PL EN


2013 | 9 | 192-208
Article title

Problem piractwa muzycznego. Alternatywne spojrzenia na spór o pobieranie muzyki z Internetu

Content
Title variants
EN
Problem piractwa muzycznego. Alternatywne spojrzenia na spór o pobieranie muzyki z Internetu
Languages of publication
Abstracts
EN
The contemporary music industry is in a period of remarkable change. Thanks to the powerful internet and digital media technologies, the global audience has gained the access to the fast-expanding music catalogue, while the artists have discovered new ways to make their music available worldwide. There is an intense debate over the issue of internet piracy and the level of protection for intellectual property. Music piracy – the unlawful distribution of copyrighted digital music files that can be easily shared over the Internet – is widely considered a detriment to the music business and the main cause of declining album sales. As such, it remains a key challenge for the major record labels. But is piracy inevitably a lose-lose situation? This paper analyzes a number of alternative academic views on the file sharing issue and the ambiguous role of music downloading on the current downturn in CD sales. The findings show that rather than tackling piracy, it is now crucial for the music industry to implement new business and communication models, which will eventually exploit the emerging digital technologies, improve their public image and deliver high quality content which appeals to listeners more than piracy does.
Keywords
Year
Issue
9
Pages
192-208
Physical description
Dates
published
2013
Contributors
  • Uniwersytet Warmińsko-Mazurski
References
  • Vogel H., Entertainment Industry Economics: A Guide for Financial Analysis, wyd. 7, New York, 2007, cz. 2, rozdz. 6.
  • Barlow J.P., The Economy of Ideas, „Wired” 1994, [online] <http://www.wired.com/wired/archive/2.03/economy.ideas_pr.html>, dostęp: 20.01.2010.
  • Bilton N., Internet Pirates Will Always Win, „The New York Times” 2012, [online] <http://www.nytimes.com/2012/08/05/sunday-review/internet-pirates-will-always-win.html>, dostęp: 29.10.2012.
  • Blomqvist U., Eriksson L.-E., Findahl O., Selg H., Wallis R., Trends in Downloading and Filesharing of Music, KTH Royal Institute of Technology 2005, [online] <http://xml.nada.th.se/media/Research/MusicLessons/Reports/MusicLessons-DL5.pdf>, dostęp: 20.01.2010.
  • 63 N. Bilton, Internet Pirates Will Always Win, „The New York Times” 2012, [online]<http://www.nytimes.com/2012/08/05/sunday-review/internet-pirates-will-always-win.html>,dostęp: 29.10.2012.
  • Brown M., The Pirate Bay Plans Low-Orbit Server Drones to Escape Legal Jurisdiction, „Wired” 2012, [online] <http://www.wired.co.uk/news/archive/2012-03/19/pirate-bay-drones>,dostęp: 22.10.2012.
  • Burkart P., McCourt T., When Creators, Corporations and Consumers Collide: Napster and the Development of On-line Music Distribution. „Media, Culture & Society” 2003, nr 3(25).
  • Cooper M., Round #1 of the Digital Intellectual Property Wars: Economic Fundamentals, not Piracy, Explain How Consumers and Artists Won in the Music Sector, Consumer Federation of America 2008, [online] <http://www.jthtl.org/content/articles/V9I1/JTHTLv9i1_Cooper.PDF>, dostęp: 21.09.2010.
  • Cooper M., Time for the Recording Industry to Face the Music: The Political, Social and Economic Benefits of Peer-to-Peer Communications Networks, Stanford Law School 2005, [online]<http://www.consumersunion.org/pub/PEERtoPEERISSUEBRIEF.pdf>, dostęp: 28.10.2011.
  • Dervin-Ackerman M., Migliore M., The Merger of Universal and EMI, „The Music Business Journal” 2012, Berklee College of Music, [online] <http://www.thembj.org/2012/10/the-merger-of-universal-and-emi/>,dostęp: 26.10.2012.
  • Gałuszka P., Biznes muzyczny, Warszawa 2009.
  • Hull G., The Recording Industry, wyd. 2, New York – London 2004.
  • Hunt K., Mellicker A., A Case Study of the Music Industry, „Journal of Business Case Studies”, 2008, nr 4(3).
  • Iskierka A., Iskierka I., Problematyka zabezpieczeń i prawa autorskie utworu zamieszczonego w sieci Internet, w: Jakość wobec wyzwań i zagrożeń XXI wieku, red. N. Majchrzak, A. Zduniak, t. 2, Poznań 2012.
  • KE warunkowo zezwala na przejęcie EMI przez grupę Universal, Biznes.onet.pl 2012, [online]<http://biznes.onet.pl/ke-warunkowo-zezwala-na-przejecie-emi-przez-grupe-,49690,5253584,news-detal>, dostęp: 27.10.2012.
  • Kusek D., Leonhard G., The Future of Music: Manifesto for the Digital Music Revolution, Boston 2005.
  • Lawrence R., Can the Music Industry Adapt to the Digital Future?, „Regional Focus” 2010, Third Quarter, [online] <http://www.richmondfed.org/publications/research/region_focus/2010/q3//pdf/feature4.pdf>, dostęp: 30.10.2012.
  • Lessig L., Wolna kultura, tłum. P. Białokozowicz, Warszawa 2005.
  • Liebowitz S., How Reliable is the Oberholzer-Gee and Strumpf Paper on File-Sharing?, School of Management, University of Texas at Dallas 2007, [online] <http://papers.ssrn.com/sol3//papers.cfm?abstract_id=1014399>, dostęp: 5.11.2012.
  • McLeod K., MP3s Are Killing Home Taping: The Rise of Internet Distribution and Its Challenge to the Major Label Music Monopoly, „Popular Music and Society” 2005, nr 4(28).
  • Michel N., The Impact of Digital File Sharing on the Music Industry: An Empirical Analysis, „Topics in Economic Analysis & Policy” 2006, nr 6(1), [online] <http://norbertmichel.com//files/EmpiricalPaperAug2006.pdf>, dostęp: 19.01.2010.
  • Millard A., America on Record. A History of Recorded Sound, wyd. 2, New York 2005.
  • Mulligan M., Music Industry Meltdown: Recasting the Mold, Forrester Research 2010, [online]<http://www.forrester.com/rb/Research/music_industry_meltdown_recasting_mold/q/id/56147//t/2>, dostęp: 5.03.2011.
  • Oberholzer-Gee F., Strumpf K., The Effect of File Sharing on Record Sales. An Empirical Analysis, „Journal of Political Economy” 2004, [online] <http://www.unc.edu/~cigar/papers/FileSharing_March2004.pdf>, dostęp: 3.03.2011.
  • Owsinski B., Music 3.0. A Survival Guide for Making the Music in the Internet Age, New York 2009.
  • Peitz M., Waelbroeck P., The Effect of Internet Piracy on CD Sales: Cross-Section Evidence, Cesifo Working Paper 2004, s. 15–17, [online] <www.SSRN.com/abstract=511763>, dostęp: 29.10.2012.
  • Pirate Bay zamyka serwery. Staliśmy się duchem, Wprost.pl, [online] <http://www.wprost.pl/ /ar/353274/Pirate-Bay-zamyka-serwery-Stalismy-sie-duchem/>, dostęp: 30.10.2012.
  • Rauf D., Recording Industry, New York 2010.
  • Report: Global Music Sales down 10% in ’09; Digital up 12%, „Digital Media Wire” 2010, [online]<http://www.dmwmedia.com/news/2010/01/21/report-global-music-sales-down-10-03909--digital-12>, dostęp: 19.01.2010.
  • Schwerzmann J., Wilde E., When Business Models Go Bad: The Music Industry’s Future, w: International Conference on E-Business and Telecommunication Networks, red. J. Ascenso, C. Belo, M. Saramago, L. Vasiu, Setúbal 2004.
  • Stasiak P., Nowy d@rmowy świat, „Polityka Niezbędnik Inteligenta” 2011, nr 1.
  • Technical Report: An Estimate of Infringing Use of the Internet, Envisional 2011, [online] <http://documents.envisional.com/docs/Envisional-Internet_Usage-Jan2011.pdf>, dostęp: 5.04.2011.
  • The Adele Effect Hits Major-Record-Company Market Shares in 2011, „Music & Copyright’s Blog” 2012, [online] <http://musicandcopyright.wordpress.com/2012/05/02/the-adele-effect--hits-major-record-company-market-shares-in-2011/>, dostęp: 28.10.2012.
  • Ustawa z dnia 4 lutego 1994 roku o prawie autorskim i prawach pokrewnych, Dz.U. 1994, nr 24, poz. 83; także [online] <http://isap.sejm.gov.pl/DetailsServlet?id=WDU19940240083>, dostęp: 30.11.2012
Document Type
Publication order reference
Identifiers
YADDA identifier
bwmeta1.element.desklight-a876ac2a-3822-42a1-83b4-b26c5416df38
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.