Název: When the music changes, so does the dance : do we still need copyright collectives?
Zdrojový dokument: Musicologica Brunensia. 2023, roč. 58, č. 2, s. 93-113
Rozsah
93-113
-
ISSN1212-0391 (print)2336-436X (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/MB2023-2-8
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/digilib.79282
Type: Článek
Jazyk
Licence: CC BY-SA 4.0 International
Přístupová práva
otevřený přístup
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
The tremendous growth of digitization in recent years has raised again the question of the functionality and necessity of the original structure of copyright protection, the copyright collectives. Especially music markets have transformed to such an extent that earlier arguments in favour of the existence of copyright collectives are questionable. The transition from monopolistic and oligopolistic structures to more individual and competitive market is accelerated by the digital economy forces. Even more, the new organisation of the music market has the potential to establish a new stability. The final product of the transformation will be a simpler and shorter creator-consumer chain that will render the market more flexible and competitive, with lower prices and a greater selection. Digital service providers can efficiently collect fees from various music uses. In such world the role of current form of copyrights and copyright collectives can be considered a part of the problem rather than solution.
Reference
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[27] PARK, Walter G. Do Intellectual Property Rights Stimulate R&D and Productivity Growth? Evidence from Cross-national and Manufacturing Industries Data. In: Intellectual Property Rights and Innovation in the Knowledge Based Economy, edited by J. Putnam. Calgary: University of Calgary Press. 2005.
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[31] LYONS, Frank, Hyojung SUN, Dennis P. COLLOPY, Kevi CURRAN, and Paul OHAGAN. Music 2025 – The Music Data Dilemma: Issues Facing the Music Industry in Improving Data Management. Intellectual Property Office Research Paper. 2019. https://ssrn.com/abstract=3437670
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[35] PARC, Jimmyn, and Patrick MESSERLIN. The true impact of shorter and longer copyright durations: from authors' earnings to cultural creativity and diversity. International Journal of Cultural Policy, 2021, vol. 27, n. 5, p. 607–620.
[36] RAUSTIALA, Kaul, and Christopher SPRIGMAN. The Piracy Paradox: Innovation and Intellectual Property in Fashion Design. Virginia Law Review, 2006, vol. 92, n. 8, p. 1687–1777.
[37] RIGAMONTI, Cyrill P. The Conceptual Transformation of Moral Rights. The American Journal of Comparative Law, vol. 55, no. 1, 2007, pp. 67–122.
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[44] WARD, Francine. Self-Publishing Revolution: Copyright Pitfalls for Writers Who Go It Alone. The Routledge Companion to Copyright and Creativity in the 21st Century, edited by Michelle Bogre & Nancy Wolff. New York: Routledge. 2020.
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[2] BMI Anual report 2009–10. (2010). Retrieved June 20, 2022 from https://www.bmi.com/pdfs/publications/2010/annual_review_0910.pdf
[3] BMI Anual report 2014–15. (2015). Retrieved June 20, 2022 from https://www.bmi.com/pdfs/publications/2015/BMI_Annual_Review_2015.pdf
[4] BMI Anual report 2020–21. (2021). Retrieved June 20, 2022 from https://www.bmi.com/pdfs/publications/2020/BMI_Annual_Review_2020.pdf
[5] Boldrin, M., & LEVINE, David K. Against intellectual monopoly. Cambridge University Press: Cambridge, 2008.
[6] BOLT, Jutta and Jan LUITEN VAN ZANDEN. Maddison Project Database, version 2020. Retrieved June 20, 2022 from https://www.rug.nl/ggdc/historicaldevelopment/maddison/releases/maddison-project-database-2020?lang=en
[7] BOYER, Marcel. Competitive Market Value of Copyright in Music: A Digital Gordian Knot. 2018, Canadian Public Policy / Analyse de Politiques, vol. 44, n. 4, p. 411–22. https://www.jstor.org/stable/26585562
[8] CASSELL, Kay Ann, Do Large Academic Libraries Purchase Self-Published Books to Add to Their Collections? Self-Publishing and Collection Development: Opportunities and Challenges for Libraries, edited by Robert P. Holley, Purdue University Press, 2015, pp. 27–36.
[9] CHIANG, Eric P. and ASSANE, Djeto. Estimating The Willingness To Pay For Digital Music. 2009, Contemporary Economic Policy, vol. 27, n. 4, p. 512–522. https://doi.org/10.1111/j.1465-7287.2009.00152.x
[10] COASE, R. The Problem of Social Cost. 1960, Journal of Law and Economics, vol. 3, č.1, p. 1–44.
[11] CUMMINGS, Alex S. From Monopoly to Intellectual Property: Music Piracy and the Remaking of American Copyright, 1909–1971. 2010, The Journal of American History, vol. 97, n. 3, p. 659–81.
[12] ERGO, Richard W. ASCAP and the Antitrust Laws: The Story of a Reasonable Compromise. 1959, Duke Law Journal, vol. 2, p. 258–277.
[13] GARCÍA, Kristelia A. Facilitating Competition by Remedial Regulation. 2016, Berkeley Technology Law Journal, vol. 31, n. 1, p. 183–257, https://dx.doi.org/10.15779/Z38NZ8H
[14] GAROFALO, Reebee. From Music Publishing to MP3 : Music and Industry in the Twentieth Century, 1999, American Music, vol. 17, n. 3, p. 318–354.
[15] GAZZOLA, Patrizia., Enrica PAVIONE, Roberta PEZZETTI, and Daniele GRECHI. Trends in the Fashion Industry. The Perception of Sustainability and Circular Economy: A Gender/Generation Quantitative Approach. 2020, Sustainability, vol. 12, n. 7, p. 1–19. https://doi.org/10.3390/su12072809.
[16] GOLDSTEIN, Paul. Commentary on "An Economic Analysis of Copyright Collectives". 1992, Virginia Law Review, vol. 78, n. 1, p. 413–415. https://doi.org/10.2307/1073314
[17] HANDKE, Christian, Bodo BALAZS, and Joan-Josep VALLBÉ. Going Means Trouble and Staying Makes It Double: The Value of Licensing Recorded Music Online. 2016, Journal of Cultural Economics, vol. 40, n. 3, p. 227–59. http://www.jstor.org/stable/44280352
[18] HAMPL, Mojmír. Trojí přístup k veřejným statkům. Finance a úvěr, 2001, vol. 51, n 2, p117 111–125.
[19] HESMONDHALGH David. Is music streaming bad for musicians? Problems of evidence and argument, New Media & Society. 2021, vol. 23, n. 12, p. 3593–3615. https://doi.org/10.1177/1461444820953541
[20] HESMONDHALGH David, Richard OSBORNE, Hyojung SUN, and Kenny BARR. Music Creators' Earnings in the Digital Era. Project Report. Intellectual Property Office, Newport. 2021. Retrieved June 20, 2022 from https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/1020133/music-creators-earnings-report.pdf
[21] HÖFFNER, Eckhardt. Geschichte und Wesen des Urheberrechts, Band 2. Verlag Europäische Wirtschaft: München, 2010.
[22] HURT, Robert M., and SCHUCHMAN, Robert M. The Economic Rationale of Copyright. The American Economic Review, 1966, vol. 56, n. 1/2, p. 421–432. http://www.jstor.org/stable/1821305
[23] IFPI. 2020. Global music report 2021. The Industry in 2020. Retrieved June 20, 2022 from https://www.ifpi.org/wp-content/uploads/2020/03/GMR2021_STATE_OF_THE_INDUSTRY.pdf
[24] KING, Timothy. Patronage and Market in the Creation of Opera Before the Institution of Intellectual Property. Journal of Cultural Economics, 2001, vol. 25, n. 1, p. 21–45. https://doi.org/10.1023/A:1007670619720
[25] Music & Copyright. Recorded-music market share gains for SME and the indies, publishing share growth for UMPG and WCM (2022). Retrieved June 20, 2022 from https://musicandcopyright.wordpress.com/tag/market-share/
[26] PARK, Walter G. The Copyright Dilemma: Copyright Systems, Innovation and Economic Development. Journal of International Affairs, 2010, vol. 64, n. 1, p. 53–68. http://www.jstor.org/stable/24385185
[27] PARK, Walter G. Do Intellectual Property Rights Stimulate R&D and Productivity Growth? Evidence from Cross-national and Manufacturing Industries Data. In: Intellectual Property Rights and Innovation in the Knowledge Based Economy, edited by J. Putnam. Calgary: University of Calgary Press. 2005.
[28] KOUKAL, Pavel. Autorská práva, public domain a lidská práva. Masarykova univerzita: Brno, 2019
[29] KRETSCHMER, Martin and Philip HARDWICK. Authors' Earnings from Copyright and Non-Copyright Sources: A Survey of 25,000 British and German Writers. Report published by Bournemouth University, UK; Centre for Intellectual Property Policy & Management. 2007. Available at SSRN: https://ssrn.com/abstract=2619649
[30] LAHIRI, Atanu, and Debabrata DEY. Effects of Piracy on Quality of Information Goods. Management Science, 2013, vol. 59, n. 1, p. 245–64. http://www.jstor.org/stable/23359616
[31] LYONS, Frank, Hyojung SUN, Dennis P. COLLOPY, Kevi CURRAN, and Paul OHAGAN. Music 2025 – The Music Data Dilemma: Issues Facing the Music Industry in Improving Data Management. Intellectual Property Office Research Paper. 2019. https://ssrn.com/abstract=3437670
[32] The Madison Project, Retrieved June 20, 2022 from https://www.rug.nl/ggdc/historicaldevelopment/maddison/releases/maddison-project-database-2020?lang=en
[33] MENELL, Peter S. A Remix Compulsory Licensing Regime for Music Mashups. The Routledge Companion to Copyright and Creativity in the 21st Century, edited by Michelle Bogre & Nancy Wolff. New York: Routledge. 2020.
[34] O'HARE, Michael. Copyright: When Is Monopoly Efficient? Journal of Policy Analysis and Management, 1985 vol. 4, n. 3, p. 407–418. https://doi.org/10.2307/3324194
[35] PARC, Jimmyn, and Patrick MESSERLIN. The true impact of shorter and longer copyright durations: from authors' earnings to cultural creativity and diversity. International Journal of Cultural Policy, 2021, vol. 27, n. 5, p. 607–620.
[36] RAUSTIALA, Kaul, and Christopher SPRIGMAN. The Piracy Paradox: Innovation and Intellectual Property in Fashion Design. Virginia Law Review, 2006, vol. 92, n. 8, p. 1687–1777.
[37] RIGAMONTI, Cyrill P. The Conceptual Transformation of Moral Rights. The American Journal of Comparative Law, vol. 55, no. 1, 2007, pp. 67–122.
[38] ROTHENBERG, Stanley. Copyright and public performance of music. The Hague: Martinus Nijhoff, 1954.
[39] SCHERER, Dana A. Money for something: Music licensing in the 21st century. Congressional Research Service. 2021.
[40] SCHUMPETER, Joseph. Capitalism, Socialism and Democracy. 2003.
[41] Routledge. Report Economics of music streaming. 2021. Retrieved June 17, 2022, from https://publications.parliament.uk/pa/cm5802/cmselect/cmcumeds/50/5011.htm#_idTextAnchor081
[42] TOWSE, Ruth. Why has cultural economics ignored copyright? Journal of Cultural Economics, 2008, vol. 32, n. 4, p. 243–259. http://www.jstor.org/stable/41811000
[43] TYLER, Neil S. Music piracy and diminishing revenues: How compulsory licensing for the interactive webcasters can lead the recording industry back to prominence. University of Pennsylvania Law Review, 2013, vol. 161, n. 7, p. 2101–2150.
[44] WARD, Francine. Self-Publishing Revolution: Copyright Pitfalls for Writers Who Go It Alone. The Routledge Companion to Copyright and Creativity in the 21st Century, edited by Michelle Bogre & Nancy Wolff. New York: Routledge. 2020.
[45] YU, Peter K. Four Common Misconceptions About Copyright Piracy. Loyola of Los Angeles International and Comparative Law Review, 2003, vol. 127, n. 26, p. 127–150.