Download PDF by Ivan L. Pitt: Economic analysis of music copyright: income, media and

By Ivan L. Pitt

ISBN-10: 1441963170

ISBN-13: 9781441963178

ISBN-10: 1441963189

ISBN-13: 9781441963185

Chris Anderson's preliminary `Long Tail' research used to be published in 2004 simply because the wave of mergers and acquisitions used to be sweeping the song publishing and radio industries. song executives started searching for Anderson’s ‘Long Tail’ influence and with it the implied redistribution of royalty source of revenue from well known songs to lengthy dormant and forgotten works of their catalogs. those song publishers had was hoping to additional maximize the price in their copyright resources (lyrics and melody) of their present song catalogs because the sale of compact disks decreased, and shoppers switched their procuring and listening behavior to new electronic codecs in track know-how comparable to the iPod. This e-book bargains with the dimension of skewness, heavy tails and asymmetry in functionality royalty source of revenue info within the tune undefined, a space that has obtained little or no educational consciousness for varied purposes. for instance, the pay programs, together with signing bonuses, of a few `superstars' within the activities international are frequently introduced once they sign up for a group. within the paintings international, the price of an artist's paintings is typically printed while the paintings is offered at public sale. the most cause it truly is tricky to check paintings and tradition from a royalty source of revenue viewpoint is that the majority of the source of revenue info on the person point is frequently proprietary, and customarily now not made publicly on hand for fiscal research. As a Senior Economist for the yankee Society of Composers, Authors, and Publishers (ASCAP) utilizing either inner and certified exterior proprietary information, the writer chanced on that the so-called `superstar results' are nonetheless found in functionality royalty source of revenue. good fortune remains to be focused on a comparatively few copyright holders or individuals who could be grouped into `heavy tails' of the empirical source of revenue distribution in a departure from Anderson's `long tail' research. This e-book is split into elements. the 1st half is a basic creation to the numerous offer and insist fiscal elements which are concerning song functionality royalty funds. the second one half is an utilized econometrics part that gives modeling and in-depth research of source of revenue info from a songwriter, song writer and blanket licensing viewpoint. In an period of declining source of revenue from CD album revenues, information assortment, mining and research have gotten more and more vital when it comes to realizing the listening, deciding to buy and tune use conduct of shoppers. the commercial influence on songwriters, publishers, song listeners, and function Rights corporations (PROs) is mentioned and destiny company types are evaluated. The publication will attract researchers and scholars in cultural economics, media and records in addition to common readers and pros within the song publishing industry.

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17. com/news/entry/539505. 18. Koenigsberg (2002). 19. See Keen (2007). 20. pdf and www. pdf. 21. Billboard magazine, January 17, 2009, pp. 22–24. 24 1 Economics of Music Copyright: Income, Media, and Performances 22. See Smith (2009). 23. pdf. References Anderson, C. (2008). The Long Tail. Hyperion, New York, NY. Brabec, J. and Brabec, T. (2008). Music Money and Success: The Insiders Guide to Making Money in the Music Industry. Schirmer Trade Books-Music Sales, New York, NY, 6th edition. Christman, E.

These organizations represent the vast majority of copyright holders—songwriters (composers and lyricists) and music publishers in the US and some foreign affiliates. These organizations grant a blanket or perprogram license to music users for use of the music in their catalogs. 13 PROs then track music use on television, radio, the Internet, live venues, and other media, determine which music has been performed, and pay the appropriate copyright holders a royalty income when their musical compositions— called performances—are performed in those licensed media.

15 income generated from synchronization can be substantial, particularly if used in movies and commercials. Unlike the mechanical license, there is no fixed or statutory rate for a synchronization license or specific collection agency involved. Synchronization licenses are negotiated between the copyright owners (publisher and songwriter) and the production company of the film, the television show, or the commercial based on some mutually agreed on economic value. 15 Selected Synchronization Income (Songwriters and Music Publishers) Media Income ($, per year) License Type Television Motion Pictures 1,750–3,500 15,000–60,000 Commercials 75,000–1,000,000 Worldwide 5-year free television Depends on film budget music use & distribution Depends on use on radio or TV, local or national spots Source: Brabec and Brabec (2008, pp.

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Economic analysis of music copyright: income, media and performances by Ivan L. Pitt


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