With regard to available income streams and commercial possibilities within the performing arts environment, compare and contrast the potential opportunities open to the creative music artist of 1999, to that of the creative music artist of 2018. Your response should offer scenarios for each era and consider the degree of ownership, agency and scope for individual control of copyright/IP which are/would have been applicable. The discussion offered should also engage with relevant theories and concepts as a means of further articulating the key issues that emerge from such a comparison. The question asks you to compare and contrast two periods where the music-creative environment was framed by changing forms of IP/Copyright legislation and/or free market activity. The different business models discernible during the two periods can also be said to symbolize a paradigm shift in monetising opportunities for the creative musician. Your response should briefly articulate why this change took place, and then provide a comparative analysis of the two periods, by endeavouring to explore if the creative-musician is better served by the IP/Copyright environment and scope for monetising their creative output in 1999 or in 2018. Rather than trying to cover every aspect of the evident changes between the two eras, focus on only three of the key elements (such as Record Deals, Branding & Sponsorship, Live Music etc.). By providing a hierarchy of the significant factors that underpin each element, this process allows you to evaluate both periods in a linear manner. This comparison should encompass the significance that IP/Copyright held during each era and, as a matter of course, engage with key academic texts, as well as informative articles from reliable sources, all of which enable incisive analysis. This engagement should then be articulated within the discussion that provides a critical evaluation-comparison of the two periods. A clear mapping process should also be included within the Introduction, which sets out the path which the response will follow, along the lines of, This essay will provide a critical evaluation-analysis of three key factors which show that the creative musician of 2018 is better served by the fragile nature of contemporary Copyright/IP legislation. Each section should contain some form of projection as to what will be contained in the discussion to follow, as well as being briefly summarised, with these summaries being encapsulated within the Conclusion of the essay. This process not only facilitates a flow for the discussion, but also accommodates a narrative that functions to engage the reader. As mentioned, all points made within the discussion should be substantiated by evidence from key academic or informed sources, and the dialogue should be persuasive, but objective, as opposed to opinionated and subjective. Please consider the three topics I chose (650 words each) for the 1999-2018 comparative analysis: 1) Music Piracy: how the phenomenon of piracy has altered the numbers for recorded music sales. A comparison between the modalities, physical means and revenue streams of music sales until 1999 (with explicit numerical indications), and today’s principal monetisation opportunities for contemporary creators’ remuneration. Also, mention how piracy has gradually been integrated into our common sense as a legitimate way to possess and consume music. 2) Music Licensing: how agreements have changed for the synchronisation of copyrighted music. Wheather royalties rates and collecting modalities have changed. Advent of 360 deals and consequences on music licensing. Shift in the role of licensing as the only chance for lesser-know artists to gain notoriety. 3) Music Plagiarism: how its legislation has changed,whether it has increased with music piracy, introduction of Fair Use. Please contact me before considering to change any of the previous topics.
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