{"title":"流媒体机制和Spotify的战争","authors":"Don Gorder","doi":"10.25101/19.20","DOIUrl":null,"url":null,"abstract":"The royalties generated from the mechanical reproduction of songs have historically been a major source of income for songwriters. As the consumption of recorded music has moved from physical and downloaded copies to digital streams, songwriters have suffered a major decline in their ability to earn a living from their art and craft. There are two reasons for this: 1) Under copyright law, interactive streaming services (such as Spotify) must obtain a mechanical license to stream the songs, and must pay royalties to the rights holders (typically publishers who then pay the songwriters their share) at rates that are set by law. With perstream rates averaging in fractions of pennies, the mechanical income of songwriters has shriveled. 2) Independent publishers and self-published songwriters have complained loudly that they are not being paid these royalties properly, or at all, by the services, and the services counter that they often don’t know whom to pay, due to the lack of data at their disposal that allows them to match the recording with the publishers and songwriters. A number of prominent members of the publisher/songwriter community chose not to accept this argument, and availed themselves of the legal system to rectify their disputes with Spotify, whom they identified as the primary culprit in the non-payment of mechanical royalties. The National Music Publishers Association also stepped into the fracas, with an attempt to negotiate a settlement with Spotify for unpaid royalties for their members. As this activity gained the attention of the media, it became an impetus for the introduction and ultimate enactment of the Music Modernization Act (MMA) that, it is hoped, will fix these problems. This presentation will trace the chronology of these disputes—their origin, rationale, and resolution—and how they likely played a role in the ratification of the MMA. Particular attention will be given to an assessment of those elements of the MMA that were designed to fix the problems that spawned the disputes.","PeriodicalId":371295,"journal":{"name":"Proceedings of the 2019 International Summit of the Music & Entertainment Industry Educators Association","volume":"16 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Streaming Mechanicals and the War on Spotify\",\"authors\":\"Don Gorder\",\"doi\":\"10.25101/19.20\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The royalties generated from the mechanical reproduction of songs have historically been a major source of income for songwriters. As the consumption of recorded music has moved from physical and downloaded copies to digital streams, songwriters have suffered a major decline in their ability to earn a living from their art and craft. There are two reasons for this: 1) Under copyright law, interactive streaming services (such as Spotify) must obtain a mechanical license to stream the songs, and must pay royalties to the rights holders (typically publishers who then pay the songwriters their share) at rates that are set by law. With perstream rates averaging in fractions of pennies, the mechanical income of songwriters has shriveled. 2) Independent publishers and self-published songwriters have complained loudly that they are not being paid these royalties properly, or at all, by the services, and the services counter that they often don’t know whom to pay, due to the lack of data at their disposal that allows them to match the recording with the publishers and songwriters. A number of prominent members of the publisher/songwriter community chose not to accept this argument, and availed themselves of the legal system to rectify their disputes with Spotify, whom they identified as the primary culprit in the non-payment of mechanical royalties. The National Music Publishers Association also stepped into the fracas, with an attempt to negotiate a settlement with Spotify for unpaid royalties for their members. As this activity gained the attention of the media, it became an impetus for the introduction and ultimate enactment of the Music Modernization Act (MMA) that, it is hoped, will fix these problems. This presentation will trace the chronology of these disputes—their origin, rationale, and resolution—and how they likely played a role in the ratification of the MMA. 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引用次数: 0
摘要
从历史上看,机械复制歌曲所产生的版税一直是词曲作者的主要收入来源。随着录制音乐的消费从实体和下载拷贝转向数字流媒体,词曲作者靠自己的艺术和手艺谋生的能力大幅下降。这有两个原因:1)根据版权法,交互式流媒体服务(如Spotify)必须获得流媒体歌曲的机械许可,并且必须按法律规定的费率向版权所有者(通常是出版商,然后向词曲作者支付他们的份额)支付版税。由于平均每笔收入只有几美分,词曲作者的机械收入已经萎缩。2)独立出版商和自己出版的词曲作者大声抱怨说,他们没有得到适当的版税,或者根本没有得到服务提供商的支付,而服务提供商则反驳说,他们经常不知道该向谁支付版税,因为他们缺乏可以让他们将唱片与出版商和词曲作者进行匹配的数据。出版商/词曲作者社区的一些知名成员选择不接受这一论点,并利用法律体系来纠正他们与Spotify的纠纷,他们认为Spotify是不支付机械版税的罪魁祸首。美国全国音乐出版商协会(National Music Publishers Association)也介入了这场争吵,试图与Spotify就其会员未支付的版税达成和解。随着这一活动得到媒体的关注,它成为推动音乐现代化法案(MMA)的引入和最终制定的动力,希望能解决这些问题。本演讲将追溯这些争议的时间顺序——它们的起源、基本原理和解决方案——以及它们在MMA的批准中可能发挥的作用。将特别注意对MMA中旨在解决产生争端的问题的要素进行评估。
The royalties generated from the mechanical reproduction of songs have historically been a major source of income for songwriters. As the consumption of recorded music has moved from physical and downloaded copies to digital streams, songwriters have suffered a major decline in their ability to earn a living from their art and craft. There are two reasons for this: 1) Under copyright law, interactive streaming services (such as Spotify) must obtain a mechanical license to stream the songs, and must pay royalties to the rights holders (typically publishers who then pay the songwriters their share) at rates that are set by law. With perstream rates averaging in fractions of pennies, the mechanical income of songwriters has shriveled. 2) Independent publishers and self-published songwriters have complained loudly that they are not being paid these royalties properly, or at all, by the services, and the services counter that they often don’t know whom to pay, due to the lack of data at their disposal that allows them to match the recording with the publishers and songwriters. A number of prominent members of the publisher/songwriter community chose not to accept this argument, and availed themselves of the legal system to rectify their disputes with Spotify, whom they identified as the primary culprit in the non-payment of mechanical royalties. The National Music Publishers Association also stepped into the fracas, with an attempt to negotiate a settlement with Spotify for unpaid royalties for their members. As this activity gained the attention of the media, it became an impetus for the introduction and ultimate enactment of the Music Modernization Act (MMA) that, it is hoped, will fix these problems. This presentation will trace the chronology of these disputes—their origin, rationale, and resolution—and how they likely played a role in the ratification of the MMA. Particular attention will be given to an assessment of those elements of the MMA that were designed to fix the problems that spawned the disputes.