20(a) Provide the name and full description of the community that the applicant is committing to serve

Prototypical answer:

The name of the community served is the ʺMusic Community” (ʺCommunityʺ). The parentheses below reflect ICANN’s Applicant Guidebook 4.2.3 Criterion Definitions; Delineation; Extension; Nexus; Uniqueness; Eligibility; Name Selection; Content and Use; Enforcement; Support; Opposition.
DotMusic will use clear, organized, consistent and interrelated criteria to demonstrate Community Establishment beyond reasonable doubt and incorporate safeguards in membership criteria “aligned with the community-based Purpose” and mitigate anti-trust and confidentiality⁄privacy concerns by protecting the Community of considerable size⁄extension while ensuring there is no material detriment to Community rights⁄legitimate interests. Registrants will be verified using Community-organized, unified “criteria taken from holistic perspective with due regard of Community particularities” that “invoke a formal membership” without discrimination, conflict of interest or “likelihood of material detriment to the rights and legitimate interests” of the Community:
(i) Qualification criteria as delineated by recognized NAICS codes corresponding to Community member classification music entity types. This classification-based delineation will also be consistent with registrant Premium Channel membership criteria (“ELIGIBILITY”)
(ii) Domain naming conditions (“NAME SELECTION”)
(iii) Restrictions relating to domain usage and content (“CONTENT & USE”)
(iv) Enforcement mechanisms to uphold Community Establishment and meet Nexus Criteria, consistent with our clear, organized delineation of the Community (“ENFORCEMENT”)
The Community is a strictly delineated and organized community of individuals, organizations and business, a “logical alliance of communities of a similar nature (“COMMUNITY”)”, that relate to music: the art of combining sounds rhythmically, melodically or harmonically. ʺMUSICʺ has no other significant meaning or name beyond the definition offered by popular dictionaries and encyclopedias that define ʺMUSICʺ as relating to “combining sounds rhythmically, melodically or harmonically (“UNIQUENESS”).” The Community corresponds to the community relating to “the art of combining sounds rhythmically, melodically and harmonically” (“IDENTIFY”). The Community is distinct, sharing similar needs and attitudinal and behavioral patterns in relation to music-related activities, music production and its consumption. The ʺMUSICʺ string matches the name (“NAME”) of the Community and is the established name by which the Community is commonly known by others, such as the traditional media using phrases such as the “MUSIC” artists, “MUSIC” producers and “MUSIC” publishers to classify commonly known Music Community entity types (“NEXUS”). “MUSIC” matches the name of the Community entirely and is unique since no-one commonly refers to classes relating to the “MUSIC” Community using alternative words to replace the established Community word “MUSIC” identifying the Community (“UNIQUENESS”). For example, using a “COMMUNITY string” plus “CLASS” methodology, no-one refers to “MUSIC” “ARTISTS” as “SONG” “ARTISTS.” The string “MUSIC” clearly identifies the Community and is unique and rarely replaceable in the Community language context perspective. Also the “MUSIC” string is commonly used in classification systems such as ISMN, ISRC, ISWC, ISNI and Dewey. For example, the Dewey Decimal Classification system, published in 1876 (LONGEVITY;PRE-EXISTING), has code 780 relating to “MUSIC”.
The Community served is defined as music stakeholders being structurally organized using pre-existing, strictly delineated classes (“DELINEATION”) and recognized criteria to clearly organize the Community (“ORGANIZED”) classified by:
• North American Industrial Classification System codes (NAICS) used by the Census Bureau (www.census.gov⁄eos⁄www⁄naics) and Federal statistical agencies as the classification standard for the purpose of collecting, analyzing, and publishing statistical data related to the U.S.
• United Nations International Standard Industrial Classification (ISIC) system (www.unstats.un.org⁄unsd⁄publication⁄seriesM⁄seriesm_4rev4e.pdf), to “delineate according to what is the customary combination of activities” (www.unstats.un.org⁄unsd⁄class⁄family⁄family2.asp?Cl=17), such as those representing the Community.

The Music Community is strictly delineated using established NAICS codes that align with the (i) characteristics of the globally recognized, organized Community, and (ii) .MUSIC global rotating multi-stakeholder Advisory Board model of fair representation, irrespective of locale, size or commercial⁄non-commercial status, organized with the following delineation (corresponding NAICS code in parenthesis):

• Musical groups and artists (711130)
• Independent music artists, performers, arrangers & composers (711500)
• Music publishers (512230)
• Music recording industries (512290)
• Music recording & rehearsal studios (512240)
• Music distributors, promoters & record labels (512220)
• Music production companies & record producers (512210)
• Live musical producers (711130)
• Musical instrument manufacturers (339992)
• Musical instruments & supplies stores (451140)
• Music stores (451220)
• Music accountants (541211)
• Music lawyers (541110)
• Musical groups & artists (711130)
• Music education & schools (611610)
• Music agents & managers (711400)
• Music promoters & performing arts establishments (711300)
• Music promoters of performing arts with facilities (711310)
• Music promoters of performing arts without facilities (711320)
• Music performing arts companies (711100)
• Other music performing arts companies (711190)
• Music record reproducing companies (334612)
• Music, audio and video equipment manufacturers (334310)
• Music radio networks (515111)
• Music radio stations (515112)
• Music archives & libraries (519120)
• Music business & management consultants (541611)
• Music collection agencies & performance rights organizations (561440)
• Music therapists (621340)
• Music business associations (813910)
• Music coalitions, associations, organizations, information centers & export offices (813920)
• Music unions (813930)
• Music public relations agencies (541820)
• Music journalists & bloggers (711510)
• Internet Music radio station (519130)
• Music broadcasters (515120)
• Music video producers (512110)
• Music marketing services (541613)
• Music & audio engineers (541330)
• Music ticketing (561599)
• Music recreation establishments (722410)
• Music fans⁄clubs (813410)

The Music Community’s geographic breadth is inclusive of all recognized territories covering regions associated with ISO-3166 codes and 193 United Nations countries (“EXTENSION”) with a Community of considerable size with millions of constituents (“SIZE”).

The Community has bought, sold, and bartered music for as long (“LONGEVITY”) as it has been made (R. Burnett, International Music Industry, 1996 and P. Gronow, International History of the Recording Industry, 1998). The Community is a delineated network where production and distribution of music occur in a process relying on labor division and technology. Under such structured context music consumption becomes possible regardless whether the transaction is commercial and non-commercial (M. Talbot, Business of Music, 2002). The foundation for the structured and strictly delineated Community only resulted from the interplay between the growing music publishing business and an emerging public music concert culture in the 18th century (“PRE-EXISTING”). Consequently, music publishers and concert promoters assumed the function of institutional gatekeepers of the Music Community who decided which music reached consumers and in what form, thus setting the parameters within which creativity was able to unfold (P. Tschmuck, Creativity & Innovation in the Music Industry, Institute of Culture Management & Culture Science, 2006).

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