Copyright and the music business

  title={Copyright and the music business},
  author={Simon Frith},
  journal={Popular Music},
  pages={57 - 75}
  • S. Frith
  • Published 1 January 1988
  • Art
  • Popular Music
For the music industry the age of manufacture is now over. Companies (and company profits) are no longer organised around making things but depend on the creation of rights. In the industry's own jargon, each piece of music represents ‘a basket of rights’; the company task is to exploit as many of these rights as possible, not just those realised when it is sold in recorded form to the public, but also those realised when it is broadcast on radio or television, used on a film, commercial or… 

The Global Music Business as an Information Industry: Reinterpreting Economies of Culture

In this paper it is argued that the music business should be regarded as an activity trading in information. The paper begins with a review of key themes in the conceptualisation of the music

The 360 deal and the ‘new’ music industry

In the last few years the so-called ‘360 deal’, in which record labels receive a portion of income from revenue streams such as merchandising and publishing, have become increasingly common in the

Welcome to the machine? :changing music industry value frameworks and the key characteristics of new music industry business models

This thesis examines changing value frameworks in t he early 21 Century music industry, and the key characteristics of successful new music industry business models. Traditional music industry

The impact of new technologies and the Internet on the music industry, 1997-2001

The findings suggest that the music industry is capable of success within the online environment as long as it heeds the lessons of the consumer-driven market.

Time–Space (and Digital) Compression: Software Formats, Musical Networks, and the Reorganisation of the Music Industry

In this paper I examine the geographical and organisational consequences of the emergence of a new technological assemblage within the music industry. This technological assemblage is organised

Copyright and musicians at the digital margins

While there is research into consumer attitudes to copyright and downloading, and the music industry has made clear its own views in evidence to the Hargreaves Review and other forums, relatively

Extending the Term: The Gowers Review and the Campaign to Increase the Length of Copyright in Sound Recordings

After the UK government commissioned a review of intellectual property in 2005, a campaign to “Extend the Term” of copyright in sound recordings was orchestrated by trade magazine Music Week on

From the Margins to the Mainstream: Creating Value in Queensland's Music Industry

As elsewhere, the music industry in Queensland comprises two tiers. The first tier is composed of products and services engaged by major music labels and commercially successful artists who at times

‘Home taping is killing music’: the recording industries' 1980s anti-home taping campaigns and struggles over production, labor and creativity

In the 1980s, the major record labels in the United States and the United Kingdom publicly confronted consumers over the private copying of music onto blank cassette tapes. Industry trade groups,

The politics of the Digital Single Market: culture vs. competition vs. copyright

ABSTRACT This paper examines the implications for European music culture of the European Union’s (EU) Digital Single Market strategy. It focuses on the regulatory framework being created for the



Popular Music and Communication

Popular Music and Communication - James Lull An Introduction Music, Musicians and Communication - Stan Denski The Personal Voice in a Common Language The Industrialization of Popular Music - Simon

A user's guide to copyright

The new and fully revised edition of this key book is designed to help both practitioners and non-legal professionals understand copyright and design law in the UK, and how it affects you. Split into

The sociology of rock

Copyright law symposium

This volume collates the prizewinning essays in the 1990 and 1991 ASCAP Nathan Burkan Memorial Competition in copyright law.

The new commerce in ideas and intellectual property

The Production of Culture in the Music Industry: The ASCAP-BMI Controversy.

Striking similarities and the attempt to prove access and copying in music plagiarism cases

  • Copyright, Entertainment and Sports Law
  • 1983

Street Sounds, press release