scholarly journals An ecosystem lens: Putting China’s digital music industry into focus

2016 ◽  
Vol 1 (4) ◽  
pp. 350-371 ◽  
Author(s):  
Diming Tang ◽  
Robert Lyons
Keyword(s):  
Value Chain ◽  
Service Providers ◽  
Music Industry ◽  
Ecosystem Model ◽  
Digital Music ◽  
Digital Service ◽  
Chinese Music ◽  
Recent Developments ◽  
User Data ◽  
Music Streaming

The digital disruption of the global music industry hits the value chain for recorded music hard. In China, new digital service providers began to amass large user bases, offering a variety of services based on e-commerce and social messaging applications. In a low-intellectual property environment, these services have become the primary sources of digital music streaming via the Internet and increasingly through mobile telephony. This article reviews the literature on the value chains within the Chinese music industry, compares a classic business ecosystem model with a more recent model, and examines available user data on current Chinese music streaming services. We then suggest an ecosystem framework toward understanding the digital music industry in China and discuss how this framework maps to recent developments in China’s digital music industry.

scholarly journals Dealing with digital: the economic organisation of streamed music

2020 ◽  
Vol 42 (7-8) ◽  
pp. 1461-1478
Author(s):  
Ruth Towse
Keyword(s):  
Economic Analysis ◽  
Business Model ◽  
Service Providers ◽  
Music Industry ◽  
Empirical Support ◽  
Digital Service ◽  
Streaming Services ◽  
Music Streaming ◽  
Digital Sphere ◽  
The Way

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 song-writers and performers was a percentage of sales. In the case of streamed music, payment is based on revenues from both subscriptions and ad-based free services. The DSP agrees a rate per stream with the various rights holders that varies according to the deal made with each of the major record labels, with CMOs, with representatives of independent labels and with unsigned artists and song-writers with consequences for artists’ earnings. The article discusses these various strands with a view to understanding royalty payments for streamed music in terms of platform economics, offering some data and information from the Norwegian music industry to give empirical support to the analysis.

scholarly journals 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

2021 ◽  
pp. 205943642199846
Author(s):  
Zhen Troy Chen
Keyword(s):  
Business Models ◽  
Coming Of Age ◽  
Music Industry ◽  
Ecosystem Model ◽  
Global Market ◽  
Copyright Law ◽  
Legal Analysis ◽  
Business Studies ◽  
Legal Studies ◽  
Chinese Music

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 discourses from legal studies, business studies and cultural studies and provide new evidence of the much neglected autonomous development of Chinese copyright law on top of foreign pressure and the desired reforms to further integrate into the global market economy.

Possibilities, Limitations, and the Future of Audiovisual Content Protection

2008 ◽  
pp. 1707-1748
Author(s):  
Martin Schmucker
Keyword(s):  
Value Chain ◽  
Music Industry ◽  
Digital Rights Management ◽  
Basic Knowledge ◽  
Digital Music ◽  
Content Protection ◽  
Digital Rights ◽  
Industry Value Chain ◽  
Rights Management ◽  
Basic Concepts

This chapter explains the fundamental principles of audiovisual content protection. It explains the basic knowledge that is needed to understand the fundamentals of digital rights management (DRM) systems and their problems. Starting with a general introduction about copyright and content protection, available protection technologies are described and analyzed. The basic concepts of DRM solutions are explained and problems discussed. Potentials and practical limitations are analysed based on the digital music industry value chain. An outlook is given on solutions that are under development and that stronger consider the needs of the customers. In the conclusion, future solutions are discussed.

Possibilities, Limitations, and the Future of Audiovisual Content Protection

2011 ◽  
pp. 283-324
Author(s):  
Martin Schmucker
Keyword(s):  
Value Chain ◽  
Music Industry ◽  
Digital Rights Management ◽  
Basic Knowledge ◽  
Digital Music ◽  
Content Protection ◽  
Digital Rights ◽  
Industry Value Chain ◽  
Rights Management ◽  
Basic Concepts

This chapter explains the fundamental principles of audiovisual content protection. It explains the basic knowledge that is needed to understand the fundamentals of digital rights management (DRM) systems and their problems. Starting with a general introduction about copyright and content protection, available protection technologies are described and analyzed. The basic concepts of DRM solutions are explained and problems discussed. Potentials and practical limitations are analysed based on the digital music industry value chain. An outlook is given on solutions that are under development and that stronger consider the needs of the customers. In the conclusion, future solutions are discussed.

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

2018 ◽  
Vol 6 (3a) ◽  
pp. 78
Author(s):  
Pannawit Sanitnarathorn
Keyword(s):  
Purchase Intention ◽  
Structural Equation ◽  
Quantitative Research ◽  
Music Industry ◽  
Partial Least Square ◽  
Model Verification ◽  
Least Square ◽  
Digital Music ◽  
Music Piracy ◽  
Music Streaming

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.

scholarly journals Tec(h)tonic Shifts

2020 ◽  
Vol 20 (76) ◽  
Author(s):  
Aqib Aslam ◽  
Alpa Shah
Keyword(s):  
Income Tax ◽  
Service Providers ◽  
Corporate Income Tax ◽  
Tax Base ◽  
Digital Service ◽  
Permanent Establishment ◽  
User Data ◽  
User Value ◽  
The Many ◽  
Almost All

The ever-increasing digitalization of businesses has accelerated the need to address the many shortcomings and unresolved issues within the international corporate income tax system. In particular, the customer or “user”—through their online activities—is now considered by many as being a critical driving force behind the value of digital services. Furthermore, the rapid growth of digital service providers over the last decade has made them an increasingly popular target for special taxes—similar to wealth and solidarity taxes—which can also help mobilize much-needed revenues in the wake of a crisis. This paper argues that a plausible conceptual case can be made to tax the value generated by users under the corporate income tax. However, a number of issues need to be tackled for user-based tax measures to become a reality, which include agreement among countries on whether user value justifies a reallocation of taxing rights, establishing the legal right to tax income derived from user value, as well as an appropriate metric for valuing user-generated data if it is ever to be used as a tax base. Furthermore, attempting to tax only certain types of business is ill-advised, especially as user data is now being exploited widely enough for it to be recognized as an input for almost all businesses. Several options present themselves for consideration—from a modified permanent establishment definition combined with taxation by formulary apportionment, to user-based royalty-type taxes—each with their own merits and misdemeanors.

scholarly journals How Incumbents Manage Waves of Disruptive Innovations: An Exploratory Analysis of the Global Music Industry

2019 ◽  
Vol 16 (01) ◽  
pp. 1950006 ◽  
Author(s):  
Andrea Urbinati ◽  
Davide Chiaroni ◽  
Vittorio Chiesa ◽  
Simone Franzò ◽  
Federico Frattini
Keyword(s):  
Open Innovation ◽  
Music Industry ◽  
Historical Analysis ◽  
Disruptive Innovation ◽  
Digital Music ◽  
Technological Changes ◽  
Disruptive Innovations ◽  
Music Distribution ◽  
Music Streaming ◽  
Over Time

Innovation scholars have paid special attention on the managerial approaches that incumbents should adopt to promptly respond to the emergence of disruptive innovations. These approaches include, among the others, the use of open innovation or the establishment of ambidextrous organizations. However, this body of research has not analyzed how incumbents use these approaches over time, although they are very often confronted with waves of disruptive innovations that cyclically take place along the lifecycle of an industry. This paper looks into this issue through a historical analysis of the global music industry. For each of the three waves of disruptive innovations that have hit this industry over the last 15 years (i.e. digital music distribution, permanent digital download and music streaming), we analyze the reactions of incumbents in terms of managerial approaches they adopted to respond to the emergence of the disruptive innovation. Therefore, we develop a model suggesting how incumbents evolve over time their responses to cycles of disruptive technological changes.

IoT Digital Service Provider

2019 ◽  
pp. 221-244
Author(s):  
Filipe Cabral Pinto ◽  
Isabel Borges ◽  
Fernando Santiago
Keyword(s):  
Service Provider ◽  
Value Chain ◽  
Service Providers ◽  
Digital Transformation ◽  
Cutting Edge ◽  
Communication Service ◽  
Deep Knowledge ◽  
Digital Service ◽  
New Business ◽  
The Way

Digitalization is changing the way people live and interact. A new society has been built supported by cutting-edge technology changing even the most conservative habits. This new dynamic also changes the way people consume and relate to different brands. Communication service providers are evolving their business and taking digital transformation initiatives to engage customers by putting them at the center of their operations. But only the deep knowledge of customers guarantees a change with value. The advent of the IoT enables getting useful insights about people context facilitating the delivery of personalized offers and first-class experiences all over the journey. New business can be created in an endless market across different domains. However, the IoT value chain is complex and interactions between stakeholders are not always clear. This chapter presents the on-boarding of the IoT on the service provider actuation sphere.

Pengaruh Streaming Musik Terhadap Industri Musik di Indonesia

2020 ◽  
Vol 29 (1) ◽  
pp. 14-25
Author(s):  
Dini Noviani ◽  
Raenita Pratiwi ◽  
Silvia Silvianadewi ◽  
Mohammad Benny Alexandri ◽  
Marsha Aulia Hakim
Keyword(s):  
Intellectual Property ◽  
Qualitative Method ◽  
Music Industry ◽  
Influential Factors ◽  
Consumption Patterns ◽  
Digital Music ◽  
Music Consumption ◽  
Streaming Service ◽  
Music Streaming

Music streaming service has become one of the most influential factors in Indonesian music consumption patterns where the music industry can no longer depend on physical products and consumers are now more selective in enjoying music. This study discusses how the development of the use of steaming music platforms has an impact on consumption patterns and music marketing. The method used in this study is a qualitative method by means of descriptions in the form of words and language. The results of this study indicate that the movement of Z as the main connoisseurs of digital music in Indonesia has shown that the music industry players are very supportive of digitalization to facilitate marketing their music and help protect their intellectual property by reducing piracy.

scholarly journals Türkiye’de Dijital Müzikteki Yeni Ekonomik Modellerin Sosyolojik ve Kültürel Yönleri

2021 ◽  
Vol 7 (13) ◽  
pp. 295-332
Author(s):  
Tuğba Aydın Öztürk ◽  
Nick Crossley
Keyword(s):  
Music Industry ◽  
Economic Models ◽  
Music Technology ◽  
Digital Music ◽  
Global Markets ◽  
The Past ◽  
Digital Era ◽  
Telecommunication Companies ◽  
Recent Developments ◽  
Music Market

This research explained new economic models in the digital music industry in view of cultural, technological, and sociological aspects. The importance of local entrepreneurship, as well as global markets, were accessed. There have been many developments in digital music in the past two decades. These developments have affected relations between the digital economy and music technology. The study is mainly focused on the Turkish music market. Why the subscription and bundling models are on the rise? How does an economic merger between telecommunication companies and digital music services work? What are the effects of the recent developments in technology, in particular smartphones on music industry? The partnership of Turkcell, the largest GSM operator in Turkey, and one of the top 5 in Europe and Turkish digital music service Fizy was exemplified. Thus, the significance of local markets in the digital era, expectations of the audiences, the applicability of streaming, and bundling economic models in Turkey have been examined.

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