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The Copyright Royalty Board and the ...

Pilger, Paul Anthony.

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The Copyright Royalty Board and the Public Interest: An Examination of Stakeholder Concerns in the Rate Setting Process.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Copyright Royalty Board and the Public Interest: An Examination of Stakeholder Concerns in the Rate Setting Process./
Author:	Pilger, Paul Anthony.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2023,
Description:	164 p.
Notes:	Source: Dissertations Abstracts International, Volume: 85-03, Section: A.
Contained By:	Dissertations Abstracts International85-03A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30526385
ISBN:	9798380394826

The Copyright Royalty Board and the Public Interest: An Examination of Stakeholder Concerns in the Rate Setting Process.
Pilger, Paul Anthony.

The Copyright Royalty Board and the Public Interest: An Examination of Stakeholder Concerns in the Rate Setting Process. - Ann Arbor : ProQuest Dissertations & Theses, 2023 - 164 p.

Source: Dissertations Abstracts International, Volume: 85-03, Section: A.

Thesis (Ph.D.)--The Florida State University, 2023.

This study investigates the institutional proceedings undertaken by the Copyright Royalty Board (CRB) during its statutorily directed mission of determining royalty rates and settling royalty negotiation disputes for the American music industry. In particular, this study is concerned with the royalties that songwriters (aka composers) and performers (aka recording artists) receive through the U.S. statutory regimen employed by the CRB. This issue is significant given the changes within musical product "delivery" attributable to the rise of digital phonorecord delivery services and webcasters in the wake of the file sharing phenomenon that began in the late 1990s. The concept of "the public interest," operationalized here as facilitating the music industry's ability to provide quality music to the citizenry, is given special consideration. Using an Historical Institutional (HI) perspective, witness testimony and the final determinations of the CRB during two distinct "rate-setting" periods are examined within qualitative content analysis (QCA) to determine the predominant arguments made by the various stakeholders involved in the proceedings. Next, the patterns and details of the arguments found during the QCA are further analyzed to determine the rationale various stakeholders use in trying to prove the veracity of their positions in an effort to persuade the CRB judges to rule in a particular way. Given the legal redactions present in the public versions of testimony to safeguard proprietary information, an economic analysis is not used. Rather, the focus of this study is on the rationale of the arguments forwarded by various stakeholders, consideration of the public interest within stakeholder testimony, and the institutional execution of the CRB relative to its legally codified mission in considering the arguments from the stakeholders and in applying the law. The results show that the CRB focuses more on stakeholder arguments than the law, that it tends to favor "more powerful" stakeholders, that it gives short shrift to any conception of "the public interest," and --from an HI perspective-- tends to follow a path that is in contrast to it statutory mission.{A0}

ISBN: 9798380394826Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Communication policy

The Copyright Royalty Board and the Public Interest: An Examination of Stakeholder Concerns in the Rate Setting Process.
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520 $a This study investigates the institutional proceedings undertaken by the Copyright Royalty Board (CRB) during its statutorily directed mission of determining royalty rates and settling royalty negotiation disputes for the American music industry. In particular, this study is concerned with the royalties that songwriters (aka composers) and performers (aka recording artists) receive through the U.S. statutory regimen employed by the CRB. This issue is significant given the changes within musical product "delivery" attributable to the rise of digital phonorecord delivery services and webcasters in the wake of the file sharing phenomenon that began in the late 1990s. The concept of "the public interest," operationalized here as facilitating the music industry's ability to provide quality music to the citizenry, is given special consideration. Using an Historical Institutional (HI) perspective, witness testimony and the final determinations of the CRB during two distinct "rate-setting" periods are examined within qualitative content analysis (QCA) to determine the predominant arguments made by the various stakeholders involved in the proceedings. Next, the patterns and details of the arguments found during the QCA are further analyzed to determine the rationale various stakeholders use in trying to prove the veracity of their positions in an effort to persuade the CRB judges to rule in a particular way. Given the legal redactions present in the public versions of testimony to safeguard proprietary information, an economic analysis is not used. Rather, the focus of this study is on the rationale of the arguments forwarded by various stakeholders, consideration of the public interest within stakeholder testimony, and the institutional execution of the CRB relative to its legally codified mission in considering the arguments from the stakeholders and in applying the law. The results show that the CRB focuses more on stakeholder arguments than the law, that it tends to favor "more powerful" stakeholders, that it gives short shrift to any conception of "the public interest," and --from an HI perspective-- tends to follow a path that is in contrast to it statutory mission.{A0}
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653 $a Copyright Royalty Board
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