当代乌克兰音乐产业的运作:从音乐会到版权

Iryna Parkhomenko
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引用次数: 0

摘要

这项研究的相关性在于需要确定当代乌克兰音乐产业运作的基本原则,正如其政策和立法所反映的那样,尽管武装冲突仍在持续,乌克兰艺术家仍在积极创作音乐产品。乌克兰的艺术家需要透明的机制,在协调的立法体系的基础上创造自己的收入。本文通过分析苏联各个时期艺术家的音乐和音乐会活动的文化政策,并将其与乌克兰音乐市场当前的现实进行比较,探讨了当代乌克兰音乐产业运作的基本原则,反映在乌克兰的文化政策和立法中。本研究采用系统、辩证的方法,采用分析、综合、描述、比较的方法。乌克兰文化立法的术语基础有关音乐产业和市场的运作进行了分析。尽管音乐市场在戒严令时期仍在继续运作,但该法案中没有规定与商业音乐产品生产有关的活动。分析了苏联不同时期音乐文化政策的基本原则,确定了负责控制艺术家音乐会活动的主要国家当局。结论中强调,今天乌克兰音乐和音乐会活动领域的文化政策基本原则的根源仍然在于音乐会活动的叙述,就像在苏联一样,但没有意识形态成分。虽然有既定的版权立法规范,允许在保护乌克兰艺术家的权利方面取得进展。进一步的研究可以集中在研究苏联音乐表演者受欢迎的途径,并将其与乌克兰的情况进行比较:从独立到现在。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
THE FUNCTIONING OF THE MUSIC INDUSTRY IN CONTEMPORARY UKRAINE: FROM CONCERT TO COPYRIGHT
The relevance of the research lies in the need to determine the fundamental principles of the functioning of the music industry in contemporary Ukraine, as reflected in its policies and legislation, as Ukrainian artists continue to actively create music products despite the ongoing armed conflict. Artists in Ukraine require transparent mechanisms for generating their own income, based on a coordinated system of legislation. The article explores the fundamental principles of the functioning of the music industry in contemporary Ukraine, as reflected in Ukraine's cultural policy and legislation, through an analysis of cultural policies regarding music and concert activities of artists in various periods of the Soviet Union, and by comparing it with the current reality in the Ukrainian music market. The study used a systemic and dialectical approach, as well as methods of analysis, synthesis, description, and comparison. The terminological basis of Ukrainian cultural legislation pertaining to the functioning of the music industry and market is analyzed. The absence of terms designating activities related to the production of commercial music products is identified, despite the fact that the music market continues to operate even in times of martial law. An analysis of the fundamental principles of the USSR's cultural policy regarding music in different periods is conducted, and the main state authorities responsible for controlling the concert activities of artists are identified. In the conclusions, it is emphasized that the roots of the fundamental principles of today's cultural policy in the field of music and concert activities in Ukraine still lie in the narrative of concert activities, as it was in the Soviet Union, but without ideological component. Although there are established norms of copyright legislation that allow for progress towards protecting the rights of Ukrainian artists. Further research can focus on studying the path to the popularity of a musical performer in the Soviet Union and comparing it with the situation in Ukraine: from independence to the present day.
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