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Piracy and creation: the case of the music industry

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  • Maya Bacache-Beauvallet
  • Marc Bourreau
  • François Moreau

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. Copyright Springer Science+Business Media, LLC 2015

Suggested Citation

  • Maya Bacache-Beauvallet & Marc Bourreau & François Moreau, 2015. "Piracy and creation: the case of the music industry," European Journal of Law and Economics, Springer, vol. 39(2), pages 245-262, April.
    • Handle: RePEc:kap:ejlwec:v:39:y:2015:i:2:p:245-262
    DOI: 10.1007/s10657-012-9360-1
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    References listed on IDEAS

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    Cited by:

    1. Christensen, Finn, 2022. "Streaming Stimulates the Live Concert Industry: Evidence from YouTube," International Journal of Industrial Organization, Elsevier, vol. 85(C).
    2. Ramadan Aly-Tovar & Maya Bacache-Beauvallet & Marc Bourreau & Francois Moreau, 2020. "Why would artists favor free streaming?," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 44(2), pages 255-280, June.
    3. Bazen, Stephen & Bouvard, Laurence & Zimmermann, Jean-Benoît, 2015. "Musicians and the Creative Commons: A survey of artists on Jamendo," Information Economics and Policy, Elsevier, vol. 32(C), pages 65-76.
    4. Éric Darmon & Thomas Le Texier, 2014. "Private or Public Law Enforcement? The Case of Digital Piracy Policies with Non-monitored Illegal Behaviors," Economics Working Paper Archive (University of Rennes 1 & University of Caen) 201403, Center for Research in Economics and Management (CREM), University of Rennes 1, University of Caen and CNRS.
    5. Karla Borja & Suzanne Dieringer, 2022. "Is music piracy over? Comparing music piracy attitudes and behaviors between young generations," Journal of Consumer Affairs, Wiley Blackwell, vol. 56(2), pages 899-924, June.
    6. Stephen Bazen & Laurence Bouvard & Jean-Benoît Zimmermann, 2014. "«Jamendo: The Heartbeat of Free Music!» Musicians and the Creative Commons," Working Papers halshs-01081398, HAL.
    7. Godefroy Nguyen & Sylvain Dejean & François Moreau, 2014. "On the complementarity between online and offline music consumption: the case of free streaming," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 38(4), pages 315-330, November.

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    More about this item

    Keywords

    Copyright; Piracy; Music industry; Artists; K42; L82; O34;
    All these keywords.

    JEL classification:

    • K42 - Law and Economics - - Legal Procedure, the Legal System, and Illegal Behavior - - - Illegal Behavior and the Enforcement of Law
    • L82 - Industrial Organization - - Industry Studies: Services - - - Entertainment; Media
    • O34 - Economic Development, Innovation, Technological Change, and Growth - - Innovation; Research and Development; Technological Change; Intellectual Property Rights - - - Intellectual Property and Intellectual Capital

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