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Dissertations / Theses on the topic 'Music Industry copyright'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Carretta, Silvia A. "Blockchain challenges to copyright : Revamping the online music industry." Thesis, Stockholms universitet, Juridiska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-173248.

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Wikström, Patrik. "Reluctantly Virtual : Modelling Copyright Industry Dynamics." Doctoral thesis, Karlstad University, Faculty of Economic Sciences, Communication and IT, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-478.

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<p>During the evolution of the music industry, developments in the media environment have required music firms to adapt in order to survive. Changes in broadcast radio programming during the 1950s; the Compact Cassette during the 1970s; and the deregulation of media ownership during the 1990s are all examples of changes which have heavily affected the music industry. This study explores similar contemporary dynamics, examines how decision makers in the music industry perceive and make sense of the developments, and reveals how they revise their business strategies, based on their mental models

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Sirois, Andre. "Copyright Law Inadequacies in the Case of Digital Sampling: Adding Color to a Grey Area." Fogler Library, University of Maine, 2005. http://www.library.umaine.edu/theses/pdf/SiroisA2005.pdf.

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4

Ouma, Marisella Nabongo. "Enforcement of copyright in the music industry : a critical analysis of the legal and institutional framework on enforcement in Sub Saharan Africa." Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/28087.

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It is trite to state that law without effective enforcement is of no use to those it seeks to protect. Nevertheless, it must be emphasised that for a law to be effective, there have to be corresponding institutional structures. Enforcement of copyright involves two phases. The first is formulation and enactment of law. The second phase is the implementation of legal provisions that includes interpretation of law and determination of cases by the courts, investigation of copyright violations, prevention of unauthorised exploitation of the rights and the use of sanctions and remedies provided by

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5

Kanellopoulou, Evgenia. "Test for echo : competition law and the music industries from a business model perspective." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31351.

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The thesis asks whether there is a role for competition law and policy in the music industries. It is argued that there is a need for updated competition policy in order to safeguard both end consumer welfare and the competitive process in these markets, characterised by fast-paced developments and business model innovation. Indeed, the past two decades saw the music industries undergo seismic changes, as even the term 'music industries' was not in use as such before the advent of the internet era and the decline in sales of recordings in physical format. Soon it became obvious that the tradit

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6

Baloyi, Jele Joel. "Intellectual property, entrepreneurship and the music industry :a new ray of hope for enhancing African international trade capacity? A South African case study." Thesis, University of the Western Cape, 2005. http://etd.uwc.ac.za/index.php?module=etd&amp.

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This thesis aimed to examine the prevailing international intellectual property regime as embodied especially in the TRIPS Agreement, for purposes of outlining some of the criticisms levelled against it especially by the less developed world. The work aimed to illustrate how, despite the imperfections of the system, certain intellectual property rights could still be used strategically by African countries to bolster the entrepreneurial spirit, in the form of musical entrepreneurship for purposes of enhancing their international trade capacity.

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7

Hill, Christopher. "The anarchist's jukebox? a historical account of the file sharing conflict : a thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts (Communication Studies), Auckland University of Technology, 2005." Full thesis. Abstract, 2005.

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Thesis (MA--Communication Studies) -- Auckland University of Technology, 2005.<br>Chapter 5 not included in e-thesis. Also held in print (viii, 177 leaves, 30 cm.) in Wellesley Theses Collection. (T 338.4778149 HIL)

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Beránek, Tadeáš. "Specifika amerického maloobchodního trhu s hudbou." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-197243.

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This diploma thesis deals with complex issue of American recording industry and its specifics in retail industry. The thesis is composed of three main parts which are being linked with its theme, and they complement one another. The first part is a theoretical framework of American recording industry. The chapters pursue basic terminology of music market, analysis of business environment in the USA and comparison of the recorded music to other entertainment markets. The second part engages in history of the recorded music, yet it specially concentrates on market's outputs, i.e. volume of sold

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Cruz, Leonardo Ribeiro da 1982. "Internet e arquiteturas de controle : as estratégias de repressão e inserção do mercado fonográfico digital." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281177.

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Orientador: Laymert Garcia dos Santos<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-26T13:04:28Z (GMT). No. of bitstreams: 1 Cruz_LeonardoRibeiroda_D.pdf: 2081819 bytes, checksum: 83edc0f34085d32e2f4e01a345734b85 (MD5) Previous issue date: 2014<br>Resumo: Essa pesquisa discute as estratégias de combate e de inserção do mercado fonográfico na internet e seus efeitos no desenvolvimento da rede. Para tal, ela parte da análise do mercado tradicional de discos, que durante todo o século XX se solidificou a

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Kazadi, Kanyabu Solomon. "A sociological analysis of the production, marketing and distribution of contemporary popular music by Zambian musicians." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018933.

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The purpose of this research was to gather information about the production, marketing and distribution of Zambian contemporary music by Zambian musicians. Very little information has been documented about the development of the Zambian music industry, particularly from the perspective of those within the industry. As a result this study attempted to add to this knowledge. To achieve this Pierre Bourdieu’s theoretical concepts of ‘fields’ and ‘habitus’ were used to gain an understanding of what affects the creation of art forms such as music as well as the structures and underlying processes w

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11

Latson, Christopher Craig. "Contemporary Pirates: An Examination of the Perceptions and Attitudes Toward the Technology, Progression, and Battles that Surround Modern Day Music Piracy in Colleges and Universities." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4595/.

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The pilot study used in this thesis examined the attitudes and perceptions of a small group of students at the University of North Texas. The participants in this pilot study (n=22) were administered an online music file sharing survey, a Defining Issues Test (DIT), and participated in a small focus group. This thesis also outlined the history and progression of online music piracy in the United States, and addressed four research questions which aimed to determine why individuals choose to engage in the file sharing of copyrighted music online.

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12

Heuguet, Guillaume. "Métamorphoses de la musique et capitalisme médiatique. Au prisme de YouTube (2005-2018)." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL153.

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Alors qu’un ensemble de discours sociaux et académiques s’intéressent aux conséquences de la numérisation sur la valeur de la musique, YouTube, le site de publication de vidéos fondé par trois anciens employés de PayPal et aujourd’hui propriété de Google, est progressivement devenu le premier dispositif d’écoute en ligne en France. A partir de l’analyse d’archives du Web et d’une veille intermédiatique, cette thèse s’intéresse à ce qu’une entreprise venue de l’économie des techniques « fait » à la culture musicale, en tenant compte de l’évolution régulière de ses formes et de ses promesses. Un

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Labská, Julie. "Vliv technologií na hudební průmysl z hlediska distribuce hudby." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-162616.

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Diploma thesis deals with the influence of technologies on the music industry in terms of music distribution. In the first part the two major issues are discussed for deeper understanding of the topic. The change of perception and creation of music over certain period of time and the development of technologies related to music in historical context. Following chapters are mainly focused on current technologies, digitalization and the internet, and global turnovers which have had impact on distribution of music as a consequence of technological spread. In addition to this, the issue of legal a

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14

Meléndez, Catalán Blai. "Relative music loudness estimation in TV broadcast audio using deep learning: an industrial perspective." Doctoral thesis, Universitat Pompeu Fabra, 2021. http://hdl.handle.net/10803/671425.

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Under the current copyright management business model, broadcasters are taxed by the corresponding copyright management organization according to the percentage of music they broadcast, and the collected money is then distributed among the copyright holders of that music. In the specific case of TV broadcasts, whether a musical piece is played in the foreground or the background is often a relevant factor that affects the amount of money collected and distributed. In recent years, the music industry is increasingly adopting technological solutions to automatize this process. We have conducted

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15

Giraldo, Agurto Giancarlo Jorge. "Does blockchain change the music industry in a digital era? : A perspective from copyrights and how it could equitably distribute the royalties and how it can enhance the protection of the rightsholders." Thesis, Uppsala universitet, Juridiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-413376.

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The digital technologies advances are growing day per day, many of them are here to give us a new perspective and help us to do many things productively and efficiently. In the last years, there is considerable debate throughout how we can implement the new technologies and how they will transform the use of intellectual property rights. In this paper, we aboard this issue from the perspective of the copyrights. Many years ago, when platforms like Spotify or Apple Music came to this world, many artists and consumers were excited. Many people that were involved in the music industry saw this as

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16

Rytinki, M. (Markus). "Musiikkialan tekijänoikeuksien kesto, ansaintalogiikat ja digitaalisen aineiston saatavuus internetissä." Doctoral thesis, Oulun yliopisto, 2018. http://urn.fi/urn:isbn:9789526221182.

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Abstract This study addresses the justifications of the duration of copyright, the revenue-generating models in the music business, and the availability of digital music in Finland. The first goal was to understand how different stakeholders in the music industry relate to copyright and how they justify what they consider the optimal duration. The second goal was to map out the revenue-generating models in the music industry at a time when the consumption of music has changed from analogue to digital formats, from physical products to streaming services. The third goal was to find out the diff

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Ranni, Davide. "La produzione di videoclip attraverso le sue trasformazioni economiche, sociali e distributive." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/23538/.

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Questo lavoro intende dimostrare in quali modi e tramite quali strumenti la produzione di videoclip sia cambiata nel corso degli anni attraverso le sue trasformazioni nei campi della distribuzione, della legislazione e dei finanziamenti al videoclip. Comprendere cosa voglia dire oggi produrre un videoclip significa constatare come questi tre macro-argomenti abbiano influenzato, secondo diverse sfaccettature, i budget e gli investimenti monetari da parte delle case discografiche. Inoltre, non si vuole dare un giudizio sulla natura stilistica dei videoclip o fare una critica su quelli che stilis

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18

Hsiao-Fen, Huang, and 黃筱芬. "Copyright management in music industry: Solutions with blockchain technology." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/sn9ma5.

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碩士<br>國立中興大學<br>科技管理研究所<br>106<br>Copyright management in music industry has encountered difficulties since the digital revolution. Due to the numerous forms of music utilization, the management of copyright information and authorization have always been subject to adjustment. Unsynchronized copyright data and complicated licensing process have increased the cost of music authorization. Also, the popularization of the Internet and the low cost of music replication make infringement become more serious. The rights and interests of the right holder have been ignored repeatedly, and the problem o

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19

Tsai, Feng-ting, and 蔡鳳婷. "Copyright Protection on Digital Music Industry-Focused on Taiwan's Online Music Website ezPeer+." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/57662740473304243175.

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碩士<br>東吳大學<br>法律學系<br>97<br>MPEG-1 Audio Layer 3(MP3) was originally developed to facilitate audio coding and compression efficiency. Ever since MP3 made its debut in the 1990s, music industry is never the same. Internet surfers soon discovered that it is easy to make copies of MP3 file by means of the computer, and the original file will never be worn out and distinguished. Better yet, MP3 files are suitable for digital transmission on the internet. In that regard, people began to make copies of as well as distribute MP3 files by means of PC and the internet. To enhance the efficiency of l

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20

Liu, Chen-Yang, and 劉振揚. "A STUDY ON COPYRIGHT AUTHORIZATION SYSTEM CHANGE OF ONLINE MUSIC INDUSTRY." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/28645640623779946083.

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碩士<br>元智大學<br>資訊社會學研究所<br>96<br>The purpose of this research was to apply interest group theory and considering from the concepts of collective action theory and historical institutionalism, to discuss the copyright authority issue relating to online music industry, and to analyze lobbying strategies that copyright holders and users employed to influence the administrative and legislative department. Secondary data analysis and in-depth interview were the main research methods. This research found that the court verdict in 2005 was a division in process of the industrial environment changing.

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21

Chiang, Hui-Hsien, and 江慧賢. "A Legal Study of Copyright Protection and Development in Taiwan Music Industry." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/87846565325731557930.

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22

Hsin, Yu, and 辛. 宇. "The Study On The Music Copyright Collective Management Organizations: The Case Study of Pop-Music Industry." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/87v9wh.

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碩士<br>國立政治大學<br>科技管理與智慧財產研究所<br>104<br>The establishment and development of the Copyright Collective Management Organizations (COMs) is a key indicator of copyright protection. The existence of CMO systems is to reduce licensing cost, to promote the exploitation of works legally, to broaden public access to copyrighted works, and to provide the benefits and protection of copyright owners. It also positively effect and promote cultural and economic development of society, furthermore revitalized the cultural industry. However, in practice, the establishment of CMOs licensing system has failed

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Liang, Hsiu-Wen, and 梁秀雯. "The influences to the Copyright Industry after Taiwan Affiliates to the World Trade Organization (WTO)－Example of the Copyright Authority System of Taiwan Music Industry." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/15822274209290532816.

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碩士<br>世新大學<br>傳播管理學研究所(含碩專班)<br>93<br>In these years, although the expansion of the Internet leads the music industry to a new stage with the tremendous business market, the shifting environment still brings about big challenges to the traditional IPR authority system, business model, and existing IPR regulations and law. Most of time, the constitution process, of IPR regulations, could not catch up to the pace of the updating technology. Therefore, the music industry, very closed to the Internet Technology, especially should put “the protection of IPR” on the top of the to-do list. Due to the

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Lu, Chien-Chih, and 盧建誌. "The Challenges and New Opportunities of Copyright Collective Management Organizations in Taiwanese Music Industry." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/01035531536414341270.

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碩士<br>國立清華大學<br>科技法律研究所<br>103<br>“Free Culture” is an important concept in the copyright legal system in the Taiwanese music industry. Nowadays, there is an imbalance when it comes to copyright interest distribution between copyright collective societies and creators in the Taiwanese music market. In the Taiwanese music market, the music copyright collective societies hold a major part of copyright interest and most of the licensing profit. These problems result in the decreased incentive to be creative. The function of encouraging creativity in copyright law is depressed. Music creator’s art

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25

Yang, Shih-Yu, and 楊石宇. "The Past and the Future of Digital Music Industry: Challenges and Responses of Copyright Protection." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/82448927531801486576.

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碩士<br>國立臺灣大學<br>法律學研究所<br>101<br>MP3 technology and internet technique has changed the way of consumption of the music profoundly and eternally. IPod and smart phone has already become the main system for people to listen to music, and the music usually comes from so many different digital music services found on the internet rather than traditional CDs. In the mean while, the unauthorized music files are easily explored and downloaded from the internet. The legal rights and obligations between digital music service providers, consumers, copyright management groups, publishers and record label

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26

Liu, Yao-Jen, and 劉耀仁. "The System Dynamics of the Protective Measure against Copyright Piracy of Music Industry in Taiwan." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/mx8xcy.

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博士<br>國立交通大學<br>科技管理研究所<br>96<br>The copyright products are the most popular products today every where in the world. Music products are one of the most important copyright products that can be viewed as a symbol of culture and is the most popular form of entertainment in the modern life. Since the late 19th century sound recording technology has grown fast; music industry has also become a giant industry all over the world. In the same time, music piracy of published albums increases rapidly to the point that it has made music corporations loose profit and loose their market. Music industry i

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27

Pasche, Coralie Hélène. "Music Industry v. File-sharing - Why We Need a New Approach to Copyright Protection in the Digital Era." Thesis, 2009. http://hdl.handle.net/1807/18972.

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This thesis examines the evolution of digital copyright protection in response to the digital challenges, specifically unauthorized file-sharing, in the context of the music industry. It reviews the different strategies used to fight the peer-to-peer technology and its users so as to assess whether the direction which has been taken is in agreement with the ultimate goal of copyright and with other fundamental values of our modern society. It posits that the effort to strengthen the rights of copyright holders and thus maintain an old system of distribution in the face of new technology not on

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28

Cameron, Samuel. "Music in the Marketplace. A Social Economics Approach." 2015. http://hdl.handle.net/10454/9074.

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No<br>Much recent economic work on the music industry has been focused on the impact of technology on demand, with predictions being made of digital copyright infringement leading to the demise of the industry. In fact, there have always been profound cyclical swings in music media sales owing to the fact that music always has been, and continues to be, a discretionary purchase. This entertaining and accessible book offers an analysis of the production and consumption of music from a social economics approach. Locating music within the economic analysis of social behaviour, this books guide

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29

Ye, Jun-Wei, and 葉峻維. "A study on the operating mode of the copyright collective management in Taiwan － Focus on music industry." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/13371206770004707515.

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碩士<br>國立中山大學<br>中國與亞太區域研究所<br>98<br>Since 1997, “Copyright Intermediary Organization ACT” has been implemented; seven collective management organizations emerged one after another. But they had a hard time promoting their business. Their earnings are far less than the incomes of other developed nations. What adversity are the collective management organizations in Taiwan faced with? What kind of reasons causes the collective management organizations to develop so slowly? In view of all these, this thesis is conducting a research and survey on the operation of the collective management org

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Gloria, Marie Joan Tanedo. "Considerations for creative commons : an examination for motivations of adoption or non-adoption of creative commons licenses." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3351.

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This paper proposes an examination of Creative Commons (CC) licensing and considerations for adoption or non adoption among musicians. According to the Creative Commons Web site, the licenses were created to work alongside current copyright law allowing rights holders a “some rights reserved” copyright (“What is CC?”, Creative Commons, 2010). However, despite its current uptick in adoption, many remain hesitant and refuse to adopt the licenses to protect their work. Moreover, for those who have adopted the licenses, little is known about why they chose to adopt the licenses. Thus, the study an

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Zulu, Thulani. "Contemporary perceptions of music piracy in South Africa." Diss., 2015. http://hdl.handle.net/11602/215.

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32

Groenewald, Louise. "Legal analysis of fair dealing relating to music works in the digital environment." Diss., 2011. http://hdl.handle.net/10500/5742.

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Many people might think that downloading music without paying for it is not a big issue. Copyright owners disagree with this kind of reasoning because to them, music is intellectual property with substantial commercial value. Copyright law is the primary form of protection for intellectual property and is based on the fundamental principle that copyright works cannot be reproduced without the express consent of the copyright owner. During the late 90’s however, new technology made it possible for millions of people to download music from the Internet without the express consent of copyright o

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Moreira, Maria Alice Bosseljon Roche. "Innovating in the music industry : Blockchain, Streaming & Revenue Capture." Master's thesis, 2020. http://hdl.handle.net/10400.14/31171.

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Music industry revenues experienced a boom when digital music became available and the music business reinvented itself. Even with the existence of piracy, the business has been growing since 2015. A lot of the credit goes to streaming platforms that introduced the notion of access instead of ownership as the dominant business model (BM). However, the main financial beneficiaries are the platforms, labels, and publishers (the middlemen), whereas musicians receive little from streaming their creations. This is due to an outdated royalty distribution system that was applied to the new BM. This

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