Piracy and creation: The Case of the Music Industry

Maya Bacache-Beauvallet (), Marc Bourreau and François Moreau
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Maya Bacache-Beauvallet: ECOGE - Economie Gestion - I3 SES - Institut interdisciplinaire de l’innovation de Telecom Paris - Télécom Paris - IMT - Institut Mines-Télécom [Paris] - IP Paris - Institut Polytechnique de Paris - I3 - Institut interdisciplinaire de l’innovation - CNRS - Centre National de la Recherche Scientifique, SES - Département Sciences Economiques et Sociales - Télécom Paris - IMT - Institut Mines-Télécom [Paris] - IP Paris - Institut Polytechnique de Paris

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Abstract: In this paper we propose a model which shows that the impact of copyright infringement on music artists depends on the type of revenue that they receive (royalties from record companies, profits for self-released artists, revenues from live concerts). We then test the hypotheses derived from the model on a dataset consisting of a survey of 710 artists representative of the whole population of French professional musicians. The results are consistent with our model in so far as: (i) those artists with a recording contract who do more live performances are more tolerant of piracy; and (ii) self-released artists are less tolerant of piracy, and that their attitude is therefore closer to that of record companies.

Keywords: Copyright; Piracy; Music industry; Artists (search for similar items in EconPapers)
Date: 2015
Note: View the original document on HAL open archive server: https://hal.science/hal-01344810v1
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Published in European Journal of Law and Economics, 2015, 39 (2), pp.245-262. ⟨10.1007/s10657-012-9360-1⟩

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Journal Article: Piracy and creation: the case of the music industry (2015)
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Persistent link: https://EconPapers.repec.org/RePEc:hal:journl:hal-01344810

DOI: 10.1007/s10657-012-9360-1

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