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      Copyright and Creativity of Popular Music in the Digital Age: Towards a Sustainable Cultural System

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      https://www.riss.kr/link?id=A105117456

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      다국어 초록 (Multilingual Abstract)

      The music industry of the digital age has witnessed seemingly endless battles involving copyright. Though continuous efforts to strengthen copyright under romantic understating have benefited major actors in the industry, it has threatened creativity and net activism in the digital age. This study argues rhetoric used by the industry regarding how file sharing and digital environments hurt music sales is inadequate. It has enabled the industry and its major labels to embolden copyright and protective legislation with the government’s support. This article will reveal that the issue surrounding copyright under the romantic notion is not an outdated one confined to the early era of digital music This article will argue that major players in the industry are repeating the old strategic approach of controlling the music market. This is achieved by limiting practices of music audiences and future creativity such as the creation of amateur content and emergence of new business models.
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      The music industry of the digital age has witnessed seemingly endless battles involving copyright. Though continuous efforts to strengthen copyright under romantic understating have benefited major actors in the industry, it has threatened creativity ...

      The music industry of the digital age has witnessed seemingly endless battles involving copyright. Though continuous efforts to strengthen copyright under romantic understating have benefited major actors in the industry, it has threatened creativity and net activism in the digital age. This study argues rhetoric used by the industry regarding how file sharing and digital environments hurt music sales is inadequate. It has enabled the industry and its major labels to embolden copyright and protective legislation with the government’s support. This article will reveal that the issue surrounding copyright under the romantic notion is not an outdated one confined to the early era of digital music This article will argue that major players in the industry are repeating the old strategic approach of controlling the music market. This is achieved by limiting practices of music audiences and future creativity such as the creation of amateur content and emergence of new business models.

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      참고문헌 (Reference)

      1 J. Burgess, "YouTube: Online Video and Participatory Culture" Polity 2008

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      4 D. Chaney, "What Future for Fan-Funded Labels in the Music Recording Industry? The Cases of MyMajorCompany and ArtistShare" 12 : 44-48, 2010

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      6 Y. Benkler, "The Wealth of Networks: How Social Production Transforms Markets and Freedom" Yale University Press 2006

      7 R. Boynton, "The Tyranny of Copyright?" The New York Times

      8 J. Boyle, "The Public Domain: Enclosing the Commons of the Mind" Yale University Press 2008

      9 D. Arditi, "The New Distribution Oligopoly : Beats, iTunes, and Digital Music Distribution" 10 : 1-10, 2015

      10 The Independent, "The Music Industry’s Future May Not Depend on Charging for Songs" The Independent

      1 J. Burgess, "YouTube: Online Video and Participatory Culture" Polity 2008

      2 T. Gillespie, "Wired Shut: Copyright and the Shape of Digital Culture" MIT Press 2007

      3 M. Peitz, "Why the Music Industry May Gain from Free Downloading-The Role of Sampling" 24 : 907-913, 2006

      4 D. Chaney, "What Future for Fan-Funded Labels in the Music Recording Industry? The Cases of MyMajorCompany and ArtistShare" 12 : 44-48, 2010

      5 J. Hughes, "Transmutability: Digital Decontextualization, Manipulation, and Recontextualization as a New Source of Value in the Production and Consumption of Cultural Production" 2006

      6 Y. Benkler, "The Wealth of Networks: How Social Production Transforms Markets and Freedom" Yale University Press 2006

      7 R. Boynton, "The Tyranny of Copyright?" The New York Times

      8 J. Boyle, "The Public Domain: Enclosing the Commons of the Mind" Yale University Press 2008

      9 D. Arditi, "The New Distribution Oligopoly : Beats, iTunes, and Digital Music Distribution" 10 : 1-10, 2015

      10 The Independent, "The Music Industry’s Future May Not Depend on Charging for Songs" The Independent

      11 H. Choi, "The Internet and Value Cocreation : The Case of the Popular Music Industry" 31 : 35-53, 2013

      12 J. P. Barlow, "The Future of Copyright in a Digital Environment" Kluwer Law International 169-187, 1996

      13 F. Oberholzer-Gee, "The Effect of File Sharing on Record Sales, Revisited" 37 : 61-66, 2016

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      19 R. Hammond, "Profit Leak? Pre-release File Sharing and the Music Industry" 81 : 387-408, 2014

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      23 G. Rodman, "Music for Nothing or, I Want My MP3" 20 : 245-261, 2006

      24 L. Marshall, "Music and Copyright" Edinburgh University Press 189-208, 2004

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      26 K. Allen, "Music Publishing Thrives Thanks to Back Catalogues while Sales Fall on Recording Side" The Guardian

      27 S. Hong, "Measuring the Effect of Napster on Recorded Music Sales : Difference-in-Differences Estimates under Compositional Changes" 28 : 297-324, 2013

      28 A. Currah, "Managing Creativity : The Tensions between Commodities and Gifts in a Digital Networked Environment" 36 : 467-494, 2007

      29 K. McLeod, "MP3s are Killing Home Taping : The Rise of Internet Distribution and Its Challenge to the Major Label Music Industry" 28 : 521-531, 2005

      30 L. Marshall, "Let’s Keep Music Special. F-Spotify : Ondemand Streaming and the Controversy over Artist Royalties" 8 : 177-189, 2015

      31 R. Plummer, "Lawyers Go Crazy at Baby Prince Fan" BBC

      32 H. McIntyre, Hugh, "Is $10 A Month Too Much to Charge for Unlimited Streaming" Forbes

      33 S. Mchaney, "In the Age of Streaming Music, Just How Much is a Listen Worth" PBS Newshour

      34 R. Shields, "Illegal Downloaders ‘Spend the Most on Music Says Poll" The Independent

      35 IFPI, "IFPI Digital Music Report 2010" IFPI 2010

      36 IFPI, "IFPI Digital Music Report 2009" IFPI 2009

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      39 A. Gowers, "Gowers Review of Intellectual Property" Intellectual Property Office 2006

      40 IFPI, "Global Music Report 2016" IFPI 2016

      41 U. Gasser, "From Shakespeare to DJ Danger Mouse: A Quick Look at Copyright and User Creativity in the Digital Age" Berkman Center for Internet and Society at Harvard Law School 2006

      42 R. Garofalo, "From Music Publishing to MP3: Music and Industry in the Twentieth Century" 17 : 318-354, 1999

      43 G. Lewis, "Evaluating the Impact of the Internet on Barriers to Entry in the Music Industry" 10 : 349-356, 2005

      44 B. Anderson, "Don’t Blame the P2P File-Sharers : The Impact of Free Music Downloads on the Purchase of Music CDs in Canada" 20 : 715-740, 2010

      45 J. Waldfogel, "Digitization and Copyright: Some Recent Evidence from Music" 55 : 35-37, 2012

      46 D. Hesmondhalgh, "Digitalisation, Music and Copyright" CRESC 1-17, 2007

      47 D. Arditi, "Digital Subscriptions: The Unending Consumption of Music in the Digital Era"

      48 A. Bruno, "Digital Music Firms Pay Heavy Price for Labels’ Support" Reuters

      49 M. Kretschmer, "Creativity Stifled? A Joint Academic Statement on the Proposed Copyright Term Extension for Sound Recordings" 30 : 341-374, 2008

      50 J. Toynbee, "Creating Problems: Social Authorship, Copyright and the Production of Culture" Pavis 2001

      51 J. Toynbee, "Copyright, the Work and Phonographic Orality in Music" 15 : 77-99, 2006

      52 S. Frith, "Copyright and the Music Business" 7 : 57-75, 1988

      53 C. Handke, "Copyright and Innovation : Fit for Digitization?" 16 : 223-230, 2015

      54 F. Fabbri, "Copyright : The Dark Side of Music Business" 1989

      55 M. Cuadrado, "Consumer Attitudes Towards Music Piracy : A Spanish Case Study" 11 : 4-15, 2009

      56 K. McLeod, "Confessions of n Intellectual(Property) : Danger Mouse, Mickey Mouse, Sonny Bono, and My Long and Winding Path as a Copyright Activist-Academic" 28 : 79-93, 2005

      57 W. Uricchio, "Beyond the Great Divide : Collaborative Networks and the Challenge to Dominant Conceptions of Creative Industries" 7 : 79-90, 2004

      58 BPI, "BPI Statistical Handbook 2009" BPI 2009

      59 P. Benghozi, "Authors' Rights and Distribution Channels : An Attempt to Model Remuneration Structures" 1 : 44-58, 1999

      60 M. Kretschmer, "Artists' Earnings and Copyright : A Review of British and German Music Industry Data in the Context of Digital Technologies" 10 : 2005

      61 PPL, "Annual Report 2013" PPL 2013

      62 M. Boldrin, "Against Intellectual Monopoly" Cambridge University Press 2008

      63 J. Boyle, "A Politics of Intellectual Property : Environmentalism for the Net?" 47 : 87-116, 1997

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      학술지 이력
      연월일 이력구분 이력상세 등재구분
      2027 평가예정 재인증평가 신청대상 (재인증)
      2021-01-01 평가 등재학술지 유지 (재인증) KCI등재
      2018-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2015-01-01 평가 등재학술지 유지 (등재유지) KCI등재
      2011-01-01 평가 등재학술지 선정 (등재후보2차) KCI등재
      2010-01-01 평가 등재후보 1차 PASS (등재후보1차) KCI등재후보
      2008-01-01 평가 등재후보학술지 선정 (신규평가) KCI등재후보
      2007-05-04 학회명변경 영문명 : The Korea Contents Society -> The Korea Contents Association
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      학술지 인용정보

      학술지 인용정보
      기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
      2016 0.21 0.21 0.2
      KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
      0.16 0.13 0.317 0.05
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