Music Revenue Research Articles

블록체인 기술을 활용한 저작권계약 관리 방안에 관한 연구 : 음악저작권 중심으로 블록체인 기반 저작권 계약

In this study, the word "the era of the fourth industrial revolution such as the Internet of Things, artificial intelligence, big data, and blockchain" is emerging as a hot topic. The world is changing its content service platform throughout the industry due to the emergence of smart devices, the development of new devices, and the rapid development of major technologies following changes in the digital environment amid rapid paradigm change. As large companies such as Disney, led by Netflix in the U.S., entered the platform business, the future era eventually became an era where only companies that own both content and platform survive. Given that Netflix"s 2020 sales have achieved 415.5 billion won due to restrictions on people"s activities in the fendemic situation caused by COVID-19, it can be seen that the expansion of content consumption through the platform is rapidly expanding. Distribution of digital content takes place through contracts between copyright holders, performers, agencies, distributors, and services. Users of music are purchasing music using the services of distribution service providers, and the distribution of music revenue generated is distributed to agencies such as copyright holders, performers, and record producers through music distributors and copyright trust organizations. However, as problems such as copyright contracts and omission and delay of settlement of copyright fees arise in the process of digital music distribution contracts, the blockchain-based digital music distribution contract system is suggested as an alternative.

The Future of Music Copyright Collectives in the Digital Streaming Age

The Future of Music Copyright Collectives in the Digital Streaming Age

The Relationship between Music Property and Degree of its Popularity in Spotify

The global recorded music market grew by 7.4% in 2020, the sixth consecutive year of growth, according to IFPI, the organization that represents the recorded music industry worldwide. Figures released today in IFPI’s Global Music Report show total revenues for 2020 were US$21.6 billion. Growth was driven by streaming, especially by paid subscription streaming revenues, which increased by 18.5%. There were 443 million users of paid subscription accounts at the end of 2020. Total streaming (including both paid subscription and advertising-supported) grew 19.9% and reached $13.4 billion, or 62.1% of total global recorded music revenues. The growth in streaming revenues more than offset the decline in other formats’ revenues, including physical revenues which declined 4.7%; and revenues from performance rights which declined 10.1% – largely as a result of the COVID-19 pandemic. As we have seen, the music market has a huge economic potential on a global scale, then I want to use 40,000 of data in Spotify to analysis people’s average hobbies and build a simple persona.

Vinyl Revival

Vinyl Revival

The Effect of Scarcity Appeal in Advertising to Purchase Intention Through Customer Attitude on Box Set in Buying Physical Album

Advances in technology have changed the traditional music industry. Buying a physical compact disc is no longer the only way to buy music. But buying physical CDs, still accounts for more than 46% of global recorded music revenue. The purpose of this study was to analyze the effect of scarcity appeal in advertising on customer attitude, scarcity appeal in advertising on purchase intention, customer attitude affect purchase intention on Box Set products in Physical Album Purchases. This study uses data, which in this study were collected using survey methods. The population in this study is the music fans of artists who make Box Set albums on Buy Physical Albums. The sampling technique used in this study is purposive sampling is a sampling technique where the sample is chosen based on the criteria, among others: music fans of artists who make Box Set albums on Buy Physical Albums who have never bought Box Set products at Physical Album Buy and have never saw the Box Set product ad on the Physical Album Buy. The results of the study on the Box Set product at Buy This Physical Album show that Scarcity Appeal in Advertising has a significant effect on customer attitude. Scarcity appeal in advertising also has a significant influence on Purchase intention. Likewise, Customer Attitude has a significant influence on Purchase Intention. This shows that the three research hypotheses were accepted as correct.

International heterogeneity in the associations of new business models and broadband Internet with music revenue and piracy

Broadband Internet has fundamentally changed business models in many industries. In the music industry, for instance, old business models were challenged by illegal competitors, and broadband Internet has enabled value creation through new business models. The changes that established business models experienced in the wake of broadband Internet, however, differed vastly across national markets, and these differences are not well understood. We build a conceptual framework and study the extent to which differences in economic and cultural factors are associated with different market outcomes in the wake of the proliferation of broadband Internet. Thus, we compile two unique data sets from the music industry, comprising (1) revenue data for 36 countries and 22 years and (2) piracy data for 47 countries and >2 years. We use a Bayesian multilevel model to explore between-country heterogeneity in the associations between these variables and broadband Internet adoption and business model innovations. Our results show that the negative association between broadband Internet penetration and music revenue is weaker in high-income countries, where income restrictions are less likely to drive demand towards illegitimate piracy services. In terms of cultural factors, we find that a market's response to the introduction of broadband Internet is less negative in countries scoring high on Hofstede's individualism and uncertainty avoidance dimensions. Furthermore, we find that overall revenues only recover after the latest generation of streaming services (e.g., Spotify) has been introduced, and the adoption of these services is associated with lower levels of online music piracy.

An Analysis of Music Fan Towards Music Streaming Purchase Intention of Thailand's Music Industry

Digital music streaming are climbing but overall music revenue is declining with digital music piracy being blamed as the culprit. In a 10 year period from 2003 to 2013, global music sales dropped from $US23.3 to $US15 billion dollars with Thailand’s music industry following the trend dropping from $US 304 million in 2010 to $US 279 million in 2014. The study therefore used a structural equation model to analyze the variables affecting digital music piracy and fan music streaming's purchase intention. From the seven point Likert scale questionnaire, 350 music fans were surveyed concerning their digital music streaming activities. The qualitative research was conducted with 10 executives in music industry by the use of purposive sampling. Partial Least Square Graph software was used for model verification with the results showing that fan idolatry has the highest influence on the overall decision to stream music digitally. The results showed that the results of quantitative research is practical and acceptable hypothesis significance at p ≤ 0.05 by factors that have a direct influence positive peak and overall influence is the highest passion to affect their willingness to stream music digitally to consumers. The findings of this study concluded that the artist's passion for their music fans is the key factor in music lover’s intent to stream and pay for digital music. Fans are ultimately the most important sector of the industry and unfortunately it is one which the industry forgets about. Labels or artists who focus on only ‘looking good’ while not engaging their fan audiences are destined for a continuing decline in their sales numbers.

Global Music Revenues, Music Streaming and The Global Music Value Gap

Large technology companies have for some time claimed a “golden age” for creativity has resulted from expanded copyright law exceptions facilitating the digitisation of content (e.g. music, film and books) and the spread of the Internet over the past 20 years. This will be referred to as the “golden age” hypothesis. More recently it has also been claimed that the growth of music streaming has created a more vibrant and growing market in recorded music after years of decline. This paper reviews global recorded music industry revenues to assess both the golden age claims of the large technology companies, and suggestions that growth of music streaming are a sign that the industry has overcome a period of adjustment to the digital age. The analysis in this paper suggests both the golden age hypothesis, and the notion that music streaming may have solved the value gap problem, are wrong. The analysis of global recorded music revenues from 1999-2017 presented in the paper below, supplemented by analysis of US data that is available for a longer period from 1973-2017 in summary refutes both propositions. Global recorded music revenues were growing strongly from 1973 to 1999 - prior to the digitisation of music and the spread of the Internet. From 1999 – or after the launch of Napster the first major online pirate site - music revenues collapsed creating a value gap that continues to grow despite growth in streaming music revenues driving an increase in nominal revenues in recent years. In particular from 1999 to 2017 global music revenues fell to be only around 28% of what they would have been had they kept up with the rest of the global economy, or the rate of nominal global GDP growth from 1999. If global music revenues had kept up with the global nominal GDP growth rate from 1999 they would have been US$ 62.5 billion by 2017, or 3.65 times higher than the actually realised US17.3 billion. This implies a global music value gap compared to what global recorded music revenues would have been had they kept up with nominal global GDP growth: • The annual global music value gap was over US$45.2 billion per annum by 2017; • The global cumulative music value gap from 1999 to 2017 is around US$502.5 billion, or just over US$ 0.5 trillion; • The average annual increase in the global music Value Gap from 1999 to 2017 was $1.1 billion per annum; and • The value gap has continued to grow on average by US$139 million per annum from 2013 -2017 - despite growth in streaming music revenues driving an increase in nominal revenues.

The Broken Spoke: Austin's Legendary Honky-Tonk by Donna Marie Miller

Reviewed by: The Broken Spoke: Austin's Legendary Honky-Tonk by Donna Marie Miller Craig Hillis The Broken Spoke: Austin's Legendary Honky-Tonk. By Donna Marie Miller. ( College Station: Texas A&M University Press, 2017. Pp. 256. Illustrations, notes bibliography, index.) Donna Marie Miller has written a very good and essential book. It is a story of a native Austin family, the bar and restaurant business that patriarch James White opened in 1964, and the countless characters both on and off the stage who have populated this legendary honky-tonk for more than half a century. It is a good book because it is well researched, well organized, and well written. Over a twenty-seven month period, Miller collected more than one hundred oral histories from the White family and from employees, patrons, and musicians and their representatives, thereby creating a valuable trove of primary source data. She carefully explored the main currents of Texas cultural history and Austin music history. Additionally, she sought out films, videos, and audio recordings that were relevant to her story. Miller organized the book in seven sections, delineated by decades, and [End Page 238] within each section she wove together three dominant themes she calls "braids." The first covers local, state, and national events as they affected the evolution of the Broken Spoke and the growth of the Austin music scene. The "center thread" (11) depicts the life and times of the White family, and the third braid presents the cast of characters—employees, patrons, dancers, musicians—and their role in the story. This "braided narrative structure" (11) enables the reader to experience the interplay of the three story lines in a common historical setting. Miller writes in an accessible and direct journalistic style. Her comprehensive research is evident through her command of the material and her free-flowing narrative. She sprinkles enough spice and lighthearted anecdotes through the story to hold the reader's interest and keep the pages turning. The Broken Spoke is an essential book because it analyzes a live music venue, and in Texas, especially in Austin, the live music venue is the essential cog in the wheel of our vibrant music scene. Whether a small folk club, a rock 'n' roll joint, a multi-thousand seat concert hall, or a venerable honky-tonk, these locations provide the economic bedrock upon which all other aspects of the music scene unfold: the paychecks to musicians that in turn underwrite managers, agents, music publishers, producers, studio engineers, and related audio and video projects. Live music revenues translate into musical instrument sales, advertising produced by copywriters, graphic artists, and printing companies, and countless other commercial enterprises that account for Austin's multi-million dollar annual entertainment and tourism industry. Miller successfully portrays how the activities of the White family, the personnel and patrons at the club, and an endless stream of musicians come together to facilitate the role that the "Spoke" plays in the local and national music community. Miller's book calls the Broken Spoke "Austin's Legendary HonkyTonk," a bar, a restaurant, a "real country joint" (4), and "the last of the true Texas dance halls" (6). It is also a home away from home for some of country music's biggest stars, a showcase for up and coming acts, a blue-collar country club, an after-hours conference room for Texas legislators, a country dance studio, a community center, and a country music museum. Most importantly, The Broken Spoke is a quintessential American story. It is an authentic Norman Rockwell-like portrait of a strong, dedicated family whose work ethic, commitment to each other, and shared vision are now fueling a third generation. Having survived and thrived in an extremely tough business, the Whites have nurtured a Texas tradition. The Broken Spoke: Austin's Legendary Honky-Tonk is an essential companion to any student or enthusiast of Texas music and cultural history. [End Page 239] Craig Hillis Austin, Texas Copyright © 2018 The Texas State Historical Association

As streaming reaches flood stage, does it stimulate or depress music sales?

Streaming music services have exploded in popularity in the past few years, variously raising optimism and concern about their impacts on recorded music revenue. Even if streaming displace sales, it may still raise overall revenue if the streaming payment is large enough in relation to the extent of sales displacement. We make use of the growth streaming during the years 2013–2015 to measure their collective impact on unpaid consumption and on the sales of recorded music. We are unable to statistically distinguish the distinct impacts of these services, but we reject that their combined impact on sales is zero. We also find that streaming displaces music piracy. Given the current industry’s revenue from track sales ($0.82 per sale) and the average payment received per stream between $1.51 and $2.77 per thousand streams or, on average, about $2.14 per thousand streams, our sales displacement estimates show that the losses from displaced sales are roughly outweighed by the gains in streaming revenue.

The Dynamic Interplay between Recorded Music and Live Concerts: The Role of Piracy, Unbundling, and Artist Characteristics

The business model for musicians relies on selling recorded music and selling concert tickets. Traditionally, demand for one format (e.g., concerts) would stimulate demand for the other format (e.g., recorded music) and vice versa, leading to an upward demand spiral. However, the market for recorded music is under pressure due to piracy and the unbundling of albums, which also entail threats for the traditional demand spiral. Despite the fundamental importance of recorded music and live concerts for the multibillion-dollar music industry, no prior research has studied their dynamic interplay. This study fills this void by developing new theory on how piracy, unbundling, artist fame, and music quality affect dynamic cross-format elasticities between record demand and concert demand. The theory is tested with a unique data set covering weekly concert and recorded music revenues for close to 400 artists across more than six years in the world's third-largest music market, Germany. The cross-format elasticity of record on concert revenue is much stronger than the reverse elasticity of concert on record revenue. The results show the key role of piracy, unbundling, and artist characteristics on these cross-format elasticities, which have implications for the business model of the music industry.

Musical exploration via streaming services: The Norwegian experience

ABSTRACTStreaming services for music are growing worldwide, and the Nordic countries are leading the way. In Norway, streaming represented 88% of digital music revenues in 2014 versus just 23% globally. In essence, streaming services offer subscribers access to vast databases of music and offer artists new means of exposure and sources of revenue. This article argues that the possibility of musical discovery is essential to these services’ distribution model. It examines the provisions for exploration through streaming, pointing to automated algorithms and human curation as key devices. It then collects quantitative data on the presentation of music via a Norwegian service (WiMP/Tidal) and qualitative findings from interviews with consumers about their experiences with music streaming. Key discrepancies arise between the promise and the reality of streamed-music discovery, both for artists seeking new fans (and funds) and for audiences expecting streaming to supersede existing forms of musical exploration.

Why go to pop concerts? The motivations behind live music attendance

Recent technological innovations have facilitated widespread illegal downloading of recorded music. While this points towards a decreased willingness to pay for music, the increase in the popularity of live music suggests otherwise. This is especially so when taking into account the rising cost of concert tickets, likely the result of reduced recorded music revenues. In the present study, a consideration of the unique motivations of why music fans decide on whether or not to attend live concerts is of interest. Drawing from a sample of 249 participants (55.02% female) with a mean age of 26.49, an open-ended questionnaire was analysed thematically with four key themes defined: Experience, Engagement, Novelty and Practical. The results highlight that participants want to “be there”, to be a part of something unique and special, sharing the experience with likeminded others. Other social dimensions such as the use of live music events as a means to demonstrate fan worship were also found. The unknown, novel aspects of live music were key motivators, such as hearing new material and watching support bands. Notably, price was not a contributing factor when choosing to attend a concert, suggesting that live music offers fans something special that they are more than willing to pay for.

“Selling Out” and the impact of music piracy on artist entry

There is a puzzle arising from empirical analyses of the impact of music piracy that this has caused declines in music revenue without a consequential decline, and perhaps even an increase, in the entry of artists and the supply of high quality music. There have been numerous explanations posited and this paper adds a novel one: that artists are time inconsistent and hence, tend to underweight fame over fortune when making future choices; i.e., the degree to which they will ‘sell out.’ Regardless of whether selling out is anticipated or not, the puzzle is resolved. When selling out is not anticipated, future expectations of piracy are not a concern as these only impact on monetary awards that are not driving entry. When selling out is anticipated, piracy actually constrains the degree to which artists sell out, and assured of that, raises entry returns. Implications and the role of publisher contracts are also explored.

'Selling Out' and the Impact of Music Piracy on Artist Entry

There is a puzzle arising from empirical analyses of the impact of music piracy that this has caused declines in music revenue without a consequential decline, and perhaps even an increase, in the entry of artists and the supply of high quality music. There have been numerous explanations posited and this paper adds a novel one: that artists are time inconsistent and hence, tend to underweight fame over fortune when making future choices; i.e., the degree to which they will ‘sell out.’ Regardless of whether selling out is anticipated or not, the puzzle is resolved. When selling out is not anticipated, future expectations of piracy are not a concern as these only impact on monetary awards that are not driving entry. When selling out is anticipated, piracy actually constrains the degree to which artists sell out, and assured of that, raises entry returns. Implications and the role of publisher contracts are also explored.

디지털 음악시장에서 음원사용료 징수 개정안의 고찰-2013년 징수개정안을 중심으로

As a result of growth of digital music market in Korea, Creator`s rights and interests have been at the heart of the debate in terms of legal system. In the music industry, digital music revenue has now overtaken records sales and compared to download service it is now clear that music streaming and subscription is mainstream model in the rise of the worldwide market of digital music. This trend is also indentical to the domestic and withholding regulations for music service and creator`s rights and interests have become an ever growing issue. Ministry of Culture, Sports ad Tourism decided the revision of withholding regulations for the digital music service in 2013. The amendment is to change its policy of charging music service from the flat rate pricing to a usage-based system. This paper brought forward some disputable points such as fair division of profit, reasonable pricing for consumers etc. about the revision. Therefore, improvement of system and change in the perception of such copyrights are still required for both the encouragement of creator`s activities and the high consumer satisfaction.

Authors Influencing Others to Follow: An Analysis of a Social Media Platform Through the Framework of Persuasion Theory

IntroductionAccording to Global Entertainment and Media Outlook: 20142018 (PwC 2014) global consumer books revenue grew in 2013 after years of decline, as increase in ebook revenue surpassed decreasing print revenue. This type of tipping point is not new to those watching another sector of entertainment industry. While there are some differences in methodology, Peoples (2012) argued U.S. digital recorded music revenue exceeded physical sales in 2011.The fact is these two sectors of entertainment industry have much in common. Just as technology has transformed music industry (Graham et al. 2004) and allowed unsigned musicians opportunity to create and build an audience for their music, book publishing industry has also experienced seismic shifts, allowing book authors to create and build an audience for their books.While much of supply chain of traditional publishing industry is still intact-from agents pitching books to publishing houses, to distribution of books to physical and online retailers-authors can now build their personal brands online and drive sales wherever their books are sold.Just as Chris Anderson's The Long Tail (2006) has been applied to music industry, it also explains publishing industry. There are authors who will find themselves at head (titles are found on shelves of retail stores) and there are authors who will find opportunity down tail (titles of self-published through mid-level published authors found primarily online). Regardless of their level, or placement of their books, authors have a unique opportunity to build a tribe of followers with social media tools available in today's online environment.The Tribe and Media PlatformBritish novelist Elizabeth Jane Howard is frequently quoted as saying, Call it a clan, call it a network, call it a tribe, call it a family: whatever you call it, whoever you are, you need (Howard 1998,260). If authors are going to have success in marketplace, they need a group of people connected to one another, connected to a (author) and connected to an idea. To become a tribe, people need only a shared interest and way to communicate (Godin 2008). The strategic use of interactive online social media allows for a tribe to communicate clearly in four directions: leader to tribe, tribe to leader, tribe member to tribe member, and tribe member to outsider (Godin 2008, 28).Brian Solis's Conversation Prism (2013) depicts how the social [media] landscape is evolving with increasing acceleration. The number of social media networks that have vanished and emerged is staggering, and as a result, it can make process of understanding and building a social media platform difficult.In an attempt to help others understand how various social media work together, social media expert Michael Hyatt (Hyatt 2010c, March 25) borrowed from Chris Brogan's (2010) Simple Presence and Jon Dale's Social Media (2009) to come up with a refined version of a Media Framework (Hyatt 2010c, March 25).According to Hyatt, a good social media strategy has three components.1. A Homebase: The homebase is digital property that one owns. It is unique from other two components in that it is fully under control of author. It usually comes in form of a website or blog, and it is where author wants to drive traffic. According to Hyatt (Hyatt 2010c, March 25), You can control borders and determine who has access. The homebase usually integrates social media network features and metrics within its borders, but only if it serves a purpose.2. Embassies: These are places that are not owned or controlled by author; instead author will create profiles with different social media networks like Facebook, Twitter, etc., and engage in conversations with those who congregate there. …

Music for a Song: An Empirical Look at Uniform Pricing and Its Alternatives

With digital music as its context, this paper quantifies how much money would be made using alternatives to uniform pricing. Using survey‐based data on nearly 1,000 students' valuations of 100 popular songs in early 2008 and early 2009, we find that various alternatives can raise both producer and consumer surplus. Digital music revenue could be raised by between a sixth and a third relative to profit‐maximizing uniform pricing. While person‐specific uniform pricing can raise revenue by over 50 per cent, none of the non‐discriminatory schemes raise revenue's share of surplus above 40 per cent of total surplus.

Maisons de disques et artistes: convergence ou conflit d'intérêts face au numérique?

We model the relationship between an artist and a record company as a revenue-sharing game that stems from two complementary markets: the recorded-music market and the live-music market. Artists are heterogeneous according to their potential success as well as to the amount that live music represents in their total revenues. The model shows that: (i) the bargaining power between a record company and an artist will partially switch from the former to the latter because of the increasing value of an artist's outside options; (ii) digitization should favor the live-music market and thus mitigate the negative impact of piracy, or even reverse it for artists with a strong activity on stage; (iii) the rise of new contracts is an opportunity for both record companies and artists. Getting a share of live music revenues could make a record company profitable unlike standard contracts. Sharing their live music revenues could be a condition for some artists to release an album.