File #2789: "2019_Book_PerformersRightsInSriLanka.pdf"
Text
1|Acknowledgements|6
1|Contents|8
1|Chapter 1 Separating the Singer from the Song|9
2|1.1 Introduction|9
2|1.2 Property and Belonging|10
2|1.3 Empirical Study|18
2|1.4 Conclusion|19
2|References|23
1|Chapter 2 The Sinhala Commercial Music Industry and Its Development|25
2|2.1 Introduction|25
2|2.2 Emergence of Sinhala Music and the Sinhala Vocalist|26
3|2.2.1 Buddhism and Sinhala Music|28
3|2.2.2 Indian Musical Influence|30
3|2.2.3 Colonisation and Sinhala Music|32
3|2.2.4 The Era of the Talking Machine and the Birth of Professional Singers|34
3|2.2.5 Sinhala Nationalist Drive|36
2|2.3 Sinhala Commercial Music Industry and Its Contemporary Revenue Generation|37
3|2.3.1 Live Musical Shows|38
3|2.3.2 Music Recordings|39
3|2.3.3 Sinhala Cinema and Singers|42
3|2.3.4 Radio Broadcasts|44
3|2.3.5 Television Broadcasts|47
3|2.3.6 Digital Music Market: Ring In-Tones or Ring Back Tones (RBTs) and Streaming|48
3|2.3.7 Other Modes of Income|50
2|2.4 Conclusion|50
2|References|62
1|Chapter 3 The International Emergence of the Performers’ Rights Regime|65
2|3.1 Introduction|65
2|3.2 Copyright and Its Subsidiary: The Performers’ Neighbouring Right|66
2|3.3 International Emergence of the Performers’ Rights Regime|68
3|3.3.1 Initiating International Performers’ Rights Under the Rome Convention|69
4|3.3.1.1 Tackling Technological Adversities Through the Implementation of the PRR Under Rome|72
4|3.3.1.2 Ensuring Authorial Supremacy Through the Implementation of the PRR Under Rome|76
4|3.3.1.3 The Capacity of the PRR Under Rome to Address Performers’ Issues|79
3|3.3.2 Performers’ Rights Regime Under TRIPS|80
4|3.3.2.1 TRIPS Negotiations and the Ignorance Narrative|81
4|3.3.2.2 TRIPS Negotiations and the Coercive Narrative|82
4|3.3.2.3 TRIPS Negotiations and the Bargaining Narrative|84
4|3.3.2.4 TRIPS Negotiations and the Self-Interest Narrative|85
4|3.3.2.5 Performers’ Rights and Limitations Under TRIPS|86
2|3.4 Conclusion|89
2|References|98
1|Chapter 4 Development of International PRR and the Emergence of Sri Lankan National PRR|100
2|4.1 Introduction|100
2|4.2 The PRR Under WPPT|102
2|4.3 The PRR Under the WIPO Beijing Treaty|107
2|4.4 The Historical Emergence of the PRR in Sri Lanka|109
3|4.4.1 Historical Protection of Performers in Britain and Its Impact on Ceylon|110
3|4.4.2 The First National Intellectual Property Act of Sri Lanka|112
3|4.4.3 Implementation of the PRR Within the National IP Law|114
4|4.4.3.1 Combating Piracy and the PRR|115
4|4.4.3.2 Ensuring Remuneration Through the National PRR|116
4|4.4.3.3 Preventing Cover Songs Through the National PRR|117
2|4.5 Conclusion|119
2|References|127
1|Chapter 5 Issues Faced by Contemporary Commercial Singers in Sri Lanka|129
2|5.1 Introduction|129
2|5.2 Cover Versions|130
3|5.2.1 Cover Versions as Borrowing|130
3|5.2.2 Cover Versions and Their Impact|133
3|5.2.3 Practice of Cover Versions in Other Music Industries|136
4|5.2.3.1 Covering in the UK Music Industry|136
4|5.2.3.2 Covering in the US Music Industry|137
4|5.2.3.3 Covering in the Indian Music Industry|138
4|5.2.3.4 Covering in the Sri Lankan Music Industry|140
3|5.2.4 Perceptions and Implications of Covering in the Sri Lankan Music Industry|141
2|5.3 Singers’ Secure Position in the Entertainment Value Chain|148
3|5.3.1 The Position of Singers in the Entertainment Value Chain in Other Music Industries|149
4|5.3.1.1 The Economic Hierarchy Among Artists in the UK Music Industry|149
4|5.3.1.2 The Economic Hierarchy Among Artists in the US Music Industry|150
4|5.3.1.3 The Economic Hierarchy Among Artists in the Indian Music Industry|151
4|5.3.1.4 The Position of Vocalists in the Entertainment Value Chain in the Sri Lankan Music Industry|152
3|5.3.2 Reasons Behind the Vocalists’ Supremacy in the Sri Lankan Music Industry|154
2|5.4 Conclusion|159
2|References|170
1|Chapter 6 The Performers’ Rights Regime: The Sri Lankan Vocalists’ Solution or Their Concern?|175
2|6.1 Introduction|175
2|6.2 Royalty Collection in Music|176
3|6.2.1 Music Royalty Collection in the UK|177
3|6.2.2 Music Royalty Collection in the USA|180
3|6.2.3 Music Royalty Collection in India|183
3|6.2.4 Music Royalty Collection in Sri Lanka|186
2|6.3 PRR: A Potential Solution to Sri Lankan Vocalists’ Remuneration Concern?|190
3|6.3.1 Vocalists’ Expectations of a Proper Royalty Scheme in Sri Lanka|190
3|6.3.2 The Inherent Limitations of Royalty Schemes|191
3|6.3.3 Country-Specific Limitations of Music Royalty Schemes in Sri Lanka|195
2|6.4 Conclusion|196
2|References|205
1|Chapter 7 Conclusion|208
2|7.1 Introduction|208
2|7.2 Government Subsidy|210
2|7.3 Contracts|212
2|7.4 Alternative Dispute Resolution (ADR)|217
2|7.5 Conclusion|220
2|References|225
1|Index|227
1|Contents|8
1|Chapter 1 Separating the Singer from the Song|9
2|1.1 Introduction|9
2|1.2 Property and Belonging|10
2|1.3 Empirical Study|18
2|1.4 Conclusion|19
2|References|23
1|Chapter 2 The Sinhala Commercial Music Industry and Its Development|25
2|2.1 Introduction|25
2|2.2 Emergence of Sinhala Music and the Sinhala Vocalist|26
3|2.2.1 Buddhism and Sinhala Music|28
3|2.2.2 Indian Musical Influence|30
3|2.2.3 Colonisation and Sinhala Music|32
3|2.2.4 The Era of the Talking Machine and the Birth of Professional Singers|34
3|2.2.5 Sinhala Nationalist Drive|36
2|2.3 Sinhala Commercial Music Industry and Its Contemporary Revenue Generation|37
3|2.3.1 Live Musical Shows|38
3|2.3.2 Music Recordings|39
3|2.3.3 Sinhala Cinema and Singers|42
3|2.3.4 Radio Broadcasts|44
3|2.3.5 Television Broadcasts|47
3|2.3.6 Digital Music Market: Ring In-Tones or Ring Back Tones (RBTs) and Streaming|48
3|2.3.7 Other Modes of Income|50
2|2.4 Conclusion|50
2|References|62
1|Chapter 3 The International Emergence of the Performers’ Rights Regime|65
2|3.1 Introduction|65
2|3.2 Copyright and Its Subsidiary: The Performers’ Neighbouring Right|66
2|3.3 International Emergence of the Performers’ Rights Regime|68
3|3.3.1 Initiating International Performers’ Rights Under the Rome Convention|69
4|3.3.1.1 Tackling Technological Adversities Through the Implementation of the PRR Under Rome|72
4|3.3.1.2 Ensuring Authorial Supremacy Through the Implementation of the PRR Under Rome|76
4|3.3.1.3 The Capacity of the PRR Under Rome to Address Performers’ Issues|79
3|3.3.2 Performers’ Rights Regime Under TRIPS|80
4|3.3.2.1 TRIPS Negotiations and the Ignorance Narrative|81
4|3.3.2.2 TRIPS Negotiations and the Coercive Narrative|82
4|3.3.2.3 TRIPS Negotiations and the Bargaining Narrative|84
4|3.3.2.4 TRIPS Negotiations and the Self-Interest Narrative|85
4|3.3.2.5 Performers’ Rights and Limitations Under TRIPS|86
2|3.4 Conclusion|89
2|References|98
1|Chapter 4 Development of International PRR and the Emergence of Sri Lankan National PRR|100
2|4.1 Introduction|100
2|4.2 The PRR Under WPPT|102
2|4.3 The PRR Under the WIPO Beijing Treaty|107
2|4.4 The Historical Emergence of the PRR in Sri Lanka|109
3|4.4.1 Historical Protection of Performers in Britain and Its Impact on Ceylon|110
3|4.4.2 The First National Intellectual Property Act of Sri Lanka|112
3|4.4.3 Implementation of the PRR Within the National IP Law|114
4|4.4.3.1 Combating Piracy and the PRR|115
4|4.4.3.2 Ensuring Remuneration Through the National PRR|116
4|4.4.3.3 Preventing Cover Songs Through the National PRR|117
2|4.5 Conclusion|119
2|References|127
1|Chapter 5 Issues Faced by Contemporary Commercial Singers in Sri Lanka|129
2|5.1 Introduction|129
2|5.2 Cover Versions|130
3|5.2.1 Cover Versions as Borrowing|130
3|5.2.2 Cover Versions and Their Impact|133
3|5.2.3 Practice of Cover Versions in Other Music Industries|136
4|5.2.3.1 Covering in the UK Music Industry|136
4|5.2.3.2 Covering in the US Music Industry|137
4|5.2.3.3 Covering in the Indian Music Industry|138
4|5.2.3.4 Covering in the Sri Lankan Music Industry|140
3|5.2.4 Perceptions and Implications of Covering in the Sri Lankan Music Industry|141
2|5.3 Singers’ Secure Position in the Entertainment Value Chain|148
3|5.3.1 The Position of Singers in the Entertainment Value Chain in Other Music Industries|149
4|5.3.1.1 The Economic Hierarchy Among Artists in the UK Music Industry|149
4|5.3.1.2 The Economic Hierarchy Among Artists in the US Music Industry|150
4|5.3.1.3 The Economic Hierarchy Among Artists in the Indian Music Industry|151
4|5.3.1.4 The Position of Vocalists in the Entertainment Value Chain in the Sri Lankan Music Industry|152
3|5.3.2 Reasons Behind the Vocalists’ Supremacy in the Sri Lankan Music Industry|154
2|5.4 Conclusion|159
2|References|170
1|Chapter 6 The Performers’ Rights Regime: The Sri Lankan Vocalists’ Solution or Their Concern?|175
2|6.1 Introduction|175
2|6.2 Royalty Collection in Music|176
3|6.2.1 Music Royalty Collection in the UK|177
3|6.2.2 Music Royalty Collection in the USA|180
3|6.2.3 Music Royalty Collection in India|183
3|6.2.4 Music Royalty Collection in Sri Lanka|186
2|6.3 PRR: A Potential Solution to Sri Lankan Vocalists’ Remuneration Concern?|190
3|6.3.1 Vocalists’ Expectations of a Proper Royalty Scheme in Sri Lanka|190
3|6.3.2 The Inherent Limitations of Royalty Schemes|191
3|6.3.3 Country-Specific Limitations of Music Royalty Schemes in Sri Lanka|195
2|6.4 Conclusion|196
2|References|205
1|Chapter 7 Conclusion|208
2|7.1 Introduction|208
2|7.2 Government Subsidy|210
2|7.3 Contracts|212
2|7.4 Alternative Dispute Resolution (ADR)|217
2|7.5 Conclusion|220
2|References|225
1|Index|227