In this study we explore the potential benefits of a design thinking approach for improving the health of the music industry. We discuss the usefulness of the lab method in facilitating collaborations between education, research, and the professional field. This study highlights the importance of innovation and experimentation in the industry, and notes that students are well-positioned to provide fresh perspectives on business processes. According to one industry partner, creativity of this kind represents the future of the music industry.
There is a lack of interest and empirical analysis in the existing literature on composers’ relations with their publishers and the role of Collective Management Organizations (CMOs) within the system of music copyright. The purpose of this paper is to explore and understand the influence of digitization within the music industry on the copyright enforcement in the Netherlands and on rights holders and the CMOs. Also to explore and understand how their mutual relationships are affected by digitization of the music industry. A qualitative analysis was done by reviewing scientific literature, performing a documents analysis and doing open interviews. In the existing economics of copyright literature, the main focus is set on transaction costs, efficiency and welfare topics. The findings can be used to understand and model how rights holders and CMOs cope with the digitization and contribute to the policy makers and economic actor’s discussion about future improvement of the copyright enforcement system.
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Abstract The emergence of new technologies such as mp3 and music streaming, and the accompanying digital transformation of the music industry, have led to the shift and change of the entire music industry’s value chain. While music is increasingly being consumed through digital channels, the number of empirical studies, particularly in the field of music copyright in the digital music industry, is limited. Every year, rightsholders of musical works, valued 2.5 billion dollars, remain unknown. The objectives of this study are twofold: First to understand and describe the structure and process of the Dutch music copyright system including the most relevant actors within the system and their relations. Second to apply evolutionary economics approach and Values Sensitive Design method within the context of music copyright through positive-empirical perspective. For studies of technological change in existing markets, the evolutionary economics literature provides a coherent and evidence-based foundation. The actors are generally perceived as being different, for example with regard to their access to information, their ability to handle information, their capital and knowledge base (asymmetric information). Also their norms, values and roles can differ. Based on an analysis of documents and held expert interviews, we find that the collection and distribution of the music copyright money is still based on obsolete laws, neoclassical paradigm and legacy IT-system. Finally, we conclude that the rightsholders are heterogenous and have asymmetrical information and negotiating power. The outcomes of this study contribute to create a better understanding of impact of digitization of music copyright industry and empower the stakeholders to proceed from a more informed perspective on redesigning and applying the future music copyright system and pre-digital norms and values amongst actors.
Last year, in the aftermath of the pandemic, Effenaar invited sixteen musicians to explore the hybrid world during the first edition of Hybrid Music Vibes - made possible by Innovation Lab (an arrangement of Creative Industries Fund NL and ClickNL) and Stichting Cultuur Eindhoven. In this first edition, talent from the region could learn about the use of new technologies, experiment with various techniques, and the artists were also given the opportunity to realize their own concept. With the aim of providing the artist with new possibilities for expression, and thus the creation of a new relationship with the public, and thus possible revenue models. The program consists of four meetings, each of which starts with a knowledge session followed by a workshop. In the knowledge session, leading speakers (including Raynor de Groot and Tim van der Zalm) will inform the participating artists about the opportunities offered by the use of new technologies, for example in relation to 'fan engagement'. In the workshop, the artists are then challenged to apply this in their own work, working towards a concept. After the program has ended, the artists will pitch this concept and a number of artists will be selected together with the program partners and the public to realize their concept.Societal issueMusic inclusion. Help the music industry and beginning artists to make use of new immersive media technologies to create new music experiences and reach new audiences. To not be left out and only the big companies have the knowledge and means to use it.Benifit to societyNew insights how immersive technologies can create new audience connections and means for artisits to express themselves and be included in society.
