Music Identification Software as a tool for precise monitoring
of real music use in public spaces and fair distribution of
music rights income
SERGEJ LUGOVIĆ
Polytechnic of Zagreb, University of Applied Sciences Vrbik 8, 10 000 Zagreb CROATIA
slugovic@tvz.hr
NIVES MIKELIĆ PRERADOVIĆ
Department of Information and Communication Sciences Faculty of Humanities and
Social Sciences, University of Zagreb I. Lucica 3, 10000 Zagreb CROATIA
nmikelic@ffzg.hr http://www.ffzg.unizg.hr/
Keywords: music collective rights management, viable system model, music identification
software, music information retrieval, transaction cost theory, information behaviour
Objectives of the research
We can observe two important trends in the today's music industry. One trend is
development of information technology which processes information according the music
industry demands, such as music recommendation algorithms (1), music identification
software (2) and web services (3) to serve emerging needs of the music industry in the
information age. The second one is diversification of incomes streams (4,5,6) including
streaming services, copyrights income and live performance. The main objective of this
research is to find relations between those two trends and how they influence each other
from the perspective of systems thinking. Precisely speaking, the main question is: Can
a music identification software be used to improve transparency of music copyrights
income distribution?
Brief description of the disciplinary/theoretical context/background
This research follows the information through the whole music system, from the public
space where music is consumed to the distribution of income collected (7) by Collective
Rights Management Organisations (CRMO). To do so, we have to use different scientific
disciplines, such as information science, economic science, systems science and
computer science. Putting it into a theoretical context we will use music information
retrieval, transaction cost and system theories. Basic assumption of the research is that
music industry in the 21st century should be viewed as a system (8) which connects music
creators and music consumers in a economical way, satisfying cognitive needs of a
particular user of the system, along with socio-cognitive needs of different stakeholder
groups. Such system should be based on premises of using existing technologies in a
way to optimize functions, processes and structures for all participant sin order to satisfy
their needs.
Research questions and/or hypotheses
The primary hypothesis of the research is that music identification software (MIS) could
be used to recognise music in public spaces. The second hypothesis is that collected
information could be used in the music system and bring benefit for most of the
stakeholders. Following hypothesis questions will be answered: Which MIS could be
used? How are they working? How precise are they? What are the procedures of their
successful implementation? There are also two technical questions: How do information
flow through the system? and What are the effects of such new patterns of information
flow? As CRMO are just a part of the music system, we have to address the question how
such new information behaviour patterns are aligned with higher order system strategies.
Methodology and results overview
In this research the authors follow the research and experiment published in (9) where
accuracy of Shazam application in music identification was analysed. A playlist was
captured and analysed in a nightclub environment on two different mobile phones. Later,
the same playlist was analysed by comparing results in a home studio environment. The
findings from this research show that Shazam is not precise enough to be used as
technology for monitoring music in public spaces. While conducting the research the
authors discovered another technology which could identificate music at a much higher
rate. The dataset from the published research will be used to evaluate another technology
and compare it with previously published results. From the preliminary interview with the
management team of the company in possession of mentioned technology we can see
that the technology is beeing used on different festivals across Europe. Some CRMO are
already recognising importance of having transparent data for the purpose of better
serving their members. After comparing the datasets and results, a case study will be
presented, primary covering the relationship with artists, users of public space, music
events organisators and CRMO. After collecting and analysing data we have evidence
that music system, in primary CRMO system, has the opportunity to capture data about
music consumption, at a lower cost. This kind of an impact on how information behave
(10) in the CRMO system and how they influence the economic of such system (11). An
applied system modeling technique was applied in the research to construct generic
model of information behaviour in such system, addressing different stakeholders (figure
1).
Figure 1 Generic model of music information flow in CRMO stakeholders ecosystem
The presented model is generated on the fundamentals of the transaction cost theory
proposed by Ronald Coase (12). To evidence such model, literature review was done,
addressing economic (13), management (14) and computer science perspectives (15).
While researching the literature about economics of CRMO research found lack of
availability of research data and at the same time evidence of importance of precise and
transparent measurement of music consumption. As CRMO are the part of the higher
order music system, the Stafford Beer Viable System Model (16) was used to define
different sub systems and their interdependencies in the context of the EU. For the
purpose of this research we have tried to define a system on basis of information flow
from the music use in public spaces to the payment to artists who actually write music.
As System 1 we propose public spaces where music is consumed, artists whose music
is used and their reporting on the use of their music and music event promoters. All of
them participate in the reducing complexity of the environment, by participating in
reporting of the actual music use in public spaces. As System 2 we propose the role of
CRMO that actually process information collected from the environment and their role in
the system is to distribute income based on collected information about music
consumption. System 2 is supposed to coordinate activities, but it often used for a topdown control approach (17). System 3 is in our opinion the missing link, as there is no
strong evidence of organisations which are evaluating the process how the information is
collected, what kind of technology is used, what are the cost of the system two and so on.
Another role of the System 3 is that it should report to System 4 and 5. In case of CRMO
they are collecting the information and distributing the money, and at the same time they
are communicating with higher order systems such as governments, without having
established control procedures between them. Evidence from Croatia's
1
governance
model will be presented in this research. Reviewing the literature we have found that there
was an initiative in Brazil to install System 3 (18).
System 4 would be government agencies which are accrediting the CRMO to operate by
law. Such government agencies should communicate with an environment through
continuous feedback and at the same time build identity of the overall system. That is why
such agencies, as we can see System 4 has the responsibility to improve the perception
of importance of economics and social impact of system of music rights, not just giving
the licence to CRMO to operate. System 5 is EU, its particular agencies and initiatives
that define policies which influence a wider set of interests, like social interests of
transparent society and fair distribution of earned income.
Main or expected conclusions / contribution
We hope that this research will contribute to the multidisciplinary research of music
income distribution along the whole system, from creator to user. Evaluation of available
technologies for purpose of information processing through the whole system and generic
model proposal are contributing to domain as a basis for further discussion. In addition
the system analysis using VSM indicate the need for evaluation of current state of the
CRMO ecosystem. Such broad approach proposed in this research addresses the issues
of the new context of CRMO environment influenced by ICT. As the old proverb says we
1
Evidence of Croatian CRMO governance will be presented in a paper. Croatian government agency is
directly enabling and controlling CRMO, which indicates missing link of System 3.
cannot see the forest for the trees, which leads us toward a dramatic effect of erosion of
the trust in the legal system (19).
Main references
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long play in the digital music space. Springer.
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tertiary music communities.
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music industry data in the context of digital technologies (originally published in January
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19. Lawrence Lessig, Address at re:publica 09 (Mar. 2, 2009), quoted at: Volker
Grassmuck, The World Is Going Flat(-Rate), IP Watch (May 11, 2009), http://www.ipwatch.org/weblog/2009/05/11/the-world-is-going-flat-rate/.