By: Max Bülow Lassen // Foto: Line Svindt
During this year’s SPOT+ conference, film composers Jonas Struck and Jenny Rossander, aka. Lydmor, found their way to Aarhus for a talk about their work as film composers.
Ord: Max Bülow Lassen // Foto: Line Svindt
Under årets SPOT+-konference fandt filmkomponisterne Jonas Struck og Jenny Rossander, bedre kendt som Lydmor, vej til Aarhus til en snak om deres tilgang til filmkomponering.
Ord: Henriette Szocska // Foto: Line Svindt
Til et af lørdagens allersidste seminarer på SPOT+ var der stadig overskud til grin og masser af spørgsmål. Der var nemlig lagt i kakkelovnen til en god gammeldags dyst. Blandt de spændte deltagere var Halfdan E. fra Brancheforeningen for Film og Mediekomponister, Andreas Mølbak Henriksen fra Upright Music, Mette Zähringer fra Iceberg Music Group, Yebo fra Crunchy Frog og Laura Littauer fra Sundance Music.
By: Henriette Szocska // Photo: Line Svindt
At one of Saturday’s last SPOT+ conferences there was still plenty of laughs to be had and questions to be asked as we were invited to nothing less than a good ol’ “sync-off”. The contestants were Halfan E. (BFM), Andreas Mølbak Henriksen (Upright Music), Mette Zähringer (Iceberg Music Group), Yebo (Crunchy Frog), and Laura Littauer (Sundance Music).
Af Henriette Szocska
Foto: Line Svindt
Moderator og forperson for Autor, Anna Lidell, indledte samtalen om status på kønsbalancen med et oprids over, hvor svært det kan være for kvinder eller kønsminoriteter at begå sig i musikbranchen. Hun påpegede, at man i dag er kommet et langt stykke vej, men at der stadig er lang vej til en mere ligestillet og kønsbalanceret musisk scene.
By Henriette Szocska
Photo: Line Svindt
Moderator and head of Autor, Anna Lidel, began today’s session by reflecting on how difficult it is for women and gender minorities to exist in the music industry. She pointed out that we’ve come a long way, but there’s still a long way to go before we reach an equal and balanced music industry.
By Henriette Szocska
Photo: Line Svindt
Three individuals, who each represented different perspectives on the industry, were present to discuss how to build a sustainable future for the music industry. Despite their differences, they nodded in agreement to each other’s suggestions and hopes for sustainable music. In particular, they all agreed that people in positions of power must be held accountable and react before their initiatives can have any effect.
Ord: Henriette Szocska // Foto: Line Svindt
Stort set alle har adgang til streamingtjenester mod et mindre beløb. Det betyder også, at stort set alle, har adgang til stort set alt musik. Og som musiker tjener man i dag minimalt på at have sin musik liggende ude på streamingtjenester. I en paneldebat var der til SPOT+ samlet et panel bestående af direktør af Digidi, Henrik Leschly, stifter af Hun Solo og tidligere forsanger i Blue Foundation, Kirstine Stubbe Teglbjærg og kryptokunstner, Jonas Kasper Jensen. Henrik Leschly lagde ud med at ridse nogle ret vilde pointer op, der sætter musikernes indtjening på spidsen.
By: Henriette Szocska // Photo: Line Svindt
Just about everyone has access to streaming services. That also means that just about everyone has access to just about all music. And as a musician, you earn very little from having your music available on streaming services. To discuss new ways of monetizing music, SPOT+ had gathered a panel consisting of director of Digidi, Henrik Leschly, founder of Hun Solo and former lead singer of Blue Foundation, Kirstine Stubbe Teglbjærg, as well as crypto artist Jonas Kasper Jensen. Henrik Leschly began the discussion by listing some quite outrageous facts about musicians’ income sources.
By: Max Bülow Lassen // Photo: Line Svindt
Niels Mosumgaard, director of the Music Industry’s Network, found his way to this year’s SPOT+ conference to present the trade network’s outline for a collective export strategy for the Danish music industry. The plan was created in the shadow of two recently released rapports on the Danish and European music export strategy that both call for wide-spread changes to our understanding of music as an export product.
