“Advancing the Creative Economy” was the theme of the Copyright Clearance Center’s OnCopyright 2012 conference on March 30, and an important first order of business seemed to be defining what, exactly, a creative economy is. For many, it became a matter of semantics: “piracy” and “stealing” vs. “infringement,” “individual” vs. “commercial,” “intellectual property” vs. “creative greater good,” and “copyright” vs. “licensing.” The philosophical implications of these words clearly depended on what roles panelists played in the creative economy, as did the preference as to whether copyright ambiguities be better defined, or remain vague and fungible… read more

There’s a fascinating report from the Future of Music Coalition called Artist Revenue Streams (ARS), which they describe as “a multi-stage research project to assess whether and how musicians’ revenue streams are changing in this new music landscape.” They recently released an installment which focuses on an orchestra musician’s income/expense structure during the period 2000-2011 and the results are intriguing.[…]

We’ve told you a little bit about the cash flow of orchestras, but If you’re not a fan of classical music, Future of Music Coalition has just released some data that might be a little more relevant to you…

The Future of Music Coalition has been working on a long-term project that goes beyond personal anecdote and uses tax returns and other information to better understand where money in the music business goes, including how much goes to musicians.

The Artist Revenue Streams project examines how musicians’ revenue streams are changing, and why…