China’s Music Industry Unplugged: Business Models, Copyright and Social Entrepreneurship in the Online Platform Economy

Acknowledgements
Contents
Acronyms
List of Figures
List of Tables
Part I Copyright Law and Social Entrepreneurship in an Online Platform Economy
1 Setting the Stage
	1 Background
	2 Exploratory Observations: A Great Leap Forward or More Tensions?
	3 The Marginalised and Neglected Artists
	4 Research Questions
	5 Structure of the Book
	References
2 Music Industries, Platform Economy and Social Entrepreneurship
	1 The Supply Side: Production of Culture
	2 The Demand Side: Social Network Market
	3 The New, Creative, and Digital Platform Economy
		What Is New About the Platform Economy?
		New Potentials and Challenges
		The Contradiction Between Firms and Market
		Understand Sharing and Exchange
		Edited Platform and Industrial Ecology
		Platform Democratisation vs Control
		The Economics of the Platforms
	4 The Strategy of Artists: IP, Economics and Social Justice
		Rational Choice? Economic Approach and Social Justice
		A Theory for Action: Social Entrepreneurship and Empowerment
			A Contested Definition
		The Refined Roles and Qualities of Social Entrepreneurs
			Characteristics: Vision, Motivation, Innovation, Activation and Change
			The Impulse to Change the Status Quo: Both Economic and Social
		A Playbook for Social Entrepreneurship in a Platform Economy
			A Model of Social Change in the Platform Economy
			Strategies for Change
			The Theory of Change Model
			Resistance, Inertia, Hegemony and Unintended Consequences
	5 Conclusion: New Norms for the Music Industry in China
	References
3 Doing Music Industry Research in China
	1 Introduction
	2 The Use of Qualitative Methods
		Socio-Legal Analysis: Discourses in Documents
		Interviews
		Participant Observation
		Case Studies
		Access and Pilot Interviews
		Qualitative Analysis
		Thematic Analysis
	3 Ethical Considerations
	4 Conclusion
	References
4 China’s Copyright Law and the Music Industry: A Social-Legal Analysis
	1 Authors’ Rights and Copyright System
	2 International Conventions and Treaties
	3 A Brief History of China’s Copyright Legislation and the Music Industry
		The Interwoven Pre-Modern Music Economy and Copyright in China
		Rationales and Trajectory of Chinese Copyright System
			1949–1979: Maoist China and a Socialist Copyright System
			1979–1990: Internal Drive and Autonomous Force
			1992–2011: Globalisation and the Internet
			2011 Onwards: A Necessary Autonomous Development
	4 Conclusion
	References
Part II Evolving Business Models, Strategies and Tactics
5 The Traditional Proprietary Model
	1 Music as Copyrightable Work
	2 Mapping the Music Industry Through Its Traditional Value Chain
		The Conceptualisation of Income Streams
		Subtheme 1: Copyright Ownership, Royalties and Litigation
			Songwriters and Publishers
			Sound Recordings
			Licensing
			Streaming and Digital Downloads
		Subtheme 2: CMOs and Copyright Management
			Performing Rights Societies
			Mechanical Rights Societies
			SoundExchange
		Subtheme 3: Non-copyright Activities
	3 Focus: The Traditional Model in the Chinese Music Industry Ecosystem
		The Golden 30 Years of the Traditional Model: 1980s–2000s
		Recording and Mechanical Licensing
		Shanzhai, Globalisation and Transformation
		Copyright Protection: Tune In, Out and Back In
		The Rise and Fall of the Recording Companies
			Inception
			Wild Fission
			Declining Shanzhai Sales But Rising Original Creation
		Musicians’ Revenue Streams in China
			Licensing and CMOs
			The Important Yet Missing Rental and Lending Right
		The Traditional Model in the Online Platform Economy
	4 Problematise the Traditional Model with Chinese Characteristics
	5 Conclusion
	References
6 The Renegade Model
	1 Introduction
	2 At the First Half of the Game: Chinese Digital Music Market (1997–2006)
		Online Music Market
		Wireless Music Market
	3 Renegades Going Digital: Music as Information
		Who and What Are the Renegades?
		Case Study in China
	4 The Revenue Streams of the Earlier Digital Music Market
		Ad-support, Subscription and Value-Added Services
		Bundling: Smartphones, Tablets and Speaker Manufactures
		Salary, State Patronage and Self-Support
	5 Discussion
		The Economic or Market Approach
		The Political
			The Individual Autonomous Approach
			The Collective Industry and International Aspect
		The Cultural (The Bargain Approach)
	6 Conclusion
	References
7 The Platform Ecosystem Model
	1 Introduction
	2 Theoretical Underpinnings
	3 Technology and Platform in a Social Media Era
	4 Platform Ecosystem Model
		Music as Services
		Over-the-Top Services: Potential and Challenges
		Case Study: Indie Music and the Long Tail—NetEase Could Music
		Case Study: Seamless Ecosystem Platform—QQ Music
		Revenue Streams and Potentials
		Challenges and Growth Issue
	5 Artists Strategy and Tactics in the Online Platform Economy
		Self-Support and Associations
		Positioning in the Networked Precarious Industry
		Be Entrepreneurial and Plug onto the Platform
			Platform as a Promotional Tool
			CRM System to Leverage Fan Purchasing Power
			Retailing and Ecommerce Model
			Crowdsourcing: Leverage the Fan Economy
			Flexible Consumption Model
		Be Entrepreneurs and Create Your Own Business
	6 Conclusion
	References
8 Conclusion
	1 The Theoretical and Business Models in Review
	2 Artists Strategy and Tactics in the Online Platform Economy
	3 Policy Implications
	4 Music into the Clouds: Limitations and Future Research
	References
Index