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.
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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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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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In recent years, organizations across Europe, and the Netherlands in particular, have increasingly supported efforts to enhance the sustainability of festivals such as the European Climate Pact, launched by the European Commission as part of the European Green Deal, European Festivals Association and Green Deals Circular Festivals in the Netherlands (European Union [EU], 2025). As a result, festivals across Europe are growing their environmental stewardship and serving as prototypes for wider societal transitions towards sustainability (Calvano, 2024; Irimiás et; al., 2024). However, festival organizers and other stakeholders still face challenges in developing effective communication strategies that truly activate more sustainable behaviour among festival goers (Harms et. al., 2023). Generic, one-size-fits-all approaches are often applied, yet they tend to have limited impact. This is also due to the diverse nature of music festivals, ranging from indoor to outdoor settings, single-day events to multi-day experiences, and from urban to rural locations, all of which shape the audience, context, and communication needs in unique ways (Tölkes & Butzmann, 2018; Dodds et. al., 2020). Essentially, festivals are ideal for informing, experiencing and activating sustainable behavioural change through effective communication before, during and after festivals. It is therefore crucial that a more targeted approach is utilized where messages can be tailored to make communication more effective (Temmerman & Veeckman, 2024). To address pressing sustainable and social challenges within the festival sector, NHL Stenden (NHLS) will collaborate with ESNS and Thansk on a design research project. In partnership with a network of festival organizers, industry professionals, and experts, the project will explore effective communication strategies for sustainability. The goal is to develop an actionable, research-informed roadmap that supports music festivals in enhancing their sustainability communication tailored to the sector’s dynamic and diverse nature.
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.
