Title Modeli upravljanja i raspodjele prihoda glazbene industrije u uvjetima digitalizacije
Title (english) MANAGEMENT AND DISTRIBUTION MODELS OF REVENUES OF THE MUSIC INDUSTRY IN TERMS OF DIGITALIZATION
Author Miroslav Škoro
Mentor Željko Požega (mentor)
Committee member Anita Freimann (predsjednik povjerenstva)
Committee member Željko Požega (član povjerenstva)
Committee member Ivana Šandrk Nukić (član povjerenstva)
Granter Josip Juraj Strossmayer University of Osijek Faculty of Economics and Business in Osijek Osijek
Defense date and country 2017-12-29, Croatia
Scientific / art field, discipline and subdiscipline SOCIAL SCIENCES Economics Organization and Management
Universal decimal classification (UDC ) 658 - Business management, administration. Commercial organization
Abstract Doktorska disertacija u fokusu ima stanje glazbene industrije u kontekstu upravljanja i raspodjele prihoda u uvjetima digitalizacije iz perspektive njezinih dionika. U njoj se daje kratki povijesni prikaz nastanka i razvoja glazbe i glazbenih žanrova, definira glazbeno djelo kao nematerijalno vlasništvo, te objašnjavaju pravni okviri zaštite glazbe. Također je dan i povijesni prikaz nastanka glazbene industrije, te je, na osnovu dostupne dokumentacije i pravnih rješenja, izvršeno pozicioniranje glazbene industrije u RH. Određen je njezin položaj u gospodarstvu RH, kao i u sektoru kreativnih industrija koje su postale zanimljive u cijelom svijetu u svjetlu istraživanja koja su ukazala na snagu tih industrija čak i u doba ekonomskih kriza.
U disertaciji su definirani dionici glazbene industrije u Republici Hrvatskoj, kako primarni tako i sekundarni, te objašnjen pojam monetizacije glazbenog djela u sustavu kolektivne zaštite. Glazba je na svom putu od usluge, preko proizvoda, zahvaljujući digitalizaciji i internetu ponovno postala najvećim dijelom usluga izložena obezvrjeđivanju, sveprisutnosti i piratizaciji, pri čemu su najviše oštećeni dionici glazbene industrije koji se nalaze u njezinom kreativnom sektoru. Naime, proces digitalizacije glazbe uzrokovao je radikalnu promjenu u načinima konzumiranja glazbe (pojavom novih, digitalnih kanala distribucije), uslijed čega se javlja potreba za redefiniranjem modela upravljanja i raspodjele prihoda u glazbenoj industriji. U disertaciji je izvršena analiza odabranih postojećih modela glazbene industrije u svijetu u tradicionalnom i suvremenom kontekstu, te je izrađen model funkcioniranja glazbene industrije u Republici Hrvatskoj s posebnim naglaskom na detekciji ugroženih prava. U svrhu izrade disertacije provedeno je kvalitativno i kvantitativno istraživanje u kojima su sudjelovali primarni dionici glazbene industrije. Kvalitativnim istraživanjem, metodom standardiziranih intervjua, prikazan je pogled na glazbenu industriju i razumijevanje njezina funkcioniranja iz rakursa glavnih protagonista i obnašatelja visokopozicioniranih funkcija u industriji. Kvantitativno istraživanje imalo je za cilj izmjeriti učinke digitalizacije na glazbenu industriju Republike Hrvatske, kako za pojedine segmente glazbenih kreativaca, tako i za glazbenu industriju općenito. Istraživanje je pokazalo stanje razumijevanja funkcioniranja sustava od strane glazbenih kreativaca, te potvrdio ključne hipoteze prema kojima znatan dio njih nije dostatno upoznat s pravima u smislu zaštite i načina monetizacije glazbenog djela, kao ni modela raspodjele ostvarenih prihoda.
U teoretskom smislu doprinos ove doktorske disertacije ogleda se u činjenici da ona predstavlja cjelovit okvir za detaljniju analizu i prikaz glazbene industrije u Republike Hrvatske. U aplikativnom kontekstu doprinos disertacije se, kroz rezultate i interpretaciju primarnih istraživanja, ogleda u postavljanju temelja za promjene koje su nužne u smislu usvajanja kvalitetnijeg i suvremenijeg modela funkcioniranja glazbene industrije, a koji posljedice digitalizacije može učiniti daleko pravednijima u korist najugroženijih dionika.
Abstract (english) The subject of this dissertation concerns the state of the music industry in the era of digitization relating to the oversight and distribution of income from the perspective of its stakeholders. It gives a brief historical overview of the emergence and development of music and the music genres, defines a piece of music as an immaterial property, and explains the legal frameworks of copy protection. This thesis also provides a historical presentation of the emergence of the music industry, and has evaluated the status of the music industry within the Republic of Croatia based on available documentation and legal settlements. It determines its status within the Croatian economy, as well as in other cultural industries that have gained traction all over the world in light of recent research which demonstrated their inherent value, even in times of economic crises.
This dissertation pinpoints both the primary and secondary stakeholders in the Croatian music industry and defines the process of monetizing a piece of music within the collective rights management system. Thanks to digitization and the Internet, music as a service has, through its products, once again become one of the most neglected, ubiquitous, and pirated services on the planet, and most of the damage was dealt to its stakeholders who work in the industry’s creative sector. Namely, the process of digitization has caused a radical change in the way music is consumed (caused by the appearance of new digital distribution channels), which has resulted in the need to redefine the management model and the distribution of income within the music industry. This dissertation has conducted an analysis of pre-existing, global models of the music industry, both in regards to a traditional and a contemporary context. It has also developed a model of illustrating the way in which the Croatian music industry operates, with special emphasis on detecting the threatened rights of its members. For the purpose of this dissertation, qualitative and quantitative inquiries were conducted involving the primary stakeholders of the music industry. The qualitative research, conducted through a set of standardized interviews, presents a perspective on the music industry and an understanding of its workings from the viewpoint of important members and high-ranking associates in the industry. The quantitative research was intended to measure the effects of digitization on the Croatian music industry, both pertaining to the music creators as well as to the music industry in general. It has shown how industry members perceive the workings of the system, and has confirmed the key hypotheses which state that most of them are not adequately informed with their rights. These rights involve issues concerning ways to protect and monetize a musical composition, as well as relate to the distribution models of their realized income.
This doctoral dissertation contributes in the theoretical sense by serving as a complete structure open for a more detailed analysis and as a presentation of the Croatian music industry. Furthermore, in terms of its applicative contribution, this thesis serves as a possible prerequisite for necessary changes in terms of adopting a better and more modern performance model for the music industry, which would amend the effects of digitization in favor of the most vulnerable stakeholders.
Keywords
glazba
glazbena industrija
digitalizacija glazbe
raspodjela autorskih prava
modeli glazbene industrije
Keywords (english)
music
music industry
the digitization of music
distribution of copyright
music industry models
Language croatian
URN:NBN urn:nbn:hr:145:707385
Study programme Title: Postgraduate doctoral study Management Study programme type: university Study level: postgraduate Academic / professional title: doktor/doktorica znanosti, područje društvenih znanosti, polje ekonomija (doktor/doktorica znanosti, područje društvenih znanosti, polje ekonomija)
Type of resource Text
File origin Born digital
Access conditions Access restricted to students and staff of home institution
Terms of use
Repository EFOS REPOSITORY
Created on 2018-03-30 08:01:57