The authors' rights nowadays concern every individual. They significantly influence the performing artists, who use authors' works to make their living. This thesis analyses the specific impact of the Czech legal regulations on the professional musicians, describes the competences of the collecting societies, refers to the difficulties due to differences in the legal regulations on the international scale and defines musical theme as a new term in the legal context. The thesis proves the advantage of potential use of this term in both Czech and international courts practise.

著作權集體管理機制（Copyright Collective Management Mechanism），誕生已有數百年的歷史，國際間已經發展出相當成熟的運作機制，相較於我國自民國八十年起才開始有類似收費機制運作，發展經驗可說是相當地懸殊。而我國該機制之正式法制化—著作權仲介團體條例於民國八十六年十一月五日公布施行以來，十年間實務上爭議不斷，機制運作陷於巨大的危機。加以近年來我國推動數位內容產業，著作權授權議題更是攸關數位影音應用產業未來的發展，在在顯示我國著作權集體管理機制確有重新審視之必要。 於是自民國九十五年起在經濟部智慧財產局的主導下，開始召集各方進行對話，並藉此機會蒐集意見以推動著作權仲介團體條例的修法工程。除了國內的改革，國際間在過去十年來也開始對著作權集體管理機制的運作進行檢討，此乃由於數位時代的到來，著作權集體管理機制受到各種新興數位科技，諸如：網際網路、數位權利管理、點對點檔案分享等之巨大衝擊，此種態勢影響機制的保護、行使和管理的環境，使得國際著作權社群開始思考著作權集體管理機制應該如何因應數位環境所帶來的挑戰。 有鑑於此，本研究希望能夠立基於我國著作權集體管理機制的現況，以過去實務上及近日修法歷程中所遭遇的爭議問題為著眼點出發，回顧過去國際間著作權集體管理機制運作經驗，並探討近年國際間發展趨勢，以勾勒出我國機制未來藍圖。探討的重點包括：著作權集體管理機制的歷史與法律背景、意涵、功能與操作原則，以為我國機制擘畫運作之參考；著作權集體管理機制運作場域—我國著作權產業的發展現況；採納「利害關係人」觀點，釐清我國機制中的各方利害關係人為何、所追求的目標何在及互相的利益衝突，進而界定出各方利害關係人未來參與機制的適當形式；評析我國著作權集體管理相關法制的沿革、內容與修法；並針對國際間近年兩大發展趨勢：數位化及跨越疆界的著作權集體管理趨勢，先行探討有哪些新興的數位科技對著作權集體管理機制帶來衝擊，評估其影響與機制的新角色定位，其次討論跨越疆界趨勢：單一窗口、跨國界集體管理及其衍生的公平交易法課題。 最後回應本研究的研究問題，論述對我國實務現況之觀察、著作權集體管理法制總評、國際運作經驗及發展趨勢對我國的啟示，並且提出三大項建議：我國著作權集體管理團體現階段要務、政府的角色、對我國未來機制的幾點省思，是為本研究之結論與建議。 / Copyright Collective Management Mechanism has been established for centuries and developed maturely worldwide. However, it was not until 1991 that some similar collecting organizations started to operate in Taiwan. Compared with some countries around the world, the development experience is quite different. After the formal legalization—the enactment of the Copyright Intermediary Organizations Act on November 5 1997, there were lots of argues emerged in the aspect of law enforcement. Besides, Taiwan’s government has promoted the development of digital content industry in recent years. The issues concerning copyright licensing will have a big impact on the development of audio-visual application industry in the future. It is therefore, necessary to raise concerns and re-scrutinize Taiwan’s copyright collective management mechanism. Since 2006, Taiwan Intellectual Property Office (TIPO) has started to gather public opinion for revising the act. Except the revolution in Taiwan, people started to examine the exercise situation of copyright collective management internationally in last ten years. This is because the advent of digital technologies, such as: the Internet, digital rights management, peer-to-peer file sharing, has changed the environment surrounding the copyrighted works. International copyright societies started to think about how to deal with the challenges brought in digital era. This thesis aims to discuss some of these issues by exploring the current situation of Taiwan’s copyright collective management mechanism, the obstacles encountered in the past practice, the process of law revising, and the latest development trends worldwide. First of all, Chapter One is an Introduction to this thesis. Then Chapter Two discusses the historical and legal background, definition, functions, and operating guidelines of the mechanism for future reference when Taiwan intends to modify current mechanism. Chapter Three describes the developing situation of Taiwan’s copyright industries. Chapter Four adopts “Stakeholder Analysis” to clarify who are the stakeholders in Taiwan’s mechanism, their pursuing goals, and conflicts of interest between them. Chapter Five traces the developing process, content and revision in relation to Taiwan’s copyright collective management legislation. Chapter Six outlines the two latest development trends: digital and cross-border copyright collective management. At first, it analyzes the impact of new digital technologies and the new role of copyright collective management mechanism. Integration trends: one-stop-shop, cross-border collective management and antitrust concerns, are explored as well. At the end of this thesis, Chapter Seven, I propose three recommendations for Taiwan’s mechanism in the future: the urgent missions of Taiwan’s collective management organizations, the role of government, and the self-examination. It is my hope the recommendations contribute to the better resolution of existing and future challenges.

L’emploi largement répandu des licences Creative Commons, en vue de partager des oeuvres non logicielles, justifie le choix de leur consacrer une étude, afin d’apprécier leur rapprochement actuel au régime légale de la propriété littéraire et artistique et afin d’envisager de conciliations prospectives. L’étude relève la singularité de Creative Commons en tant que système de gestion des droits d’auteur ; ce dernier, composé d’une série de licences, est guidé par une association de promotion du partage d’oeuvres et mu par une idéologie fondée sur l’autonomie de la volonté des auteurs. L’hypothèse de notre étude repose sur la variété constatée des libertés accordées par les licences. Ces dernières se transforment en une série d’outils standardisés qui s’imposent progressivement comme une norme pour la jouissance partagée d’oeuvres – tout en se fondant sur les règles du droit d’auteur. En même temps, l’étude des conséquences de la mise en oeuvre de chaque licence illustre la création d’asymétries entre les acteurs du partage. Notamment, si la distinction entre utilisation commerciale et non commerciale – introduite par les licences – constitue un outil deconciliation du régime propriétaire avec celui du partage créatif, l’utilisation de la notion ambiguë d'utilisation non commerciale influence le sort des licences et complique le processus évolutif des oeuvres partagées. L’affinement de la variété des licences conduit l’étude à s’atteler à l’examen des mécanismes prospectifs afin d’aboutir à une coordination des licences avec le droit d’auteur qui serait fondée sur le principe fondateur de Creative Commons, à savoir l’essai de rééquilibrage des intérêts impliqués au droit d’auteur. / The widespread use of the Creative Commons licenses for the sharing of non-software works demonstrates the imperative to devote a study to the licenses in question. The goal of the study is to assess the current links of the licenses to the legal regime of intellectual property in order to suggest prospective ones. The study underlines the singularity of Creative Commons as a copyright management system, which consists of a series of licenses and is guided by an association promoting the sharing of works and by an ideology based on the autonomy of the authors. The premise of the thesis is founded on the variety of freedoms granted by the licenses. The licenses transform into a series of standardized tools that are gradually imposed as a standard for the sharing of works while relying on the rules of copyright. At the same time, the analysis of the consequences of the implementation of each license demonstrates the asymmetries created between the agents involved in the sharing process. In particular, our study shows that although the distinction between commercial and non commercial introduced by the licenses acts as a conciliation tool between the proprietary regime and that of the creative sharing, the introduction of an ambiguous concept - that of non-commercial use - influences the fate of licenses and complicates the evolutionary process of shared works. One way to resolve this tension proposed by our thesis is to review prospective mechanisms that would achieve a level of coordination between the licenses and copyright based on the founding principle of Creative Commons, which is the rebalancing of the interests involved in copyright.