出版科学 ›› 2022, Vol. 30 ›› Issue (1): 88-.

• 多媒体 数字出版 • 上一篇    下一篇

与数字打交道 :流播音乐的经济组织

  

  1. 英国伯恩茅斯大学,多塞特,BH125BB
    武汉大学信息管理学院,武汉,430072
  • 出版日期:2022-01-15 发布日期:2022-01-22
  • 作者简介:[ 作者简介 ] [ 英] 露丝•陶斯,英国伯恩茅斯大学创意产业经济学教授,英国格拉斯哥大学“英国版权与创意经济中心”文化经济学研究员。 [ 译者简介 ] 王清,法学博士,武汉大学信息管理学院教授、博士生导师 ;刘铸锐,武汉大学信息管理学院 2019 级硕士生。

Dealing with Digital : Economic Organisation of Streamed Music

  1. Bournemouth University, Dorset, BH125BB
    School of Information Management, Wuhan University, Wuhan, 430072
  • Online:2022-01-15 Published:2022-01-22

摘要:

数字服务提供商或者提供流播音乐服务的声田(Spotify)、苹果音乐(Apple Music)、
潮汐(Tidal)等平台的介入,从根本上改变了歌曲作者和录音艺术家的获酬方式以及版权集体管理
组织的运作。平台经济学产生于对双边市场和多边市场的经济分析 ;它为关照数字领域的业务开展
方式提供了新洞见,并在本文被用于对音乐流播服务的分析。音乐流播服务的商业模式不同于之前
按照销售额百分比向歌曲作者和表演者支付版税的商业模式。在流播音乐的情况下,版税支付依据
是订阅和提供免费服务的广告收入。数字服务提供商与各权利持有人就每一次流播的费率达成一
致,根据与每个大型唱片公司、版权集体管理组织、独立唱片公司代表、独立艺术家和歌曲作者
的不同交易,该费率各不相同 ;艺术家的收入因此亦不相同。本文运用平台经济学讨论了有助于
理解流播音乐版税支付的不同方面,并用挪威音乐产业的一些数据和信息作为分析的实证支持。

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Abstract:

The intervention of digital service providers (DSPs) or platforms such as Spotify,
Apple Music and Tidal supplying streamed music has fundamentally altered the way that song
writers and recording artists are paid and the operation of copyright management organisations
(CMOs). 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 songwriters with
consequences for artists’ earnings. The article discusses these various strands that contribute to
understanding royalty payments for streamed music in terms of platform economics, with some
data and information from the Norwegian music industry giving empirical support to the analysis.

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