The Rethink Music initiative recently published a report on “Fair Music: Transparency and Money Flows in the Music Industry”. The report identifies barriers in the money flows to artist and states:”[O]nly a small proportion of the money beyond the initial recording advances ultimately makes its way to artists as ongoing revenue.” (Rethink Music, 2015: 3). Especially in the digitized recorded music business the revenue streams are often obscure and non-transparent. And if it comes to music streaming, artists are sceptical about the underlying business model. Based on the report’s finding, the revenue streams from music streaming and the structures behind the business are analysed.
Posts Tagged ‘collecting society
Tags: artist income, ASCAP, Believe Digital, BMI, collecting society, composer, content aggregator, copyright, Deezer, Harry Fox Agency, iHeartRadio, income distribution, income of musicians, master right, mechanical right, MRO, music publisher, music streaming, musical copyright, Pandora, performance right, performer, PRO, rdio, Rebeat, record labels, revenue distribution, SESAC, Sirus XM, songwriter, sound recording right, SoundExchange, Spotify, streaming income, streaming revenue, The Orchard
In the current issue of the International Journal of Music Business Research Professor Adolf Dietz, the Senior researcher and former head of the Max-Planck-Institute for Intellectual Property and Competition Law, Munich (Germany) critically reflects the European Commission’s Proposal for a Directive on Collecting Societies and Cultural Diversity as a missed opportunity. David Allan, Associate Professor of Marketing at Saint Joseph’s University in Philadelphia (U.S.) deals in “Turn it up: That’s my song in that ad” with deals the relevance of popular music for brand and artist awareness in television commercials. Finally, Steven C. Brown, Doctoral Research Student at Glasgow Caledonian University (Scotland) reflects the “Peer production and the changing face of the live album”.
Tags: 4th Vienna Music Business Research Days 2013, Adolf Dietz, anti-trust law, ARESA, C3S, collecting society, copyright law, creative commons licensing, cultural diversity, Dennis Collopy, EU Copyright reform, Future of Music Licensing, intellectual property rights, International Music Registry, Jim Griffin, Liane Wildpanner, Meik Michalke, music registry, P. Bernt Hugenholtz, right holders, Till Evert
In the 4th Vienna Music Business Research Days the “Future of Music Licensing” was highlighted. The conference, therefore, focused on collective rights management and collecting societies respectively as well as the registration of music rights. However, in a broader perspective also the future of copyright in a digital society was discussed.
In the opening panel of the conference on Thursday the concept of creative commons licensing and the set-up of a collection society for CC-licensing by the C3S initiative in Germany was controversially discussed.
The first conference day, however, was devoted the 3rd Young Scholars’ Workshop. Fourteen young academics from 8 different countries – Australia, Austria, China, Czech Republic, France, Germany, Palestine and Portugal – presented their papers on a wide range of music business research topics.
For a detailed coverage of the whole conference– including all papers and presentation slides as well as audio files of all talks and discussion – please click here.
The 4th Vienna Musis Business Research Days will be held on the “Future of Music Licensing” in Joseph Haydn Hall at the University of Music Performing Arts Vienna (Anton-von-Webern-Platz 1, 1030 Vienna) from June 20-21, 2013. This international conference gathers scholars from different disciplines, but also business professionals and decision-makers from state and private bodies to discuss the future of collective music licensing as well as the future of copyright in a digital society. In addition young scholars present their recent findings on music business industry topics in an international workshop.
Admission free, but please register under email@example.com
You can follow the 4th Vienna Music Business Research from 19:30, June 20 (CEST until 18.00, June 21, 2013 (CEST) on a live audio stream: http://www.mdw.ac.at/mdwMediathek/livestream/
Media coverage of the 4th Vienna Music Business Research Days 2013
Musikmarkt. Das Branchenmagazin, “Zwischen Theorie und Praxis. Die Wiener Tage des Musikwirtschaftsforschung”, Issue 22/2013, p. 44.
Salzburger Nachrichten, “Ein Ständchen kann teuer werden”, June 14, 2013.
Futurezone, “Experten diskutieren Musiklizenzierung in Wien”, June 17, 2013.
The Gap, “The Next Big Thing”, June 19, 2013.
In this blog the early music industry in Australia was analysed in great detail (The Early Record Industry in Australia – part 1, part 2, part 3, part 4, part 5 and part 6). In a four part series on the Australian music business I would like to highlight the recent economic situation of the Australian music industry. In the first part of this series the charts of the Australian Recording Industry Association (ARIA) are analysed to understand the consumers’ taste downunder especially in respect to the Australian national repertoire. In the second part the question is answered, which labels benefit from the chart successes of international and domestic artists. In a third part the development of the recorded music sales in Australia from 2000 to 2011 is analysed to give an explanation for the ups and downs in the observed period. In the fourth and last part of the series the economic role of collecting societies in Australia is highlighted especially from the licensing income’s perspective.
In the last part of the series the role of the three Australian music collecting societies – APRA, AMCOS and PPCA – for the Australian music industry is highlighted.