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Journal articles on the topic 'Music Industry copyright'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Mhiripiri, Joyce T., and Nhamo Mhiripiri. "Zimbabwe's popular music industry and copyright legislation." Muziki 3, no. 1 (2006): 79–96. http://dx.doi.org/10.1080/18125980608538784.

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2

Ouma, Marisella. "Copyright and the Music Industry in Africa." Journal of World Intellectual Property 7, no. 6 (2005): 919–32. http://dx.doi.org/10.1111/j.1747-1796.2004.tb00234.x.

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3

Bartow, Ann. "Using the Lessons of Copyright's Excess to Analyze the Political Economy of Section 203 Termination Rights." Texas A&M Journal of Property Law 6, no. 1 (2020): 23–36. http://dx.doi.org/10.37419/jpl.v6.i1.3.

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Glynn Lunney’s recent book Copyright’s Excess: Money and Music in the Recording Industry provides many important, even stunning insights about copyright law and policy, primarily from the standpoint of economic analysis. To highlight just one example of many, Lunney does an outstanding job assembling data to support a core assertion— more money does not mean more music.

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4

Abdul Ghani Azmi, Ida Madieha, and Rokiah Alavi. "In search for support for the extension of copyright term under the Trans-Pacific Partnership Agreement." Journal of International Trade Law and Policy 16, no. 1 (2017): 34–48. http://dx.doi.org/10.1108/jitlp-10-2016-0025.

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Purpose One of the binding commitments under the Trans-Pacific Partnership Agreement is the extension of the copyright term to 70 years after the death of the author. This paper reports the preliminary findings of a research on the potential impact of the extension of copyright term on the music industry in Malaysia. As Malaysia is a user and net importer of intellectual property, it is feared that extending the copyright term will likely impede incentives for the creation of new contents, increase the cost of licensing/royalties, diminish the choice and creativity of film and music industry a

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5

Herlihy, David, and Yu Zhang. "Music industry and copyright protection in the United States and China." Global Media and China 1, no. 4 (2016): 390–400. http://dx.doi.org/10.1177/2059436417698061.

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From the standard economic rationale, music copyright supports the rights of authors and creators to exclude competitors and the public from accessing and copying their works to the extent necessary to provide incentive to recover the investment they made in creating those works. The necessary extent in music copyright is from the interplay of three historical drivers of copyright policy—technology (which makes things possible), the market (which gives rise to consumer demand and companies delivering goods and services to satisfy those consumers), and the law (which determines the rules of the

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6

Chen, Zhen Troy. "Flying with two wings or coming of age of copyrightisation? A historical and socio-legal analysis of copyright and business model developments in the Chinese music industry." Global Media and China 6, no. 2 (2021): 191–206. http://dx.doi.org/10.1177/2059436421998466.

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Following the third copyright law amendment in China, this paper offers a timely contribution to the debates on the shifting policy, governance and industry landscape of the Chinese music industry. This paper conducts a historical and socio-legal analysis of the development of Chinese copyright law with regards to the music industry and argues that the Chinese digital music industry has developed to a stage where three business models collide, namely the cultural adaptation model, the renegade model and the platform ecosystem model. This paper draws on interdisciplinary literature and discours

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7

Homan, Shane. "Australian Music and the Parallel Importation Dedate." Media International Australia 91, no. 1 (1999): 97–109. http://dx.doi.org/10.1177/1329878x9909100111.

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Despite vigorous protest from the local recording industry and musicians, the Australian federal government passed the Copyright Amendment Bill (No. 2) 1997 into law in June 1998. The Bill is designed to remove the neo-oligopolistic practices of the multinational recording companies, and reduce the prices of compact discs for local consumers. The music industry believes that the Bill removes the value of artists' copyright as the primary means of income and as a mechanism in identifying and protecting intellectual property. This article analyses the benefits and costs of the recent copyright c

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8

Frith, Simon. "Copyright and the music business." Popular Music 7, no. 1 (1988): 57–75. http://dx.doi.org/10.1017/s0261143000002531.

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For the music industry the age of manufacture is now over. Companies (and company profits) are no longer organised around making things but depend on the creation of rights. In the industry's own jargon, each piece of music represents ‘a basket of rights’; the company task is to exploit as many of these rights as possible, not just those realised when it is sold in recorded form to the public, but also those realised when it is broadcast on radio or television, used on a film, commercial or video soundtrack, and so on. Musical rights (copyrights, performing rights) are the basic pop commodity

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9

Koempel, Florian. "From the gut? Questions on Artificial Intelligence and music." Queen Mary Journal of Intellectual Property 10, no. 4 (2020): 503–13. http://dx.doi.org/10.4337/qmjip.2020.04.05.

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AI applications are manifold in the music industry, both as tools assisting composers in creating and as music generating machines. AI applications assisting composers are widely used, for example in providing drum sequences or mastering services. AI-generated music is mainly used as production music, for example in synchronizing YouTube videos. Copyright implications relate initially to the use of existing works to train the computer, and secondly to the copyright protection for AI-generated musical works or sound recordings. This article firstly looks at the copyright acts involved in the tr

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10

García, Kristelia, James Hicks, and Justin McCrary. "Copyright and Economic Viability: Evidence from the Music Industry." Journal of Empirical Legal Studies 17, no. 4 (2020): 696–721. http://dx.doi.org/10.1111/jels.12267.

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11

Homan, Shane. "Review: Bootlegging: Romanticism and Copyright in the Music Industry." Media International Australia 124, no. 1 (2007): 189–90. http://dx.doi.org/10.1177/1329878x0712400127.

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12

Siriyuvasak, Ubonrat. "Commercialising the sound of the people: Pleng Luktoong and the Thai pop music industry." Popular Music 9, no. 1 (1990): 61–77. http://dx.doi.org/10.1017/s0261143000003731.

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Since Thailand's Copyright Act became law in 1979 an indigenous music industry has emerged. In the past, the small recording business was concentrated on two aspects: the sale of imported records and the manufacture of popular, mainly Lukkroong music, and classical records. However, the organisation of the Association of Music Traders – an immediate reaction to the enforcement of the Copyright law – coupled with the advent of cassette technology, has transformed the faltering gramophone trade. Today, middle-class youngsters appreciate Thai popular music in contrast to the previous generation w

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13

Zhang, Fengyan. "The state of China’s collective rights management in the context of the United States and Japan." Global Media and China 1, no. 4 (2016): 401–11. http://dx.doi.org/10.1177/2059436417695894.

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With the rapid expansion of China’s economy, China’s music industries have shown rapid growth, and new companies have entered the marketplace. As these companies have had little pre-existing experience with the music industry—not to mention that music industry is a relatively new concept in China—the expansion has been not only rapid but also disordered and chaotic. One component of a mature music industry are collective rights management or performing rights organizations, which are independent non-profit social organizations that collect license fees on behalf of copyright holders (songwrite

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14

Burke, Andrew E. "How effective are international copyright conventions in the music industry?" Journal of Cultural Economics 20, no. 1 (1996): 51–66. http://dx.doi.org/10.1007/s10824-005-1060-z.

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15

Crawford, Kate. "Adaptation: Tracking the Ecologies of Music and Peer-to-Peer Networks." Media International Australia 114, no. 1 (2005): 30–39. http://dx.doi.org/10.1177/1329878x0511400105.

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The media debate surrounding music downloading has reached a point of unproductive polarisation. Much of the commentary from peer-to-peer companies on one hand, and from the music industry on the other, has been highly customised rhetoric. This rhetoric commonly uses a discourse of ‘us versus them’ as the limited frame of reference: industry versus pirates, or legitimate practices versus illegitimate practices. Such claims deny the complexity of both the music-sharing phenomenon and the copyright developments related to it, effectively obscuring any legal, philosophical and technical intricaci

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16

Briggs, Kristie, Joshua Eiermann, Thomas Hodgson, and Elizabeth McNamara. "Reducing copyright piracy using entrepreneurial intermediary platforms." Journal of Entrepreneurship and Public Policy 3, no. 2 (2014): 306–16. http://dx.doi.org/10.1108/jepp-05-2013-0019.

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Purpose – The purpose of this paper is to examine the role of intermediary platforms, such as Pandora and Spotify, in reducing piracy of digital music. Design/methodology/approach – The authors modify a predator-prey theoretical framework of copyright piracy to account for the impact of intermediary platforms on the consumption of original works and illegal copies. Findings – The theory shows that an increase in the number of legal alternative platforms available to consumers of digital music results in an unambiguous increase in the consumption of legitimate music and an unambiguous decrease

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17

Hergianasari, Putri, and Atyanta Nika Rumaksari. "The Impact of Global Technology on Music Industry: The End of Copyright Regime." JSW: Jurnal Sosiologi Walisongo 2, no. 1 (2018): 29. http://dx.doi.org/10.21580/jsw.2018.2.1.2476.

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<p>On a global scale, the music industry is currently experiencing declining growth after a significant decline in profits. This phenomenon is common in the era of digital transformation. Based on the EU report (European Commission, 2017) that global technology is changing rapidly. This reflects the desire of humans to do more by finding opportunities to meet their needs. The internet is the starting point for why the global world is changing so fast. One example is the global economic sector. By using the internet, people can search for all digital entertainment content easily without f

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18

O'Hara, Ben. "Technology, Copyright Law and the Future: The Contemporary Australian Music Industry." Journal of the Music and Entertainment Industry Educators Association 8, no. 1 (2008): 89–104. http://dx.doi.org/10.25101/8.5.

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19

Turner, Graeme. "Copyright, Regulation and Power in the Recorded Music Industry: A Model." Popular Music 13, no. 3 (1994): 339–42. http://dx.doi.org/10.1017/s0261143000007248.

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20

HARRIS, MICHAEL. "THE AUSTRALIAN MUSIC INDUSTRY, COPYRIGHT PROTECTION, AND THE PRICES SURVEILLANCE AUTHORITY." Economic Papers: A journal of applied economics and policy 11, no. 1 (1992): 57–69. http://dx.doi.org/10.1111/j.1759-3441.1992.tb00031.x.

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21

Martin, Bernice. "Bootlegging: Romanticism and Copyright in the Music Industry ? By Lee Marshall." British Journal of Sociology 58, no. 2 (2007): 332. http://dx.doi.org/10.1111/j.1468-4446.2007.00153_11.x.

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22

Sadler, D. "The Global Music Business as an Information Industry: Reinterpreting Economies of Culture." Environment and Planning A: Economy and Space 29, no. 11 (1997): 1919–36. http://dx.doi.org/10.1068/a291919.

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In this paper it is argued that the music business should be regarded as an activity trading in information. The paper begins with a review of key themes in the conceptualisation of the music industry within the cultural economies tradition. These are the tensions between creativity and commerce and between global and local processes, and the characterisation of the industry in the terms of the flexible specialisation and reflexive accumulation theses. It is then suggested that these debates have downplayed a key characteristic of the contemporary music industry, its involvement with the creat

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23

Utkina, M. S., and A. I. Holovach. "EXPERIENCE OF FOREIGN COUNTRIES AS TO PROTECTION AND DEFENDING OF AUTHOR’S AND RELATED RIGHTS ON MUSICAL COMPOSITION." Legal horizons 33, no. 20 (2020): 53–57. http://dx.doi.org/10.21272/legalhorizons.2020.i20.p53.

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The modern European mechanism of author’s relations was defined in the article by authors. It was determined the achievements of European legislation on the convergence of legal and digital realities. The article deals with copyright issues on the Internet. The current state of development of the domestic music industry plays an important economic role. This is due, first of all, to the fact that the given sphere can generate a large part of incomes. Musical works accompany us in our daily lives. In particular, in most places on the streets music can be heard. However, the issue arises as to t

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24

Darcan, Tolga, and Levent Ergun. "Production, consumption and text in music industry: The problem of copyrightMüzik endüstrisinde üretim, tüketim ve metin: Telif sorunsalı." International Journal of Human Sciences 12, no. 2 (2015): 1251. http://dx.doi.org/10.14687/ijhs.v12i2.3430.

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<p>This article investigates the relevance of the concept of copyright, which took its modern form in the last century, to the present conditions specific to music in the light of technological and cultural changes. Firstly, it provides a basic definition of copyright along with examples related to its implementation. Then, it dwells on production, distribution and consumption dimensions of music, addressing their differences between 20th and 21st centuries. The main cause of these differences is that there have been radical changes in technology and that reflections of these changes on

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25

Parc, Jimmyn, and Shin Dong Kim. "The Digital Transformation of the Korean Music Industry and the Global Emergence of K-Pop." Sustainability 12, no. 18 (2020): 7790. http://dx.doi.org/10.3390/su12187790.

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There are a number of voices who blame digitization for having a number of negative effects on the music industry including a decline in album sales, copyright infringement, unfair royalty payments, and competition with foreign multinationals. Yet, the global emergence of Korean pop music or K-pop suggests a different narrative, particularly given that its growth was largely unexpected among industry experts. Understanding the key to its international breakthrough can thus produce meaningful lessons for the music industries of other countries for their own further take-off. This constitutes th

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26

Ariani, Nevey Varida. "Enforcement of Law of Copyright Infringement and Forgery with the Rise of the Digital Music Industry." Jurnal Penelitian Hukum De Jure 21, no. 2 (2021): 223. http://dx.doi.org/10.30641/dejure.2021.v21.223-236.

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The current pandemic situation encourages musicians to be productive in creating digital works such as songs and music so that their creative works can produce moral and economic values. However, infringement and forgery of digital music works are rampant. The issue of royalties is still a problem in the digital music industry in Indonesia, including new challenges to the role of aggregators and Collective Management Organization. The problem of this research is how the enforcement of the law of copyright infringement and forgery is with the emergence of the digital industry. This research use

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Dobusch, Leonhard, and Elke Schüßler. "Copyright reform and business model innovation: Regulatory propaganda at German music industry conferences." Technological Forecasting and Social Change 83 (March 2014): 24–39. http://dx.doi.org/10.1016/j.techfore.2013.01.009.

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28

Towse, Ruth. "Copyright and Economic Incentives: An Application to Performers' Rights in the Music Industry." Kyklos 52, no. 3 (1999): 369–90. http://dx.doi.org/10.1111/1467-6435.00092.

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Towse, Ruth. "Copyright and Economic Incentives: An Application to Performers' Rights in the Music Industry." Kyklos 52, no. 3 (1999): 369–90. http://dx.doi.org/10.1111/j.1467-6435.1999.tb00223.x.

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30

GÜRFİDAN, Remzi, and Mevlüt Ersoy. "Blockchain-Based Music Wallet for Copyright Protection in Audio Files." Journal of Computer Science and Technology 21, no. 1 (2021): e2. http://dx.doi.org/10.24215/16666038.21.e2.

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The works produced within the music industry arepresented to their listeners on a digital platform,taking advantage of technology. The problems of thepast, such as pirated cassettes and CDs, have left theirplace to the problem of copyright protection on digitalplatforms today. Block chain is one of the mostreliable and preferred technologies in recent timesregarding data integrity and data security. In thisstudy, a blockzincir-based music wallet model isproposed for safe and legal listening of audio files.The user's selected audio files are converted intoblock chain structure using different t

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Dutfield, Graham, and Uma Suthersanen. "DNA Music." Science & Technology Studies 18, no. 1 (2005): 5–29. http://dx.doi.org/10.23987/sts.55185.

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Patent regulation provides numerous examples of how policy decisions have consequences that run counter to what was intended. One reason that unintended consequences ensue arises from the fact that when powerful and organised business interests consider that a new reform inhibits their economic appropriation opportunities, they seek to make the perceived inadequacies of the law less harmful to their interests. They may achieve this through alternative legal means or by the adoption of new technologies. For certain reasons, regulating DNA patenting is especially vulnerable to unintended consequ

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32

McIntyre, Phillip. "Copyright and Creativity: Changing Paradigms and the Implications for Intellectual Property and the Music Industry." Media International Australia 123, no. 1 (2007): 82–94. http://dx.doi.org/10.1177/1329878x0712300109.

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Copyright law is entangled with the Romantic conception of the creative process. So is the music industry. This Romantic conception has been challenged more recently to the point where there has been a paradigmatic shift of the conception of creative activity within the research community. This change has not as yet occurred for popular conceptions of creativity, nor has the law changed its basis. Once these older views are substituted with the recent work on cultural production and confluence models of creativity, the implication for rights-holders in the music industry may be significant, ye

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33

SPRINGER, ROBERT. "Folklore, commercialism and exploitation: copyright in the blues." Popular Music 26, no. 1 (2006): 33–45. http://dx.doi.org/10.1017/s0261143007001110.

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Though federal law in the United States provides for the protection of artistic property, including music, African-American blues musicians, since the appearance of their first commercial records in the 1920s, have generally not received their due. Part of the problem came from the difficulty of squaring the discrete notions of folk composition and artistic property in those early days. But the exploitation of black artists was largely attributable to common practices in the record industry whose effects were multiplied in this case by the near total defencelessness of the victims. Imitations

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34

Zhang, Laurina. "Copyright and Sales Distribution in the Era of Digitization: Evidence from the Music Industry." Academy of Management Proceedings 2013, no. 1 (2013): 17547. http://dx.doi.org/10.5465/ambpp.2013.17547abstract.

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35

Jacob Li, Gi-Kuen. "How copyright shaped the music industry: a comparative and empirical assessment on copyright enforcement in the PRC and the ROC." Voice and Speech Review 11, no. 2 (2017): 196–215. http://dx.doi.org/10.1080/23268263.2017.1383485.

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36

Omidi, Afshin, Cinzia Dal Zotto, Esmaeil Norouzi, and José María Valero-Pastor. "Media Innovation Strategies for Sustaining Competitive Advantage: Evidence from Music Download Stores in Iran." Sustainability 12, no. 6 (2020): 2381. http://dx.doi.org/10.3390/su12062381.

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This study explores the value of media innovation strategies for driving business success within the Iranian e-market of music downloads. It argues that the context of music e-markets in emerging countries differs markedly from that of developed economies by highlighting the political and cultural challenges that local e-music platforms in Iran are continuously facing. As literature is scarce in this specific area, and this study is one of the first attempting to gain a comprehensive understanding, a qualitative approach has been applied, and 14 digital music industry experts were interviewed

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37

Forere, Malebakeng Agnes. "Protecting Copyrights and Neighbouring Rights in the Music Industry in Southern Africa: A Need for Regulatory Convergence." African Journal of International and Comparative Law 26, no. 4 (2018): 585–615. http://dx.doi.org/10.3366/ajicl.2018.0250.

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This article compares the copyright laws of Botswana, Lesotho, Mozambique, South Africa, Swaziland and Zimbabwe governing music as against the Berne Convention with a view to determine similarities which are necessary in the Internet age. The findings point to divergence in the standards of protection, thereby calling for harmonisation of laws in the Southern African region. In addition, the article recommends the ratification of the WIPO Internet treaties to respond to the new forms of infringement posed by the advent of the Internet and advancements in technology.

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38

Hidalgo Cerezo, Alberto. "Copyright, internet is not the enemy. Thoughts on the “Estimating displacement rates of copyrighted content in the EU” hidden report." Revista Electrónica de Direito, no. 2 (June 2019): 70–96. http://dx.doi.org/10.24840/2182-9845_2019-0002_0004.

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Since the dawning days of the popularization of the internet, it has been regarded as an enemy for copyright. Cultural industries have claimed for the losses derived from rampant piracy. That is their side of the coin. In 2013, the European Commission tendered a study that run over 28.000 polls and had an extension of over 300 pages to deepen into this subject: “Estimating displacement rates of copyrighted content in the EU”. It was finally handled by 2015. However, the report never saw the light of day. Why? In July 2017, Member of the European Parliament (MEP) Julia Reda filed an application

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Hidalgo Cerezo, Alberto. "Copyright, internet is not the enemy. Thoughts on the “Estimating displacement rates of copyrighted content in the EU” hidden report." Revista Electrónica de Direito, no. 2 (June 2019): 70–96. http://dx.doi.org/10.24840/2182-9845_2019-0002_0004_.

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Since the dawning days of the popularization of the internet, it has been regarded as an enemy for copyright. Cultural industries have claimed for the losses derived from rampant piracy. That is their side of the coin. In 2013, the European Commission tendered a study that run over 28.000 polls and had an extension of over 300 pages to deepen into this subject: “Estimating displacement rates of copyrighted content in the EU”. It was finally handled by 2015. However, the report never saw the light of day. Why? In July 2017, Member of the European Parliament (MEP) Julia Reda filed an application

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40

Caston, Emily. "The Pioneers Get Shot: Music Video, Independent Production and Cultural Hierarchy in Britain." Journal of British Cinema and Television 16, no. 4 (2019): 545–70. http://dx.doi.org/10.3366/jbctv.2019.0498.

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This article identifies and summarises the main findings of the AHRC research project ‘Fifty Years of British Music Video, 1966–2016’. It contextualises the history of music video as a film practice within an unspoken cultural hierarchy of screen arts widely shared in universities, policy circles and the British Film Institute. The article documents the main stages in the development of the music video industry and highlights the extent to which the pioneers served as early adopters of new technologies in videotape, telecine and digital film-making. The ACTT consistently lobbied against music

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Bach, David. "The Double Punch of Law and Technology: Fighting Music Piracy or Remaking Copyright in a Digital Age?" Business and Politics 6, no. 2 (2004): 1–33. http://dx.doi.org/10.2202/1469-3569.1089.

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The battle between the recording industry and those illegal sharing music over the Internet has gripped headlines over the last few years like few others related to the digital age. At its core, it is a battle about the meaning of property and thus a battle over the heart of the emerging information economy. This article critically examines the double punch of law and technology – the simultaneous and interwoven deployment of legal and electronic measures to protect digital content – and asks whether it is merely a defense strategy against piracy, as the industry asserts, or rather an attempt

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42

Alexander, Isabella. "CRIMINALISING COPYRIGHT: A STORY OF PUBLISHERS, PIRATES AND PIECES OF EIGHT." Cambridge Law Journal 66, no. 3 (2007): 625–56. http://dx.doi.org/10.1017/s0008197307000694.

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On 6 December 2006, the Gowers Review of Intellectual Property unveiled its much-anticipated report investigating whether intellectual property law was still “fit for purpose in an era of globalisation, digitisation and increasing economic specialisation”. The Review, which had one year in which to cover the entire field of intellectual property law, concluded that there was no need for radical overhaul of the system. However, it did make a number of recommendations for reform and one area it considered to be particularly important was strengthening enforcement of IP rights. In recent years, c

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43

Wainer, Daniel Ferreira. "Between music and technology: existence and functioning conditions of the Brazilian phonographic industry in the 21st century." Comunicação e Sociedade 31 (June 29, 2017): 327–42. http://dx.doi.org/10.17231/comsoc.31(2017).2621.

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This paper discusses the digitalization process of the Brazilian music industry through bibliographical, documental and empirical sources – the latter based on fieldwork and personal interviews conducted from July 2014 to June 2015. To achieve this goal, I intend to: highlight the conditions that lead to the emergence of the digital age; analyze the development of medias, devices and equipment which may have led to this turning point; investigate the possibilities of music production and distribution in the Brazilian context; cross the local circuits of piracy and the independent ways of comme

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Hayes, Ian. "“You Have to Strike That Balance Between Sharing and Charging”." Ethnologies 33, no. 2 (2013): 181–201. http://dx.doi.org/10.7202/1015030ar.

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This article will discuss the concept of musical ownership and copyright in the Cape Breton fiddling tradition. Intellectual property rights have become an increasingly important issue in recent years and represent an intersection between the commercial music industry and vernacular tradition. As such, the way boundaries are constructed in regard to repertoire and ownership is subject to debate. On one hand, some discourses favor the rights of the individual, arguing that intellectual property should be protected, acknowledged and subject to financial compensation. Other perspectives favor the

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45

Avenell, Simon, and Herb Thompson. "Commodity Relations and the Forces of Production: The Theft and Defence of Intellectual Property." Journal of Interdisciplinary Economics 5, no. 1 (1994): 23–35. http://dx.doi.org/10.1177/02601079x9400500104.

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In 1993, the info-media companies, Philips and Sony brought their new digital audio recording systems (Digital Compact Cassette and the Mini Disc respectively) onto the market. Since both systems can make perfect digital copies of Compact Discs, this will dramatically affect the profitability of the pre-recorded music industry, which is a repeat of what occurred when audio cassettes were first introduced in the 1960s. The inability to enforce restrictions on copyright or patent infringement is considered a global problem by many firms in the so-called “sunrise industries”. This article situate

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Towse, Ruth. "Dealing with digital: the economic organisation of streamed music." Media, Culture & Society 42, no. 7-8 (2020): 1461–78. http://dx.doi.org/10.1177/0163443720919376.

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The intervention of digital service providers (DSPs) or platforms, such as Spotify Apple Music and Tidal, that supply streamed music has fundamentally altered the operation of copyright management organisations (CMOs) and the way song-writers and recording artists are paid. Platform economics has emerged from the economic analysis of two- and multi-sided markets, offering new insights into the way business is conducted in the digital sphere and is applied here to music streaming services. The business model for music streaming differs from previous arrangements by which the royalty paid to son

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Imfeld, Cassandra, and Victoria Smith Ekstrand. "The Music Industry and the Legislative Development of the Digital Millennium Copyright Act's Online Service Provider Provision." Communication Law and Policy 10, no. 3 (2005): 291–312. http://dx.doi.org/10.1207/s15326926clp1003_2.

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Zefanya, Dewa Gede Jeremy, and Anak Agung Sri Indrawati. "KEWAJIBAN PEMBAYARAN ROYALTI TERHADAP COVER LAGU MILIK MUSISI INDONESIA." Kertha Semaya : Journal Ilmu Hukum 8, no. 12 (2020): 1908. http://dx.doi.org/10.24843/ks.2020.v08.i12.p08.

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Tujuan dari penulisan ini untuk mengetahui pengaturan terkait dengan kewajiban pembayaran royalti terhadap perbuatan mengcover lagu musisi indonesia berdasarkan ketentuan Undang-Undang No. 28 Tahun 2014 tentang Hak Cipta dan akibat hukum yang ditimbulkan apabila para pihak menolak membayar royalti kepada musisi selaku pencipta lagu dan musik. Metode penelitian yang digunakan dalam tulisan ini adalah penelitian hukum normatif dengan menggunakan pendekatan perundang-undangan dan mengkaji dari literatur-literatur kepustakaan. Hasil studi menunjukkan bahwa perlindungan atas Hak Kekayaan Intelektua

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Curtis, Johnlee Scelba. "Culture and the Digital Copyright Chimera: Assessing the International Regulatory System of the Music Industry in Relation to Cultural Diversity." International Journal of Cultural Property 13, no. 1 (2006): 59–97. http://dx.doi.org/10.1017/s0940739106060024.

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This article examines the international legal regime that governs cultural commodities by providing an up-to-date stocktaking in the field. In doing so, this paper focuses on the music industry, both as the general backdrop and as a context in which to observe the evolution of the current regulatory regime. It includes a review of the history of the commoditization process of musical goods, the requisite legislative and judicial decisions, the international regulatory environment, and a tripartite case study. By reviewing various approaches and examining several recent arenas where the issues

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Fouce-Rodríguez, Héctor. "Technologies and media in digital music: From music market crisis to new listening practices." Comunicar 17, no. 34 (2010): 65–72. http://dx.doi.org/10.3916/c34-2010-02-06.

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In the last decade, the music industry has become the paradigm of the transformations that has carried the development of the productive system towards Informational Capitalism. Of the hand of a quick technological innovation, not always produced by companies, new forms of production and consumption of music have been developed. This new environment has dragged the phonographic companies to a crisis of sales that has forced a radical transformation for the sake of survival. One of these business transformations has been the intensification of the management of copyright. This intensification o

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