Economics of Music Copyright: Income, Media, and Performances

Digital music and the “death of the long tail”

“…This rule then is also known as the "Pareto principle." Pitt (2010a) notes that the work of Anderson came out just as the wave of mergers and acquisitions in the music industry and deregulation in TV and radio were sweeping the industry. At that time, many potential investors were interested in maximizing the economic value of copyrights in the record companies' catalogs.…”

Turkey and the 'Copyleft' Music Production: Reflections on Bandista

“…Stepping on to the path opened up by free software movement it was not long before open source music production started to emerge, firstly in the form of amateur composers' royalty free music, and later by involvement of more and more bands and musicians. All of these changes and developments were taking place within the course of only a decade or two, and as music piracy started to boom, the academy too started to flourish with publications devoted to the theme of illegal music sharing and copyright issues, covered from very different perspectives, such as consumption, legal theories, distribution technologies, debate rhetoric, and cyber-liberties, to name only few (Jones 2002;Marshall 2004;Leyshon et al 2005;Hinduja 2006;Logie 2006;Rimmer 2007;Fairchild 2008;Burkart 2010;David 2010;Pitt 2010;Ericsson 2011). Both within the academy, and the general debates themselves, the main emphasis of many studies was always on Western countries and musicians residing within them, and little was said about developing ones.…”

Turkey and the Copyleft Music Production: Reflections on Bandista

“…Stepping on to the path opened up by free software movement it was not long before open source music production started to emerge, firstly in the form of amateur composers' royalty free music, and later by involvement of more and more bands and musicians. All of these changes and developments were taking place within the course of only a decade or two, and as music piracy started to boom, the academy too started to flourish with publications devoted to the theme of illegal music sharing and copyright issues, covered from very different perspectives, such as consumption, legal theories, distribution technologies, debate rhetoric, and cyber-liberties, to name only few (Jones 2002;Marshall 2004;Leyshon et al 2005;Hinduja 2006;Logie 2006;Rimmer 2007;Fairchild 2008;Burkart 2010;David 2010;Pitt 2010;Ericsson 2011). Both within the academy, and the general debates themselves, the main emphasis of many studies was always on Western countries and musicians residing within them, and little was said about developing ones.…”