Peer-to-peer, piracy and the copyright law: implications for consumers and artists

Duchêne, Anne; Waelbroeck, Patrick

doi:10.4337/9781781951224.00011

Cited by 12 publications

(12 citation statements)

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“…After labels failed to establish their own businesses in the promising market for online music (2002 -2003), they decided to cooperate with online platforms like 20 iTunes (2003 -now). 12 The big labels did try to enter the online market themselves, but they were not successful. New intermediaries emerged with an arguably more productive concept for the online market and labels agreed to cooperate with them by licensing music to them.…”

Section: Discussionmentioning

confidence: 99%

“…This is why the …rst-order condition under A ownership (equation (10)) only has 1 2 as the multiplier. While if one of the intermediaries, L in this case, owns the copyright, one part of the bargaining is between three agents: the two agents that interact, A and M , and the owner of the copyright, L. This is why there is a multiplier 1 3 in A's incentives under L ownership in (13) : Also M has improved incentives when A holds the copyright for the same reason: then L does not have a stake in M 's investment (compare equations (12) and (15)). …”

Section: Optimal Allocation Of Copyright After Entrymentioning

confidence: 99%

“…In the post-Napster scenario alternative ways of online distribution remove entry barriers from the distribution market. The artists are also able to promote their products more e¢ ciently themselves with digital updates to their existing fan base or through the information externalities of …le sharing networks, see Duchene and Waelbroeck (2005).…”

Section: Ownership In the Music Industrymentioning

confidence: 99%

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Digital Technology and the Allocation of Ownership in the Music Industry

Halonen-Akatwijuka

Regner

2004

SSRN Journal

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Standard-Nutzungsbedingungen:Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Zwecken und zum Privatgebrauch gespeichert und kopiert werden.Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich machen, vertreiben oder anderweitig nutzen.Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, gelten abweichend von diesen Nutzungsbedingungen die in der dort genannten Lizenz gewährten Nutzungsrechte. Terms of use: Documents in Jena Economic Research Papers 2009 -096 AbstractWe apply the property rights theory of Grossman-Hart-Moore in the music industry and study the optimal allocation of copyright between the artists who create music and the labels who promote and distribute it. Digital technology opens up a role for new intermediaries. We …nd that entry of online platforms occurs only if they are su¢ ciently more productive in distribution than the incumbent label. Furthermore, entry leads to a change in bargaining positions and it can become optimal for the copyright to be shifted from the label to the artist. JEL classi…cation: D23, L22, L23, L82, L86

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Section: Discussionmentioning

confidence: 99%

Section: Optimal Allocation Of Copyright After Entrymentioning

confidence: 99%

Section: Ownership In the Music Industrymentioning

confidence: 99%

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Digital Technology and the Allocation of Ownership in the Music Industry

Halonen-Akatwijuka

Regner

2004

SSRN Journal

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“…3 Describing sampling only as a source of higher pro…ts is a partial view as consumers have the option to download and listen to music without paying for it. Consumers have to decide 2 Recent empirical analyses lead to ambiguous results. Some studies show a negative e¤ect of downloads on music sales (see e.g.…”

mentioning

confidence: 99%

“…2 Central to our analysis is the observation that there is a large variety of di¤erent titles and albums available. Therefore, we consider a multi-product environment in which the substitutability between products is explicitly taken into account.…”

mentioning

confidence: 99%

File-Sharing, Sampling, and Music Distribution

Peitz

Waelbroeck

2005

SSRN Journal

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The use of …le-sharing technologies, so-called Peer-to-Peer (P2P) networks, to copy music …les has become common since the arrival of Napster. P2P networks may actually improve the matching between products and buyers -we call this the matching e¤ect. For a label the downside of P2P networks is that consumers receive a copy which, although it is an imperfect substitute to the original, may reduce their willingness-to-pay for the originalwe call this the competition e¤ect. We show that the matching e¤ect may dominate so that a label's pro…ts are higher with P2P networks than without. Furthermore, we show that the existence of P2P networks may alter the standard business model: sampling may replace costly marketing and promotion. This may allow labels to increase pro…ts in spite of lower revenues.

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