No abstract available / Dissertation (MMus)--University of Pretoria, 2017. / Music / MMus / Unrestricted

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-04-24T12:29:01Z No. of bitstreams: 1 Mateus Macedo Pires.pdf: 1396139 bytes, checksum: b6790d2b9dd3ec545f2dabee084ce38d (MD5) / Made available in DSpace on 2018-04-24T12:29:01Z (GMT). No. of bitstreams: 1 Mateus Macedo Pires.pdf: 1396139 bytes, checksum: b6790d2b9dd3ec545f2dabee084ce38d (MD5) Previous issue date: 2018-03-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The basic assumption of this research is that contemporary digital technologies provide differentiated ways of producing, distributing and consuming music today, leading to a reconfiguration of the processes involving productions in the music industry and changes in the ways of enjoying music. Therefore, the main objective of this research is to understand how the relationships of the autonomous artists with the Streaming platforms in the consumption and the distribution of musical productions are given. It seeks to understand how current platforms, particularly Spotify, Deezer and Apple Music (audio distribution), and SoundCloud (social audio network) have changed the monopoly of the music industry, forms of financial collection and relations with the public. It is assumed, to do so, that is necessary to deal with issues that involve the circulation of cultural productions in modernity, through the technologies, communication and social sciences. Walter Benjamin's concept of "loss of aura" and "technical reproducibility", the concept of "mass culture" by Theodor Adorno and Max Horkheimer, the notions involving the networked society of Manuel Castells and the Cyberculture, of Pierre Lévy are important ideas for understanding contemporaneity. Finally, through an analysis of the theoretical perspectives based on these authors of communication and cultural studies, we intend to identify and make explicit the relationship between the technological evolution of the media and the copyrights in music, in order to understand economic, social and cultural practices in contemporaneity regarding musical production / O pressuposto básico desta pesquisa é que as tecnologias digitais contemporâneas proporcionam modos diferenciados de produzir, distribuir e consumir música atualmente, acarretando em uma reconfiguração dos processos que envolvem as produções na indústria da música e as mudanças nos modos de apreciar a música hoje. O principal objetivo desta pesquisa é o de compreender como ocorrem as relações dos artistas autônomos com as plataformas de Streaming no consumo e na distribuição das produções musicais. Pretende-se entender como as atuais plataformas, particularmente Spotify, Deezer e Apple Music (de distribuição de áudio), e SoundCloud (rede social de áudio) mudaram o monopólio da indústria fonográfica, as formas de arrecadação financeira e as relações com o público. Para tanto, é necessário tratar de questões que envolvem a circulação das produções culturais na modernidade, pelo viés das tecnologias, comunicação e ciências sociais. O conceito de “perda da aura” e de “reprodutibilidade técnica”, de Walter Benjamin, o conceito de “cultura de massa”, de Theodor Adorno e Max Horkheimer, as noções que envolvem a sociedade em rede, de Manuel Castells e Cibercultura, de Pierre Lévy são aspectos importantes para compreensão da contemporaneidade. Por fim, pretende-se, através de análise das perspectivas teóricas baseadas nesses autores da comunicação e nos estudos culturais, identificar e explicitar a relação entre a evolução tecnológica dos suportes e dos direitos autorais na música para compreender como se dão as práticas culturais, sociais e econômicas da contemporaneidade em relação as produções musicais

網際網路的發達產生許多新的商業模式，線上音樂的興起即是一例，面對紛擾不斷的線上音樂交換，各國因應態度不一，如何兼顧科技發展及保護著作人權益儼然已成重要議題。著作權補償金制度精神在於補償著作權人在利用人合理使用下做遭受經濟上的損失，目前尚無國家對線上音樂交換業者收取補償金，本研究即欲探討補償金之徵收是否能有助於解決線上音樂之爭議、我國著作權法五十條之一修正案是否具可行空間，及線上音樂交換爭議各關係人在補償金制度中能扮演的角色為何。 本研究以次級資料分析之方式，針對補償金、強制授權、概括授權等制度進行探討，並深度訪談施行補償金制度之各關係人意見，研究結果發現補償金制度應用於線上音樂交換確有其空間，亦可有效彌補著作權人之損失，且有助於線上音樂交換業者與著作權人進行理性之談判。線上音樂交換業者亦可提供其科技能力，協助補償金制度施行，仲介團體雖已有徵收及分配權利金之經驗，但在補償金制度施行前仍應做好妥善之準備，俾使補償金制度有效運作。 / There have been great legal debates over the legitimacy of digital music distribution channels such as peer-to-peer file exchange system. Music industries insist that any unauthorized replication of music is illegal, whereas service providers thinks that technology is neutral and should not bear any responsibilities about the contents transferred through the platform it provides. Courts around the world have different opinions on the issue, and no viable solution has been found as yet. Levy systems for copyright has been around for several decades, which recognizes the difficulty of authors (or owners) of copyright to enforce it. Levies will be collected for a host of different sources include blank media, recording devices and so on, which means sale of digital devices such and digital music players/recorders, maybe even the Internet access service or personal computers are subjects to levy collection. Government agencies in Europe, Japan and Canada has long been dealing with such issues and have their levy systems well established, which seems to be a viable solution for the digital music debates. The history of levy system and the implementation in different countries were surveyed in this thesis, and in-depth interviews were conducted to examined the opinions of different parties (regarding the dispute over digital music distribution) by. It is found that a well-designed levy system could ease the tension between music and technology industry, therefore facilitate talks between them in search for a solution based on mutual interests. Another interesting finding is that the attitude toward peer-to-peer service provider is quite different between music industry and musicians. Distinction must be made between music industry and individual musicians if one intend to study the resolution of disputes in digital music distribution.

В данной работе проводится обзор существующих цифровых бизнес-экосистем, осуществляется анализ одной из них и собирается информация, необходимая для разработки экосистемы «Sundesire Media Worx», а также показывается процесс разработки концепции экосистемы данной компании. / This paper provides an overview of existing digital business ecosystems, analyzes one of them and collects the information necessary to develop the Sundesire Media Worx ecosystem, and also shows the process of developing a concept for the ecosystem of this company.

Diploma thesis deals with the influence of technologies on the music industry in terms of music distribution. In the first part the two major issues are discussed for deeper understanding of the topic. The change of perception and creation of music over certain period of time and the development of technologies related to music in historical context. Following chapters are mainly focused on current technologies, digitalization and the internet, and global turnovers which have had impact on distribution of music as a consequence of technological spread. In addition to this, the issue of legal aspects related to sharing and downloading music via internet is described. The strategies have been created and adopted by the music industry representatives as a response to the situation of increasing intensity of infringing copyright law by unauthorized sharing and decreasing number of physical media sales. The goal of these strategies has been aimed at support expansion of online music services and raising of public copyright awareness. The work analyses and assesses above mentioned strategies and estimates the possible future development of music industry. Assumptions are created on the basis of historical background and current situation. The partial objective is to evaluate whether the sales of physical media have future as a main source of income for music industry or not.