2014

Olivia Jack

Global Music Industries

Comparing the music industry in the UK and China with

regards to music piracy.

Olivia Jack
BA4 Music Business
University of the Highlands and Islands

Contents
Introduction ............................................................................................................................................ 2
A Brief Insight into the UK Music Industry .............................................................................................. 3
Consumer Trends within the UK ............................................................................................................. 4
How Does The Music Industry Engage With Consumers in the UK? ...................................................... 5
Legislation Effecting the UK Music Industry ........................................................................................... 6
Industry Bodies That Are Trying to Minimise Piracy in the UK ............................................................... 7
A Brief Insight into the Chinese Music Industry ...................................................................................... 8
Consumer Trends within China ............................................................................................................... 9
How Does The Music Industry Engage With Consumers in China? ...................................................... 10
Legislation Effecting the Chinese Music Industry ................................................................................. 12
Industry Bodies That Are Trying to Minimise Piracy in China ............................................................... 13
Conclusion ............................................................................................................................................. 14
References ............................................................................................................................................ 15
Appendix 1 ............................................................................................................................................ 18

Introduction
Very few things in the world that have the ability to transcend social and geographic
boundaries to connect citizens from all over the world, it is predominantly creative
industries such as art, architecture and music that have the power to act as an international
language and connect people from all walks of life. A passion for music may not change
from one territory to another but other matters such as consumer behaviour and
consumption, cultural trends and government legislation can all affect that particular areas
music industry.
This research paper will explore the current consumer trends in the UK and China with
regards to legislation. There are numerous articles that inform you of the levels of piracy in
China but with no explanation or suggestion as to why the rate is so high, I would like to use
this report to discover the possible causes that encourage consumers to illegally download
in this territory.
There will be an analysis of government policies and their enforcement of new laws, trade
bodies in relation to music piracy and the different struggles that each territory faces. The
examination of each territory will show the strengths and weaknesses of their structure and
will allow the reader to assess what actions- if any- should be taken in the future to improve
the Chinese and UK anti-piracy methods.

A Brief Insight into the UK Music Industry

The UK music industry is the 4th largest music market in the world, with the GVA sitting at
3.5 Billion in 20131 . The UK music industry has suffered at the hands of the current
recession and the digital age, with industry income (physical formats, online, mobile,
streaming and other digital music content) slumping from 1,233.1 million in 2003 to 730.5
million in 20132.
Music streaming services such as Spotify and Deezer have allowed the industry revenue to
slowly climb up but there is doubt that the industry will ever generate the same amount of
revenue as they did before the peak of digital piracy. The industry has turned its eyes to
alternative avenues of revenue out with the recording sector such as live music,
merchandise and advertising to attempt to make up the loss that has been a result of digital
piracy.

UK Music, December 2013. The Economic Contribution of the Core UK Music Industry.
http://www.ukmusic.org/assets/general/Summary_Document__The_Economic_Contribution_of_the_Core_UK_Music_Industry.pdf First accessed 24/10/14
2
BPI Yearbook, 2014. Industry Income. https://www.bpi.co.uk/assets/files/Industry%20Income_2014.pdf First
accessed 24/10/14

Consumer Trends within the UK

There is no simple answer as to why music piracy is rife in the UK but there are multiple
factors which could have led consumers down the route of illegal downloads. The country
has been hit with a double recession and the GDP per capita for 2014 was estimated at
$37955.11 (approx. 23591.45) compared to 2008 where the GDP per capita was $40230.96
(approx. 25006.04)3. Household income has reached a low while inflation is still high, with
goods such as petrol increasing by 54%4 within those 5 years, meaning that households have
a reduced amount of disposable income.
Over recent years the UK has become more culturally diverse, with net long-term
migrationestimated to be 243,000 in the year ending March 20145. UK residents are
becoming more accustomed to diversity within their towns and cities but they are still
reluctant to buy foreign products. This is the case in most developed countries and there are
various suggestions as to why, the most relevant being ethnocentrism. The UK has a strong
sense of patriotism and this has inevitably transferred into buying patterns which makes it
difficult for foreign businesses to break into the UK market.

Trading Economics. United Kingdom GDP per capita (1960-2014) http://www.tradingeconomics.com/unitedkingdom/gdp-per-capita First accessed 25/10/14
4
BBC News. 12/05/13/ Recession prompted unprecedented fall in wages.
http://www.bbc.co.uk/news/business-22860320 First accessed 25/10/14
5
Office for National Statistics. 28/08/14. Migration Statistics Quarterly Report, August 2014.
http://www.ons.gov.uk/ons/dcp171778_375307.pdf First accessed 05/11/14

How Does The Music Industry Engage With Consumers in the UK?
The industry has had to think of new ways to engage with consumers to encourage them to
purchase music. Artists are forming partnerships with brands to generate a personal income
and also promote their work.
Social media has allowed the music industry to attract a
greater audience and advertise new music; four of the top
ten most liked pages on Facebook are by musicians6.
Genevieve Ampaduh, Head of Digital Marketing at Sony
Music claimed that:
Social media has changed the face of music marketing forever. The ability for artists to
reach out to their potential fans in every corner of the globe in real time is incredibly
powerful and cannot be replicated by traditional media.7
Not only are artists and labels able to advertise and promote their work to their target
market by using social media, they are able to assess the market, understand what the
public wants and engage with them on a personal level.
The industry has also tried to use modern developments to engage
with consumers. In October, 2012, UK artist Calvin Harris released his
third studio album on Columbia Records. The labels aim was to
encourage a single track-buying audience to engage with the full
album8 by creating a free app for iPhone and Android users which
allowed them to stream the full album for free if they kept dancing (assessed by the
accelerometer sensor on smartphones) and fans were able to then unlock additional
content if they scanned the album sleeve.

BPI: Digital Music Nation 2013. http://www.bpi.co.uk/assets/files/BPI_Digital_Music_Nation_2013.PDF First

accessed 26/10/14
7
BPI: Digital Music Nation 2013. http://www.bpi.co.uk/assets/files/BPI_Digital_Music_Nation_2013.PDF First
accessed 26/10/14
8
BPI: Digital Music Nation 2013. http://www.bpi.co.uk/assets/files/BPI_Digital_Music_Nation_2013.PDF First
accessed 26/10/14

Legislation Effecting the UK Music Industry

In 2010 the British government created The Digital Economy Act, legislation which aims to
tackle internet piracy by working with internet service providers to target those who are
suspected of copyright infringement.
In theory, this is an excellent idea however, issues in
parliament arose which meant that the bill has yet to be
fully put into practice. Starting in 2015, up to 4 warning
letters can be issued to households that are suspected of
copyright infringement from their ISP but if people ignore
the warnings, no further action will be taken9.
The aim no longer seems to be to punish those who engage with piracy, they simply want to
inform the perpetrator that what they are doing is illegal. This would be a reasonable action
around 2002 when not all consumers were fully aware of what was considered illegal when
it came to music but in 2014 music piracy is common knowledge. Making a user aware of
their actions without any form of threat of consequences could prove ineffective.

BBC News . 19/07/14/ UK anti-piracy campaign set to begin. http://www.bbc.co.uk/news/technology28374457 First accessed 25/10/14

Industry Bodies That Are Trying to Minimise Piracy in the UK

There are numerous companies and organisations within the UK that support the anti-piracy
movement, with many of them financially supporting the projects. The Anti-Piracy Unit was
originally formed by the BPI works with UK enforcement agencies to investigate complaints
regarding copyright infringement.

As shown in appendix 1, there are multiple organisations working towards minimising music
piracy in the UK but very few seem to be particularly effective in their battle.
In my opinion, it would seem more efficient to have one major organisation that was able to
be branded and noticed by the public instead of smaller organisations that no one seems to
have heard of. Perhaps in the future some of these organisations will merge and have more
support from the government which will enable them to combat piracy with more success.

A Brief Insight into the Chinese Music Industry

The Chinese market was ranked the 21st largest music market in the work in 2013, with
revenues estimated at $82.6 million10. There are approximately 1.4 Billion11 people in China,
which is almost 22 times more than the UK which sits at approximately 64.1 million12.

China has the potential to be the leading music market due to the sheer size of the country
but Chinese music charts indicate that they have a minimal interest in Western music, with
only one Western artist Adam Levine in the top 30 chart for week 42 of 201413.
In comparison to the UK, it seems as though music is not particularly valued, there appears
to be a pervasive lack of genre awareness14 and after listening to some of the chart music,
you could tell that all of the music had a similar trend, none of the music had a real
uniqueness or edge. The main issue which has engulfed the Chinese music market is piracy
which both the industry and the government are trying to kerb through various methods.

10

IFPI: Digital Music Report 2014. http://www.ifpi.org/downloads/Digital-Music-Report-2014.pdf First

Accessed 15/10/14
11
World Population Statistics. 19/02/14. Population of China 2014.
http://www.worldpopulationstatistics.com/population-of-china-2014/ First accessed 28/10/14
12
Office for National Statistics. June 2014. Population & Migration. http://www.ons.gov.uk/ons/guidemethod/compendiums/compendium-of-uk-statistics/population-and-migration/index.html First accessed
28/10/14
13
J-pop Asia. No date provided. http://www.jpopasia.com/charts/ First accessed 28/10/14
14
Hypebot.com. 14/03/14. Positive Changes in Chinese Music Industry Happening Behind the Scenes.
http://www.hypebot.com/hypebot/2014/03/positive-changes-in-chinese-music-industry-happening-behindthe-scenes.html First accessed 28/10/14

Consumer Trends within China

The IFPI estimated that there is a 99% digital piracy rate in China15 but there is no real
reasoning for why it is so high in this particular territory. It could be argued that copyright
infringement has been passed through the generations in China, with the UN Office on
Drugs and Crime releasing a report which claimed that 70% of all counterfeits seized
globally come from China16.
The Chinese population struggled in the past, most recently in the 1990s, with the average
GDP sitting at less than $100017, many people lived complete squalor: showering with a
bucket and water outdoors and living on mostly vegetables and rice as meat was considered
a luxury. They were working in factories with atrocious conditions for a minimal amount of
money to support their families and by the early 2000s they decided that they would no
longer stand for it, they started to demand better pay or they would simply leave and work
elsewhere.
There is now a rising middle class that is hungry for consumer goodsand is ready to
spend18, its just a matter of where they spend their money. There is a limit as to what the
Chinese public can actually consume due to their restrictive government who are reluctant
to allow western influences into the country, which may seem overbearing to outsiders but
in a 2011 survey of 18 countries, the Word Health Organization (WHO) found Chinese are

15

IFPI. Digital Music Report 2012: Expanding Choice. Going Global

http://www.ifpi.org/content/library/DMR2012.pdf First accessed 29/10/14
16
Business Insider. 25/05/13. Mark Turnage. http://www.businessinsider.com/most-counterfeit-goods-arefrom-china-2013-6 First accessed 29/10/14
17
Rein, Shaun. 2014. The end of cheap China: economic and cultural trends that will disrupt the world.
Hoboken: Wiley. Print. Page 8
18
Usunier and Julie Lee. 2005. Marketing across Cultures Fourth Edition. Harlow, England New York: Financial
Times/Prentice Hall. Print. Page 123

happier overall than any other population19, indicating that the population are generally
quite happy with the way things are run in their country.
Decision makers in China are often different from decision makers in the West, making the
value chain longer and more complicated20.
The Chinese have an ingrained sense of family tradition which means that it is expected that
younger members of the family will heavily contribute towards the family finances, taking
care of their elders. This means that although they may have retained some of their income
to spend on whatever they like, they are heavily influenced by their family into what they
buy and will always seek approval from them. Consumers may have more to spend than
they did in the 1990s in China but they are not flippant with their money, instead they look
for a quality product that their friends and family will approve of due to their strong sense
of community.

How Does The Music Industry Engage With Consumers in China?

It is difficult to fully assess the way that they Chinese consume music due to the consistently
high levels of piracy, there is no real way to understand when true consumer engagement
with the music stopped and why this happened. The music industry in China has decided
that it would be best to try and wipe the slate clean, dramatically reduce piracy and then
start from the beginning again but they must continue to generate revenue in the
meantime.
Music streaming has become more popular in China, with KKBOX being the most popular
service in Asia with over 10 million users21. Similarly to Spotify, has a free advertised based
model and a premium model, both of which generate royalties for artists. However, the
company is not concerned about Western streaming companies targeting China because

19 Rein, Shaun. 2014. The end of cheap China: economic and cultural trends that will disrupt the world.
Hoboken: Wiley. Print. Page 49
20 Rein, Shaun. 2014. The end of cheap China: economic and cultural trends that will disrupt the world.
Hoboken: Wiley. Print. Page 60
21
Techcrunch.com. 27/08/14. Catherine Shu. Taiwan-Based Streaming Music Service KKBOX Raises $104m to
Expand Overseas http://techcrunch.com/2014/08/27/taiwan-based-streaming-music-service-kkbox-raises104m-to-expand-overseas/ First accessed 30/10/14

they doubt that they will be able to strike deals with local music labels, which take a 70
percent to 85 percent market share over Western labels22.
Social media is also very popular in China with Renren being the most popular platform.
Some basic research has indicated there is an application on the site similar to Facebooks
music app and you are also able to advertise on the site, however, there is no way to assess
the industrys engagement with consumers without access to the site.
The country has also had the innovative idea to create to create a music village which will
harbour recording studios, music schools, luxury hotels and an arena in the shape of a peach
all in one large compound. Government officials have said that it will take over 10 years to
build the compound and around 2,261,700,00023 but the hope is that it will encourage
consumers to engage with culture once again and help the Chinese creative industries to
generate greater revenue.

22

Techcrunch.com. 27/08/14. Catherine Shu. Taiwan-Based Streaming Music Service KKBOX Raises $104m to
Expand Overseas http://techcrunch.com/2014/08/27/taiwan-based-streaming-music-service-kkbox-raises104m-to-expand-overseas/ First accessed 30/10/14
23
Rockol.com. 31/12/12. China: a government-funded Music Valley to boost the music industry
http://www.rockol.com/uk/news-455939/china-a-governmentfunded-music-valley-to-boost-the-musicindustry First accessed 29/10/14

Legislation Effecting the Chinese Music Industry

My online research indicates that there

was no implemented copyright law in
China until 1991 when The Copyright Law
of the Peoples Republic of China24 was
brought into play. The regulations were
updated in 2005 to address internet piracy
by making ISPs liable for penalties if they
knowingly allow users to transmit material
which breaches copyright legislation over its network and the service providers can also be
penalized if they do not remove the material after being notified.
Due to the ineffectiveness of this legislation, Universal, Sony and Warner united with Baidu,
Chinas most popular search engine (similar to Google) who pledged to close its infringing
deep-linking music search service25 in an attempt to minimise piracy. Baidu now offers a
music streaming service with a free and subscription model which once again generates
royalties for artists without taking money directly from the consumers pocket. There seems
to be very little hope that legislation will help the music industry, instead the industry are
looking into other ways to combat piracy and generate revenue such as music streaming.

24

US Embassy Beijing and China Intellectual Property Rights. http://beijing.usembassychina.org.cn/copyright.html First accessed 30/10/14
25
IFPI. Digital Music Report 2012: http://www.ifpi.org/content/library/DMR2012.pdf First accessed 29/10/14

Industry Bodies That Are Trying to Minimise Piracy in China

The main industry body that is working towards combatting piracy is the Music Copyright
Society of China, a non-profit society that was formed in 199226. The association does not
seem dissimilar to that of the PRS, they represent the rights of their members but also have
the power to take action against those who are infringing copyright laws.
Overall, there seems to be a somewhat lackadaisical approach to legislation and supporting
bodies in China and it could be argued that this is contributing towards the high piracy levels
because the public know that no rules are being enforced.
There is a strong sense of helplessness when it comes to piracy prevention because the
country is too far gone and any time spent attempting to combat the issue would be time
better served elsewhere. A small amount of hope comes from Baidus partnership with the
record labels, it has the potential to transform the way Chinese consumers think over a
period of time but there is no quick solution.

26

Music Copyright Society of China. 2010. General Introduction.

http://www.mcsc.com.cn/Introduction.php?partid=28 First accessed 10/09/14

Conclusion
Both territories have been victimized by the financial economy which has left them cautious
of spending their disposable income on cheap products. This means that new companies are
struggling to break into these markets because the consumers lack a willingness to open up
to new brands,
Both parties have attempted to embrace technology in the battle against piracy. With
mobile providers such as China Mobile and Vodafone engaging in the movement and
allowing users to have access to music streaming services on their device for free but also
offering a subscription model. There are of course other ways to generate revenue but it
looks as though streaming services are the most efficient way to make up the revenue gap.
When it comes to legislation both parties seems to be struggling somewhat. The UK has a
stronger hold on using legal action and anti-piracy organisations to combat the issue with
China lagging behind due to their weaker infrastructure. China would benefit from taking on
board some of the legislation that the UK has put into place; however, both parties should
significantly improve their methods of implementation and consider re-evaluating the
success of their trade bodies.
Overall, the UK music industry is more advanced but we must remember that China is a
developing country, evident by the constant reform that government policies undergo27.
This does not mean that the UK cannot learn something from the Chinese music industry,
there is much to be said about their innovative idea to combat piracy by having record
labels teaming up with Baidu. Instead of admitting defeat, the industry has decided to adapt
their plan of action and target music piracy in the best way that they see fit, without the
support of strong legislation enforcement behind them.

27

Rein, Shaun. 2014. The end of cheap China: economic and cultural trends that will disrupt the world.
Hoboken: Wiley. Print. Page 55

References

1. UK Music, December 2013. The Economic Contribution of the Core UK Music

Industry. http://www.ukmusic.org/assets/general/Summary_Document__The_Economic_Contribution_of_the_Core_UK_Music_Industry.pdf First accessed
24/10/14
2. BPI Yearbook, 2014. Industry Income.
https://www.bpi.co.uk/assets/files/Industry%20Income_2014.pdf First accessed
24/10/14
3. Trading Economics. United Kingdom GDP per capita (1960-2014)
http://www.tradingeconomics.com/united-kingdom/gdp-per-capita First accessed
25/10/14
4. BBC News. 12/05/13/ Recession prompted unprecedented fall in wages.
http://www.bbc.co.uk/news/business-22860320 First accessed 25/10/14
5. Office for National Statistics. 28/08/14. Migration Statistics Quarterly Report, August
2014. http://www.ons.gov.uk/ons/dcp171778_375307.pdf First accessed 25/10/14
6. BPI: Digital Music Nation 2013.
http://www.bpi.co.uk/assets/files/BPI_Digital_Music_Nation_2013.PDF First
accessed 26/10/14
7. BPI: Digital Music Nation 2013.
http://www.bpi.co.uk/assets/files/BPI_Digital_Music_Nation_2013.PDF First
accessed 26/10/14
8. BPI: Digital Music Nation 2013.
http://www.bpi.co.uk/assets/files/BPI_Digital_Music_Nation_2013.PDF First
accessed 26/10/14
9. BBC News. 19/07/14/ UK anti-piracy campaign set to begin.
http://www.bbc.co.uk/news/technology-28374457 First accessed 25/10/14
10. IFPI: Digital Music Report 2014. http://www.ifpi.org/downloads/Digital-MusicReport-2014.pdf First Accessed 15/10/14
11. World Population Statistics. 19/02/14. Population of China 2014.
http://www.worldpopulationstatistics.com/population-of-china-2014/ First accessed
28/10/14

12. Office for National Statistics. June 2014. Population & Migration.
http://www.ons.gov.uk/ons/guide-method/compendiums/compendium-of-ukstatistics/population-and-migration/index.html First accessed 28/10/14
13. J-pop Asia. No date provided. http://www.jpopasia.com/charts/ First accessed
28/10/14
14. Hypebot.com. 14/03/14. Positive Changes in Chinese Music Industry Happening
Behind the Scenes. http://www.hypebot.com/hypebot/2014/03/positive-changesin-chinese-music-industry-happening-behind-the-scenes.html First accessed
28/10/14
15. IFPI. Digital Music Report 2012: Expanding Choice. Going Global
http://www.ifpi.org/content/library/DMR2012.pdf First accessed 29/10/14
16. Business Insider. 25/05/13. Mark Turnage. http://www.businessinsider.com/mostcounterfeit-goods-are-from-china-2013-6 First accessed 29/10/14
17. Rein, Shaun. 2014. The end of cheap China: economic and cultural trends that will
disrupt the world. Hoboken: Wiley. Print. Page 8
18. Usunier and Julie Lee. 2005. Marketing across Cultures Fourth Edition. Harlow,
England New York: Financial Times/Prentice Hall. Print. Page 123
19. Rein, Shaun. 2014. The end of cheap China: economic and cultural trends that will
disrupt the world. Hoboken: Wiley. Print. Page 49
20. Rein, Shaun. 2014. The end of cheap China: economic and cultural trends that will
disrupt the world. Hoboken: Wiley. Print. Page 6
21. Techcrunch.com. 27/08/14. Catherine Shu. Taiwan-Based Streaming Music Service
KKBOX Raises $104m to Expand Overseas
http://techcrunch.com/2014/08/27/taiwan-based-streaming-music-service-kkboxraises-104m-to-expand-overseas/ First accessed 30/10/14
22. Techcrunch.com. 27/08/14. Catherine Shu. Taiwan-Based Streaming Music Service
KKBOX Raises $104m to Expand Overseas
http://techcrunch.com/2014/08/27/taiwan-based-streaming-music-service-kkboxraises-104m-to-expand-overseas/First accessed 30/10/14
23. Rockol.com. 31/12/12. China: a government-funded Music Valley to boost the
music industry http://www.rockol.com/uk/news-455939/china-agovernmentfunded-music-valley-to-boost-the-music-industry First accessed
29/10/14
24. US Embassy Beijing and China Intellectual Property Rights.
http://beijing.usembassy-china.org.cn/copyright.html First accessed 30/10/14

25. IFPI. Digital Music Report 2012: http://www.ifpi.org/content/library/DMR2012.pdf

First accessed 29/10/14
26. Music Copyright Society of China. 2010. General Introduction.
http://www.mcsc.com.cn/Introduction.php?partid=28 First accessed 10/09/14
27. Rein, Shaun. 2014. The end of cheap China: economic and cultural trends that will
disrupt the world. Hoboken: Wiley. Print. Page 55
28. PRS for Music. Anti-Piracy Unit Related Anti-Piracy Organisations.
http://www.prsformusic.com/SiteCollectionDocuments/Anti%20Piracy%20Unit/Rela
tedAntiPiracyorgs30052012.pdf First accessed 27/10/14

Appendix 1
A Selection of UK Anti-Piracy Organizations28
AAIPT
Alliance Against IP
Theft

ACG
Anti-Counterfeiting
Group
BCC
The British Copyright
Council

BPI
British Recorded Music
Industry
FACT
The Federation Against
Copyright Theft

FAST
The Federation Against
Software Theft

28

The AAIPTs objective is to raise public and political awareness of

copyright and trade mark issues so that intellectual property is
highly valued by everyone from consumers to manufacturers, and
to ensure as a result that copyright theft is treated as seriously as
other theft.
The Anti-Counterfeiting Group is a not-for-profit trade association
which campaigns against the trade in fake goods.
The BCC is an umbrella organisation bringing together
organisations which represent those who create, or hold rights in
literary, dramatic, musical and artistic works and those who
perform such works. The BCC functions principally as a liaison
committee for its member associations, providing them with a
forum for the discussion of matters of copyright interest. It also
acts as a pressure group for changes in copyright law at UK,
European and International level.
The BPI represents hundreds of record companies in the UK. The
BPI's Anti-Piracy Unit works to protect BPI members' rights and
take action on their behalf.
FACT was formed in 1984 to combat counterfeiting, piracy and
misuse of its members' products, initially targeting videotaped
feature films, but increasingly investigating copyright infringement
involving DVD and other digital formats. FACT deals primarily with
Customs, the Police and Trading Standards Offices, providing
expert technical examination services for evidential purposes and
the gathering of evidence to justify enforcement action or
prosecution by the relevant authority. FACT also undertakes
private prosecutions on behalf of its members.
With a long history of working with both software publishers and
end users, FAST has built up a high degree of expertise and
knowledge that can be drawn upon by members to help in the day
to day management of software and any issues that may arise.

PRS for Music. Anti-Piracy Unit Related Anti-Piracy Organisations.

http://www.prsformusic.com/SiteCollectionDocuments/Anti%20Piracy%20Unit/RelatedAntiPiracyorgs300520
12.pdf First accessed 27/10/14

UKIE
The Association for UK
Interactive
Entertainment

UKIE is a membership organisation representing all companies

concerned with the publishing and distribution of interactive
leisure and entertainment software. It works to promote the
interests of all its members as well as addressing issues that affect
the industry as a whole.

Assignment Cover Sheet: Music Industry Studies

An Assignment cover sheet must be included with each assignment. Please complete all details clearly.

If you are submitting the assignment on paper, please staple this sheet to the front of each assignment. If you are submitting the
assignment online, please ensure this cover sheet is included at the start of your document. (This is preferable to a separate
attachment.)

Name: Olivia Jack

Student ID: 13001553

Email: 13001553@uhi.ac.uk

Programme Title and Level: BA4 Music Business

Student adviser: Paul Oliver

Module title: Global Music Markets

Tutor: Andrew Dyce

Due date: 24/10/14

Assignment topic/title: Market Analysis

I declare that the work contained in this assignment is my own, except where acknowledgement of sources is made.

I authorise the University to test any work submitted by me for instances of plagiarism using text comparison software. I understand this may
involve the University copying my work and storing it on a database to be used in future to test work submitted by others.

Note: The attachment of this statement on any electronically submitted assignments will be deemed to have the same authority as a signed
statement. In addition, any tangible evidence of assessment work and/or feedback must not be copied, downloaded or streamed onto any
multimedia service, platform or device.

I understand that I can obtain further information on this matter at http://www.uhi.ac.uk

Signed: Olivia Jack

Date: 07/11/14

Staff use only

Date received from student

First marker

Assessment/grade

Second Marker

Assessment/grade

Third marker

Agreed grade