The digital era has brought about profound changes in how music is created, distributed, and consumed, posing a need for modernizing the Dutch collective management system of music copyright to match the rapidly changing digital music industry. This study aims to identify the key stakeholders and their perceptions of the Dutch system of collective management of music copyright. Utilizing qualitative document analysis, the study examines a range of public and non-public documents, including income statements, annual reports from Collective Management Organizations (CMOs), and contracts between publishers and creators. The research is further enriched by twenty-four semi-structured interviews with key stakeholders such as composers, lyricists, music publishers, copyright lawyers, and CMO executives. The findings of the study highlight several issues like the outdated IT systems and the lack of data standardization within the system. The research also notes a contrast in organizational effectiveness: major publishers are well-organized and unified in their negotiations with Digital Service Providers (DSPs) and CMOs, effectively advocating for their rights. However, music copyright holders, despite their legal homogeneity, are either unorganized or ineffectively aligned, displaying diverse interests and varying levels of access to information, as well as differences in norms and values prioritization. The study is grounded in the economics of collective management (ECM) and makes a significant academic contribution to this field by introducing new empirical findings to ECMs core constructs and integrating theoretical perspectives. The research offers valuable insights for policymakers, industry stakeholders, and researchers, aiming to foster a more equitable music copyright management system in the digital context.
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There is a need for modernizing the Dutch collective management system of music copyright to match the rapidly changing digital music industry. Focusing on the often-neglected human values aspect, this study, part of a larger PhD research, examines the value preferences of music rights holders: creators and publishers. It aims to advise on technological redesign for music copyright management system and contribute to discussions on equitable collective management. Building upon prior research, which comprehensively analyzed the Dutch music copyright system and identified key stakeholders, this paper analyses 24 interviews with those key stakeholders to identify their values and potential value tensions. Initial findings establish a set of shared values, crucial for the next phases of the study –values operationalization. This research makes a academic contribution by integrating the Value Sensitive Design (VSD) approach with Distributive Justice Theory, enriching VSD's application and enhancing our understanding of the Economics of Collective Management (ECM).
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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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Recomposing E-Waste introduces circular strategies to sound artists and designers working with digital music instruments (DMIs) such as desktop synthesizers, small keyboards and controllers, and experimental hardware and software for sound art and music production. It explores and documents the re-purposing of obsolete smartphones, transforming them into fully working DMIs that can be used to create new sound works and music. The target groups are artists, designers and musicians working with sound and digital technology who are looking for ways to reinvent their practice in sustainable ways, depending less on the latest ICT equipment. The research is designed to address the goal number 3, “Extending product life”, of the National Circular Economy Programme 2023-2030 (Ministry of Infrastructure and Water Management 2023). Waag Futurelab and Willem de Kooning Academy (Rotterdam University of Applied Sciences, RUAS) will collaborate with Codarts University of the Arts, postmarketOS, Fairphone, ThePhoneLab and FIBER Foundation to develop a prototype DMI made entirely from obsolete smartphones and other repurposed materials. The DMI will be used to teach, validate and disseminate innovative artistic and design research strategies that provide cultural practitioners with training in digital tools, know-how, and a conceptual framework to combine creativity with circularity. It will exemplify how to increase the functional lifespan of mobile devices through reverse-engineering and repurposing, reducing thereby the resource use and waste that often accompanies digital cultural production. The outcomes of the research will equip creatives with practical strategies to resist planned obsolescence, the market strategy the ICT industry deploys to increase the sales of newer devices and make still-working hardware seemingly useless. This will enable artists to play a guiding role in reshaping our society’s relationship with digital devices, not only on a symbolic but also on a functional and material level.
