Inside the music industry : copyright and rights holders
Vasilkova, Nadia (2020)
2020
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Julkaisun pysyvä osoite on
https://urn.fi/URN:NBN:fi:amk-202005067452
https://urn.fi/URN:NBN:fi:amk-202005067452
Tiivistelmä
The objective of this study was to gather information on how the music industry operates and its historical business models, identify key differences between composition and sound recording rights as well as gain an understanding of modern licensing systems. Streaming income division between artists, songwriters, record labels, publishers and the streaming services themselves was examined to establish financial imbalance.
This study was carried out as a project involving interviewing industry professionals from different music industry institutions, referring to subject-specific and subject-related literature as well as a variety of web sources.
The findings indicate that the two main copyrights in a song, the composition copyright and the sound recording copyright, are licensed and remunerated differently. Historical licensing models, such as for those physical products, are applied to some digital services despite the differences in distribution methods.
A few gaps, for example, poor metadata communication between the publishing and the recording industry sections, evidently contribute to revenue imbalances. Lack of a unified database, absence of one-stop rights clearance societies in specific territories and lack of education amongst songwriters on how to ensure they get paid are also mentioned.
This study was carried out as a project involving interviewing industry professionals from different music industry institutions, referring to subject-specific and subject-related literature as well as a variety of web sources.
The findings indicate that the two main copyrights in a song, the composition copyright and the sound recording copyright, are licensed and remunerated differently. Historical licensing models, such as for those physical products, are applied to some digital services despite the differences in distribution methods.
A few gaps, for example, poor metadata communication between the publishing and the recording industry sections, evidently contribute to revenue imbalances. Lack of a unified database, absence of one-stop rights clearance societies in specific territories and lack of education amongst songwriters on how to ensure they get paid are also mentioned.