el éxito y cómo pueden evolucionar las listas de éxitos para contemplarlos? ¿Qué flujos de datos existentes y nuevos deben consolidarse en los rankings del futuro?
Evaluaremos las metodologías de compilación de rankings ya existentes y discutiremos cómo podrían evolucionar para mantenerse relevantes.
Originally from New York, Maija RIVENBURG is an artist manager and booking agency director, who is passionate about connecting artists with audiences. Since 2015, she lived in East Africa in Rwanda, Uganda, and Kenya working in theatre, festival administration, cultural event marketing, and music management. In 2020, Maija opened Kipepeo Agency, an artist management and booking agency which strives to journey together through metamorphosis, so that artists and teams work together to transform and mould the artistic brand. Kipepeo Agency currently represents Bakhita, GNL Zamba, Groovy Jo, Kuiyu, Liboi, Nsimbi, Suzan Kerunen, and Udulele. Maija is based between Uganda and Kenya and pursuing a Masters in Music Business Innovation from the International Music Business School in Barcelona, Spain through an online program. She is also an alumnus of the perFORM Music Incubator cohort 3 established by Muthoni Drummer Queen in Nairobi, Kenya.
Amelia Ideh is an artist development and communications consultant, currently building an artist education programme at Bandcamp. Her 17 years of experience in the music and cultural industries include marketing, fundraising, artist management, event production and promotion. Amelia is also a Clore Cultural Leadership Fellow and a former governor of The Place.
With more than 10 years in the industry, Angel has achieved a diversity of incursion in many different aspects of the music business. First he co founded of IndustriaMusical.com (2013) the leading media for the Spanish/Latin music industry, then cofounded IMES Entertainment Group a digital agency working with majors and big festivals along with the creation of a MGMT department where now he manage Nil Moliner, Vicco and Roi Mendez at the same time as he lead the Global Head of Trade Marketing at Ditto since 2018, after spending almost a couple of years at Believe.
Jósean Log is one of the salient names in the Latin American music scene of recent years, and also one of the most interesting projects not least because he has consistently maintained a 100% do-it-yourself approach to his admin and management, defying the industry standards in this and many other respects and proving that the role of the fully independent artist is here to stay.
John Chapman is the co-founder of Inkling Capital and the CIO of Dundee Partners. At Dundee Partners, John has led the family office's investments in the music space; which have included the founding of the joint venture with KKR to form Chord Music; which is one of the largest independent music rights owners in the world. In addition to investing in music rights, John actively invests in early-stage music technology companies from seed to late stage. Prior to working in the family office space, John helped to build several hedge funds and started his career at Lehman Brothers.
Mario Razzini is a Partner with Francisco Partners, one of the largest and most active technology-focused private equity firms in the world. At Francisco Partners Mario has been involved in several technologies, media, and music deals, including the acquisitions of Native Instruments, iZotope, Plugin Alliance and the creation of the Soundwide group of companies, as well as the announced acquisition of Kobalt Music Group. Prior to joining Francisco Partners, Mario worked at Arma Partners, an M&A advisory firm, where he focused on advising public and private technology companies in the software and IT services sector. Mario serves on the board of directors of Bybox, Kobalt Music Group, nShift and Soundwide (Native Instruments, iZotope and Plugin Alliance). He formerly served on the board of directors of ClickSoftware and LiveU.
Fernando is Managing Partner of Queka Real Partners, a Spanish private equity fund. Prior to joining Queka, Fernando was Managing Partner and Investment Director of the ProA Capital Founding team. He represented ProA Capital on a number of portfolio company boards, including Moyca, Saba Infrastructure, Palacios Alimentación Group and the Eugin Clinic. Prior to this, he worked at N+1 Private Equity and at Nazca Private Equity, participating in numerous deals. He began his professional career in the Corporate Finance department of ABN AMRO. Fernando holds a degree in Business Management and Administration from CUNEF.
Cherie Hu is the founder and publisher of Water & Music, a collaborative research and intelligence network for the music business. Previously, she penned hundreds of articles on music and tech as a freelance writer for publications including Billboard, Forbes, Pitchfork and Variety. She has spoken as an expert commentator on CNBC, CGTN America and SiriusXM Volume; as a guest lecturer at institutions like Harvard University, New York University, Northeastern University and Berklee Valencia; and as a moderator, panellist or keynoter at over 30 conferences around the world.
Jordi has a degree in law and more than twenty years of experience in the music sector. He co-founded and is CEO of Unison, the first private and for-profit music copyright management operator in Spain, one of the pioneers in Europe and one of the first two private music rights management companies accepted as Client RME in CISAC. Unison manages rights in close to 3M songs for +500 clients from 30 countries, collectively representing +40k rights holders.
Arnau quit his dream job where he was one of the main bookers at Primavera Sound to start his own company in the Web3 space. He has a wide background covering different areas of the music industry including marketing, consultancy, brand strategy, artist curation and business growth. He has worked for organizations like Discogs, Primavera Sound, Jägermeister, CCCB, Sinnamon Records, and Vida Festival among others.
Ms. Cherry Guo specializes in entertainment laws, especially in music industry. She was working as an in-house legal counsel in the International Federation of Phonographic Industry (IFPI) for six years before beginning to practice law in China in 2000. Benefitting from industry experiences, she is one of the top copyright lawyers in the entertainment industry in China. Cherry has rich experience in IP litigations and is especially good at handling complicated internet-related copyright disputes and unfair competition disputes.
Mathew has been one of the pioneers in the development of the music licensing market in China for the past 17 years, having started the distribution company, R2G with his partners. After the acquisition of R2G by Tencent Music in 2016, Mathew moved to NetEase Cloud Music (NCM) to head up their International Music division.
Zhou Hao is the Senior Digital Manager at Universal Music Publishing China. He is well connected in the local digital realm to establish comprehensive partnerships with major digital and new business partners in China. Prior to joining UMP, Zhou Hao was the BD Manager of Global Partnership at Tencent, engaged with all the critical digital content units within the Group to develop publishing strategies with platform partners.
Benjamin Ng is the Regional Director for Asia-Pacific of the International Confederation of Societies of Authors and Composers (CISAC). He is closely involved in the collective management of copyright and legislative lobbying in the region. Prior to joining CISAC, Benjamin Ng was the Regional Counsel of IFPI's Asian Regional Office. There, he suprvised major civil litigation including cases initiated by record companies against Baidu, Yahoo! China and Xunlei.
Lucius Klobučník is a lecturer in intellectual property law at Aston University, Birmingham, UK. He holds a PhD degree from Queen Mary University, London, and Max Planck Institute for Innovation and Competition in Munich (Augsburg University). His main research focus is on copyright law (especially music rights), intellectual property in new technologies, and platform liability. As part of his PhD research project, he worked at the German collective management organisation in music rights (GEMA) in Munich, and at CISAC (Confederation of societies of authors and composers) in Paris.
Eric has more than 15 years of experience in legal advice on intellectual property and competition law matters, with special emphasis on matters related to the creative industries, having represented all types of clients before Spanish and European Courts and competition authorities.
Kamil is Director, Digital Legal Affairs at Warner Chappell Music. Kamil maintains Warner Chappell’s contractual relationships and content licences with digital service provider partners for the EMEIA region as well as advising on regulatory and industry affairs internally. Kamil also sits on the UK’s Music Publisher Association’s Public Affairs and Governance Committee and is currently chair of the International Confederation of Music Publishers’ Legal Expert Group.
Cherie Hu is the founder and publisher of Water & Music, a collaborative research and intelligence network for the music business. Previously, she penned hundreds of articles on music and tech as a freelance writer for publications including Billboard, Forbes, Pitchfork and Variety. She has spoken as an expert commentator on CNBC, CGTN America and SiriusXM Volume; as a guest lecturer at institutions like Harvard University, New York University, Northeastern University and Berklee Valencia; and as a moderator, panellist or keynoter at over 30 conferences around the world.
Director of Labels and Publishing Operations at YouTube, Greg’s team supports collection societies and music publishers globally and assists the Licensing, Engineering and Product teams to launch new products and business models on YouTube.
As the current Director of Licensing Operations at Kobalt Music Publishing, Chelsea oversees the Global Digital Operations of Digital Partnerships as well as Mechanical Licensing in the US. With a natural curiosity towards new media, she has gathered a keen understanding of new digital platforms and the impact of operations at a publishing level. Being a performing artist herself, she previously managed the Iridium Jazz Club in Times Square and worked at BMG as a consultant for catalog acquisitions.
Julien Lefebvre is head of Digital Strategy and Innovation at SACEM, the French Author Rights Company. After ten years consulting in IT architecture, Julien joined SACEM in 2016 as chief enterprise architect. Since then, he and his team have been involved in the IT strategy and in all the major business and technological transformations: online processing, lives, repertoire management, customer and members relationship management and international collaboration. Since the end of 2019, Julien is also in charge of SacemLab, the Sacem innovation team. In this new role, he works closely with the music tech ecosystem and especially with startups, to identify and leverage opportunities to bring value to the members and customers.
Magali Clapier has more than 20 years of experience in the music industry. Working for industry bodies, French and EU regulators, for a start-up, and now for the leading music service, she has gathered comprehensive and wide expertise on music data and royalties flows. She also serves as a key contributor to DDEX. At Spotify, she is the lead for publishing operations strategy: aiming at improving the royalties process on a global scale, driving and implementing changes internally and in collaboration with the societies and publishers.
A practising lawyer in Barcelona, Enric is specialized in copyright and personal image rights, representing clients in different areas of the creative industries: music, film & TV, arts, publishing, sports and media. He is the author of several works on these subjects and teaches them as a professor in different courses and programs.
Following several years experience in the international business of audio-visual neighbouring rights at Germany’s GVL, Tobias joined ICE in 2016. In his current role as a Senior Product Owner he’s responsible for the successful delivery of the upcoming AV system as well as ICE’s new data analytics platform for its eight Copyright and ten Online services customers.
John’s background is steeped in music, having studied at the St. Petersburg Conservatoire in Russia, before life as a professional orchestral musician, then reverting to his university law studies in moving towards industry work. His career includes several years at label trade body IFPI, before his appointment to lead ICMP – the global voice of music publishing. John has lectured at Lausanne University and The Paris School of Business Management. He’s a fan of just about every kind of music, from Public Enemy to Puccini, J Dilla to Jon Hopkins, Shostakovich to Stiff Little Fingers.
Peter’s first career was as a songwriter and performer. He has worked in the UK television production and broadcasting industry for the last 25 years specialising in music rights. His career has included ITV television and 16 years at the BBC where he was responsible for all music licensing agreements for television, radio, online media before being Head of Rights for the BBC World Service. Peter joined Sky Television as Head of Music in January 2013 and became Director of Music in 2018 where he leads Sky’s music teams covering Licensing, Creative, and Reporting as well as Sky's Music Publishing and Library businesses.
Mélina has spent 11 years at The Walt Disney Company in Paris, in the audiovisual department as a Channel & Digital Sales Development Manager licensing deals with VOD/SVOD platforms and working on the distribution of the Disney Channels through operators in France. Mélina joined SACEM, the French Author Rights Company, in 2021 as head of VIDEO. Since then, she and her Team are working on Licensing VOD/SVOD platforms in the Territory.
Over the past 9 years, Kasper has specialized in processing music rights on digital platforms. As a project and process manager at the Danish collective management organization Koda, he has been responsible for establishing efficient reporting and distribution practices for various VOD services and has also been heavily involved in Koda’s handling of multiterritorial music streaming services. Kasper is a former musician and songwriter and has a master in musicology and media science from The University of Copenhagen.
Summus es un evento organizado por BMAT
que tendrá lugar el 3 y 4 de octubre en Flowers by Bornay y la sede de BMAT.