While the music industry significantly values music content production, it has also triggered disputes regarding copyrights and the attribution of interests within the same context. The value flow for the pre-digitalization and digitalization periods were compared before collecting typical work data from studio stakeholders involved in the content production of an original song. In this case study, the developing value flow was established from the perspectives of the content production team, which satisfied the scarcity of the commercial music production model. The findings indicated that individuals in the digital music industry value chain (MIVC) receive a bidirectional value flow, which represents its sustainability. The closed loop in the music business has been speculated to be the potential reason for internal frictions, which manifest as copyright conflict. The discussion proposes solutions for a healthier market, which may contribute to the higher quality production of musicians.
Alexander, S. (2020). A Quiet Harbour: Finding a Balanced Approach to the Copyright Liability of Online Service Providers. Bond Law Review, 32, 90–113. https://doi.org/10.53300/001c.11885
Attanasio, G., Preghenella, N., Toni, A. F. de, & Battistella, C. (2022). Stakeholder engagement in business models for sustainability: The stakeholder value flow model for sustainable development. Business Strategy and the Environment, 31(3), 860–874. https://doi.org/10.1002/bse.2922
Bockstedt, J. C., Kauffman, R. J., & Riggins, F. J. (2010). The Move to Artist-Led Online Music Distribution: a theory-based assessment and prospects for structural changes in the digital music market. International Journal of Electronic Commerce, 15(2), 5–6. https://doi.org/https://doi.org/10.2753/JEC1086-4415100301
Brussels. (2021). New EU copyright rules that will benefit creators, businesses and consumers start to apply. In European Commission Press.
Gurfidan, R., & Ersoy, M. (2021). Blockchain-based music wallet for copyright protection in audio files. Journal of Computer Science and Technology, 21(1), 11–19. https://doi.org/10.24215/16666038.21.E2
Hadida, A. L. (2020). Managerial cognition and the value chain in the digital music industry. The Grants Register 2021, 44(0), 927–928. https://doi.org/10.1057/978-1-349-95988-4_915
Harkins, P. (2010). Appropriation, additive approaches and accidents: The sampler as compositional tool and recording dislocation. Journal of the International Association for the Study of Popular Music, 1(2), 1–19. https://doi.org/10.5429/2079-3871(2010)v1i2.3en
Herlihy, D., & Zhang, Y. (2016). Music industry and copyright protection in the United States and China. Global Media and China, 1(4), 390–400. https://doi.org/10.1177/2059436417698061
Hull, G., Hutchison, T., & Strasser, P. (2011). The music business recording industry. Routledge, Page223, ISSBN978-0415875615.
Hviid, M., Jacques, S., & Sanchez, S. I. (2017). Digitalisation and intermediaries in the music industry (University of Glasgow; Vol. 07). University of Glasgow. https://doi.org/10.2966/scrip.150218.242
i research Inc. (2020). Research Report on the Development of Chinese Music Industry ????????????——???. Retrieved from http://pdf.dfcfw.com/pdf/H3_AP202010161421720481_1.pdf
IFPI. (2021). Global Music Report 2021. Retrieved from https://www.ifpi.org/ifpi-global-music-report-global-recorded-music-revenues-grew-18-5-in-2021/
Klingner, S., Miller, M., Becker, M., & Schumacher, F. (2021). Direct memberships in foreign copyright collecting societies as an entrepreneurial opportunity for music publishers – needs, challenges, opportunities and solutions. Journal of Cultural Economics, 45(4), 633–670. https://doi.org/10.1007/s10824-021-09412-9
Kretschmer, M. (2012). Does Copyright Law Matter? An Empirical Analysis of Creators’ Earnings. 40th Anniversary of “The Uneasy Case for Copyright", 1–37.
Long, C. (2018). The mystery of the Demo singer behind the pop music ???????Demo??????? https://www.metropop.com.hk/. Retrieved from
https://www.metropop.com.hk/
Madudova, E. (2017). Creative industries value chain: The value chain logic in supply chain relationships. Marketing and Branding Research, 4(3), 227–235. https://doi.org/10.33844/mbr.2017.60236
Nakano, D. (2019). Digital music, online outlets and their business models. Brazilian Journal of Operations & Production Management, 16(4), 581–591.
https://doi.org/10.14488/BJOPM.2019.v16.n4.a4
Paul, D. (2012). Chapter: A musicianship for the recording studio. Cambridge Scholars.
Priest, E. (2021). The Future of Music Copyright Collectives in the Digital Streaming Age. The Columbia Journal of Law & the Arts, 45(1). https://doi.org/10.52214/jla.v45i1.8953
Saragih, H. S. (2017). Critical success factors of recording studio in Indonesia. Asia Pacific Journal of Marketing and Logistics, 29(3), 686–699. https://doi.org/10.1108/APJML-07-2016-0123
Saragih, H. S., Simatupang, T. M., & Sunitiyoso, Y. (2019). Co-innovation processes in the music business. Heliyon, 5(4). https://doi.org/10.1016/j.heliyon.2019.e01540
Skehan, P. (2013). The Music Industry in an Age of Digital Distribution. In 19 Key Essays on How Internet is Changing Our lives (pp. 6–23). Open Mind. https://doi.org/https://www.bbvaopenmind.com/en/articles/the-music-industry-in-an-age-of-digital-distribution/
Tang, D., & Lyons, R. (2016). An ecosystem lens: Putting China’s digital music industry into focus. Global Media and China, 1(4), 350–371.
https://doi.org/10.1177/2059436416685101
Towse, R. (2020). Dealing with digital: the economic organisation of streamed music. Media, Culture and Society, 42(7–8), 1461–1478. https://doi.org/10.1177/0163443720919376
Weidman, A. (2014). Neoliberal Logics of Voice: Playback Singing and Public Femaleness in South India. Culture, Theory and Critique, 62(3), 175–193.
Tong, X. (2013). An Analysis of Industrial Value Chain of Digital Music. Journal Of Chongqing University (Social Science Edition), 19(3), 165–172.
Duan, X. (2021). Musician Wu Xiangfei defends for rights ?????????. Red Star News. Retrieved from https://finance.sina.com.cn/tech/2022-05-11/doc-imcwipii9230320.shtml
Li, Y., Wei, J., Yuan, J., Xu, Q., & He, C. (2021). A Decentralized Music Copyright Operation Management System Based on Blockchain Technology. Procedia Computer Science, 187, 458–463. https://doi.org/10.1016/j.procs.2021.04.084
Yu, L., & Deng, H. (2015). Research into Value Chain of China’s Music Industry. 3rd International Conference on Management, Education, Information and Control, 1780–1786. https://doi.org/10.2991/meici-15.2015.307
In-Text Citation: (Huang & Ang, 2022)
To Cite this Article: Huang, X., & Ang, M. F. (2022). Value Flow in Music Content Production: A Case Study. International Journal of Academic Research in Business and Social Sciences, 12(12), 2092– 2104.
Copyright: © 2022 The Author(s)
Published by HRMARS (www.hrmars.com)
This article is published under the Creative Commons Attribution (CC BY 4.0) license. Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this license may be seen at: http://creativecommons.org/licences/by/4.0/legalcode
