The recently institutionalised global Performers’ Rights Regime (PRR) aims to improve the economic position of those performers whose work can be audio-recorded and reproduced. This thesis asks whether the PRR achieves this aim. The thesis investigates this question through a case study of Sri Lankan vocalists. Vocalists in Sri Lanka are a significant constituent within the music industry, and they had hoped that the PRR would make their work more economically secure. However, this thesis finds that the PRR, as developed internationally and implemented in Sri Lanka, is predicated on a particular understanding of the role of performers and their relationships with other actors in the music industry; that this understanding of performers’ roles and relationships does not reflect established practices and relationships within Sri Lanka’s contemporary music industry; and that consequently the PRR fails to deliver the improved economic security that Sri Lankan singers had sought.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:682151 |
| Date | January 2016 |
| Creators | Nanayakkara, Gauri |
| Contributors | Williams, Toni ; Alessandrini, Donatella |
| Publisher | University of Kent |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | https://kar.kent.ac.uk/54508/ |
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