Tag Archive: EMI


Hélène Muddiman is a multi-award-winning composer and songwriter who has won the Accolade Award for Excellence in Music, the Moondance Award for best Original score and also been nominated for the prestigious World Soundtrack Award Discovery of the Year, an Ivor Novello Award and the Hollywood Music in Media Award. As an artist, Hélène was signed to EMI Records and Music Publishing at the age of 18. She is now signed to Sony/ATV writing film music and hit songs including 2 top 5 hits from the Gold selling album ‘Free Me’ by Emma Bunton (one of the Spice Girls). She has numerous film and TV credits which show her experience in drama, animation, comedy, thrillers, documentaries, action and advertising. She is classically trained and plays a range of instruments, including guitar, bass, keyboards and piano. Her singing has featured on many of Hans Zimmer’s film scores and several pieces for television, and various hits for other artists. She has 2 albums out through EMI for KPM produced by Harry Gregson-Williams and is presently composing the score for a new feature film which is a thriller entitled ‘Stealing Sam’, Starring Ray Liotta.

Film Credits

Skin
Jean
Candy
A Fist Full of Pizza
Modern Paints Uncovered
Asian Organic Colorants
Santa’s Little Helper

Songs

“Free Me” – Emma Bunton
“I’ll Be There” – Emma Bunton
Pop Idol winners through Sam Fuller’s 19 Management

TV Credits

The Cramp Twins – Cartoon Network
The Murder Game – BBC /Fox
Four Walls – BBC
G Force – BBC
Pride – BBC
Animal Zone – BBC
Life According to Fred – BBC
That’s Showbusiness – BBC
Tip Top Challenge – BBC
Edinburgh Nights – BBC
Webwise Challenge – BBC
Friends for Dinner – BBC
Gary Rhodes – BBC
The Cram – BBC
The Pocket-sized Guide to Parenting – BBC
Welcome to Britain – BBC
Trevor and Simon Summer Special – BBC
Pop Pickers – BBC
Jake’s Progress with Elvis Costello – Channel 4
Dishes for Channel 4
Zero to Hero –Channel 4
Gayle’s World for ITV,
The Trisha Show – ITV

Her music has also featured on the following TV shows : Mr. Bean, Equinox, Oprah Winfrey Show, Ren and Stimpy, The Ruth Rendle Mysteries, QED, Eurotrash, The Good Sex Guide, Dream On, Transworld Sport, Good Morning with Anne and Nick, Special Babies, Michael Barrymore, Vintage Thames, The Frost Programme and GMTV. In the US her library music has featured on many shows including The Tonight Show with Jay Leno, The Oprah Winfrey Show, The Drew Carey Show, Dream on, Access Hollywood, Ren and Stimpy, Walt Disney World Summer, Martha Stewart Livin, Zoom, Spongebob Squarepant, Bill Nye the Science Guy.


Phillip A. Cartwright, CEO HorizonVU Music and Professor of Economics ESG Management School

Régis Chenavaz, Régis Chenavaz, Assistant Professor of Economics Euromed Management

Once there were four majors – EMI, Sony, Universal and Warner. Now there are three. Vivendi, owners of Universal, will acquire the EMI record companies. Universal CEO Lucian Grainge on buying the EMI stated “This is an historic acquisition for UMG and an important step in preserving the legacy of EMI Music…. we will be better positioned to fully capitalise on the many new and exciting opportunities in the current marketplace, and also able to better serve our artists, songwriters and business partners, while offering fans even more choice”.

Innovations have severely impacted the music industry. File sharing software, download and streaming sites have now been in operation for years. The music industry failed to see opportunities. Internet-based innovations such as music downloading with ITunes, Amazon, Deezer and others should have been a signal of opportunities, and the market should have been investigated for the development of new services. Instead, majors began lengthy legal actions to prevent the phenomenon.

Innovation is a source of growth for majors and disruptive innovation – breaking the market status quo and establishing a new technology or leveraging an existing technology to a new dimension – is a major source of growth. In the music industry, disruptive innovation is hard to achieve because majors do not necessarily wish to upset the marketplace. Disruptive innovation might require the reorganization of the major and its personnel or the change of long-term relationships with the artist and fans.

A classic explanation of the failure to achieve disruptive innovation is the failure to launch an artist or a service into the market. This launch requires significant effort on the part of multiple players. Decisions must be made concerning “proof of concept”, pricing, availability and advertising. Successful product introductions require successful cooperation in the value chain from the artist to the fans.

Many reasons explain the difficulties for disruptive innovation. The least sophisticated, but most obvious reason is the failure to see or make sense of a significant change in the market’s environment and a willingness to craft an effective response. In the past, majors seeking disruptive ideas did not recognized them. Opportunity emerges from the connection between the majors’ capabilities and the fans’ needs. Indeed, the supply-push and demand-pull sides of the innovative process are equally important to create value.

The majors failed to recognize disruption, and started to litigate against fans who were downloading their artists. Litigation as primary and sole action is inappropriate. Whether or not the planned merger of Vivendi and EMI meets with approval of antitrust authorities remains to be seen. It may be well and good that so many wonderful artists will be under the umbrellas of three labels. What is most important for the music industry is to profit from disruption to structure new economic models in the very interest of the artists, the majors and the fans.

Visit Régis Chenavaz at sites.google.com/site/regischenavaz/

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