Copyright and digital music platforms: harmony or dissonance?

In modern conditions of development, digital platforms in small and medium-sized businesses began to be widely used during the development of Industry-4.0 globalization. Modern studies define digital platforms as an electronic environment that includes a general set (list) of goods and services with a corresponding digital configuration. Examples of digital platforms are: digital music platform "Spotify" or "iTunes", digital movie platform "Netflix", etc. The article established that from the point of view of the economy, digital platforms are auxiliary electronic environments (markets) on which sellers and buyers buy and sell goods. And digital entrepreneurship is also considered as the process of creating a new Internet business. In the process of research, it was established that thanks to the spread of digital platforms, entrepreneurs have opportunities to stimulate innovation to create new products or services. In the framework of Industry 4.0, globalization and digitalization have created some benefits for participants based on digital platforms. First of all, through digital platforms, manufacturers can assess buyers and end consumers without going through intermediaries. Also, digital platforms allow sellers to display their products in virtual shopping centers through a website, and consumers can view product information at a time and place convenient for them. It has been proven that small and medium-sized enterprises are one of the main engines of the modern economy, which contribute to the development of the country's economy, the creation of income, employment and innovation in various fields. Small and medium-sized enterprises are the key to economic growth and market competition in most developed economies due to their flexibility and ability to innovate. According to the results of the conducted research, it is confirmed that the use of digital tools and platforms helps small and medium-sized businesses to determine the right direction for improving the efficiency of small and medium-sized enterprises within the framework of Industry 4.0 and digitalization trends. After all, the activity of small and medium-sized business enterprises directly affects the total GDP of the country. Thus, the subject of further research is the study of factors that can increase the productivity of small and medium-sized business enterprises, which is important in determining the directions of the future development of small and medium-sized business enterprises. In addition, within the framework of Industry-4.0. SMEs must take advantage of globalization and digitalization to perform better and achieve greater competitive advantages.

In the era of disruption, digitalization has replaced traditional culture due to technological developments. One form is distributing music or songs which was all on cassettes or CDs (compact discs) to digital music platforms. Currently, there are many digital music platforms such as Apple Music. One of the problems outlined in this paper is regarding the moral rights of songwriters on Apple Music, while moral rights are rights inherent in the Creator. This paper aims to: (1) find out the protection of the moral rights of songwriters in Indonesian positive Law; (2) discuss how to protect and fulfill the moral rights of songwriters on the Apple Music digital music platform. Through legal research with a normative juridical approach, research results that there is an imbalance in the moral rights of songwriters in Apple Music where their moral rights are not evenly accommodated for all songwriters and tend only to accommodate certain groups (singers, songs, songwriters, and/or big music labels only).

<p>Copyright is an exclusive right which contains economic rights and moral rights. Portrait is part of a protected creation. In a portrait that is distributed offline or online through social media, namely economic rights and moral rights that must be presented and adhered to by users. Copyright infragement that still occur for portraits on social media are related to violations of economic and moral rights. The use of portraits on social media without permission for commercial purposes is a form of violation of economic rights. While the form of violations of moral rights over portraits is not to include the creator or source of portraits used in social media. The regulation and protection of economic and moral rights of portraits on social media are regulated in the Copyright Law. Economic rights are stipulated in Article 12 to Article 15. Moral rights are stipulated in Article 5 to Article 7.</p>

General Background : This study explores how teachers can leverage digital platforms to create relevant and engaging learning in the digital era. Specific Background : The research focuses on the integration of digital tools and platforms, which have become a core part of modern life. Knowledge Gap : While digital tools are widespread, there is a need to understand how teachers can effectively use these platforms to meet the unique learning needs of students in a digital-first environment. Aims : This study employs a qualitative literature review and content analysis to identify patterns and draw conclusions on the effective use of digital platforms in education. Results : The findings indicate that digitalization has significantly transformed education through various platforms that make learning more engaging and accessible for students. Novelty : This research provides a structured analysis of how existing digital platforms can be utilized to transform teaching methods, offering a new framework for creating engaging and relevant learning experiences. Implications : The study implies that by effectively integrating digital platforms, teachers can better cater to the needs of modern students, fostering a more interactive and creative learning environment. Highlights : The use of digital platforms transforms learning, making it more engaging and accessible for students. The research utilizes a qualitative literature review and content analysis to find patterns and draw conclusions. The main goal is to explore how teachers can use digital platforms to create relevant and engaging learning experiences in the digital era. Keywords : Digital Platforms, Education, Teacher Strategies, Learning, Digital Era

Ustawa o prawie autorskim i prawach pokrewnych z 4 lutego 1994 r. powstała w nowych warunkach ustrojowych, krótko po pierwszym okresie transformacji gospodarczo-politycznej oraz w przeddzień przystąpienia przez Polskę do Unii Europejskiej. Przesądzało to konieczność jej dostosowania do nowych założeń ustrojowych oraz do standardów unijnychCechą charakterystyczną tej ustawy jest nawiązanie do bogatej polskiej tradycji szeroko ujętej ochrony autorskiej przyjętej na gruncie międzywojennej ustawy o prawie autorskim z 1926 r. Nawiązanie to odnosiło się przede wszystkim do ujęcia przedmiotu ochrony autorskiej oraz treści prawa autorskiego. Obejmuje ono autorskie prawa osobiste, nieograniczone w czasie, ujęte jako uniwersalne i niezbywalne oraz realizowane, po śmierci twórcy, przez jego bliskich. Na prawo autorskie składają się również autorskie prawa majątkowe, powstające w następstwie faktu stworzenia utworu. Prawa majątkowe ujęte zostały w nawiązaniu do treści prawa własności i służą twórcy na wszystkich znanych i powstałych w przyszłości polach eksploatacji, ujęte erga omnes, z uwzględnieniem konsekwencji niematerialnego charakteru utworu. Obejmują one wyłączność korzystania i rozporządzania utworem wszelkimi sposobami, o ile ustawa nie wprowadziła ograniczeń na rzecz dozwolonego użytku. Ochrona ta ma charakter czasowy; początkowo trwała 50 lat post mortem auctoris, obecnie – 70 lat. Cechą nowej regulacji jest wyłączenie pełnej rozporządzalności autorskimi prawami majątkowymi. W określonych przypadkach twórcy służy niezbywalne prawo do wynagrodzenia oraz przymusowe pośrednictwo organizacji zbiorowego zarządzania prawami autorskimi lub pokrewnymi. Novum jest uregulowanie zbiorowego zarządzania prawami autorskimi, w tym przyjęcie systemu zatwierdzania tabel wynagrodzeń dochodzonych przez organizację zbiorowego zarządzania (OZZ) w ramach zbiorowego zarządzania, a także powołanie Komisji Prawa Autorskiego z zadaniem zatwierdzania tabel wynagrodzeń przedkładanych przez OZZ. Znamienną cechą ustawy jest wprowadzenie szeroko ujętej odpowiedzialności za naruszenie praw autorskich, zarówno osobistych, jak i majątkowych, środkami cywilnymi i karnymi.Ustawa była wielokrotnie nowelizowana. W odróżnieniu jednak od gruntownych prac nad tekstem pierwotnym i szeroko zakrojonymi pracami nad ustawą w pierwszym okresie jej obowiązywania, poczynając od roku 2003, proces legislacyjny, którego efektem były kolejne nowelizacje, w tym ostatnia z 2010, nasuwa szereg zastrzeżeń co do zachowania proporcjonalności, legislacyjnej poprawności i społecznej sprawiedliwości, zwłaszcza w należytym zabezpieczeniu praw twórców i artystów, jako strony słabszej na rynku autorskim. Również ostatnie projekty zmian uzasadniają poważne zastrzeżenia, co do zachowania niezbędnej równowagi, jak również co do legislacyjnej poprawności. Znajduje to wyraz w wadliwej regulacji problematyki audiowizualnej, błędów i luk w regulacji dotyczącej działania Komisji Prawa Autorskiego, systemu zatwierdzania tabel wynagrodzeń, a w szczególności zasad szczególnych dotyczących opłat rekompensujących skutki kopiowania utworów w ramach własnego użytku osobistego.Istotne zastrzeżenia budzą ostatnio opublikowane propozycje zmian, w szczególności dotyczące dzieł tzw. osieroconych. Szczególnie dotkliwe jest niepodejmowania w pracach legislacyjnych zagadnień spornych pomiędzy organizacjami użytkowników i twórców oraz artystów z obszarów od wielu lat wymagających regulacji, takich jak problematyka tantiem audiowizualnych oraz reemisji.

The concept of publicness in public spaces traditionally refers to physical environments that are accessible, inclusive, and open to all, fostering social interaction, community engagement, and democratic practices. However, in the digital era, especially in the Chinese context, digital platforms have redefined publicness by extending participation and civic interaction beyond physical spaces. This paper examines how digital technologies, accelerated by the Covid-19 pandemic, are reshaping public spaces in China. It explores the role of digital tools in extending the conceptualisation of public space by democratising place-shaping processes, fostering community-led micro-regeneration, and enhancing social cohesion while also addressing challenges such as digital exclusion and platform commercialisation. Through case studies in Shanghai, the research highlights four dimensions of publicness enabled by digital platforms in a process-oriented perspective: foundational, collaborative, experiential, and sustained. By demonstrating how digital platforms integrate with each phase of public space creation, this study underscores the evolving nature of publicness and argues for an integrated approach that blends physical and digital realms. In doing so, it advances theoretical discourse and offers actionable insights, seeking to foster more inclusive and dynamic public spaces in the digital era.

At present, music is readily accessible through various streaming platforms. Even digital technology has revolutionized the concept of music creation by enabling the use of generative Artificial Intelligence (AI), marking a new phase in the evolution of contemporary music. Currently, the use of generative AI is one of the issues being debated, particulary concerning copyright ownerhip of AI generated works. This study aims to investigate the regulation of copyright and the commercialization of music generated through generative AI in Indonesia. The research adopts a normative juridicial method with a literature based approach,focusing on the anyalysis of secondary legal materials. The Indonesian Copyright Law (ICL) does not explicitly regulate copyrighted works generated through generative AI. However, the ICL does contain provisions that accommodate the assistance of other parties or the use of aids in producing a copyrighted work, as stated in Article 34 of the ICL. Referring to the provisions of Article 34, a person who creates music using generative AI and has their music included on a digital music platform is entitled to royalties as a creator. However, the absence of specific rules related to the use of generative AI in music in the ICL should have received serious attention from the government to regulate this matter.

The purpose of this study is to investigate the determination of the formation of singing skills of future music teachers through digital resources. The quantitative research method was used in the study, and the research was conducted in the fall semester of 2021–2022. 376 volunteer music teachers who continue their studies in Kazakhstan participated in the study. In the study, 4 weeks of online training was provided to music teachers. In the study, the ‘digital music platform’ measurement tool developed by the researchers and compiled by experts in the field was used. The measurement tool was delivered and collected by the online method of music teachers. The analysis of the data was carried out using the SPSS programme; frequency analysis was carried out using the t-test; and the results obtained were added to the study accompanied by tables. According to the survey results, in live lessons, music teachers use the songs with the formation and this takes place where digital content is also very low. In the event of very frequent use, it was seen that by projecting courses in distance education systems the music rates are quite high.
 
 Keywords: Music Teachers, Digital Content, Live Lesson, Teachers of the Future;

디지털 음악 플랫폼에서 창발하는 음악 생산과 수용의 새로운 모델 : 에이펙스 트윈의 사운드클라우드 계정 ‘user18081971’을 중심으로

API integration and organisational agility outcomes in digital music platforms: A qualitative case study

This article presents a theoretical framework called the Nexus of Cultural Entrepreneurship and Digital Musicality (CEDM) to explore the intersection of migratory entrepreneurship, Afro-Diasporic music entrepreneurship, and emerging digital music platforms. The framework integrates concepts from cultural studies, entrepreneurship, musicology, and intercultural communication to analyze the entrepreneurial processes and cultural dynamics within the evolving landscape of digital music. The framework sheds light on the factors influencing migratory entrepreneurship and Afro-Diasporic music entrepreneurship within the digital music industry through its examination of these entrepreneurial endeavors. Key concepts such as migratory entrepreneurship, Afro-Diasporic music entrepreneurship, entrepreneurial opportunity recognition, cultural dynamics, and the role of technology and digital platforms are discussed, providing operationalized definitions for terms relevant to the study, such as music multimedia production, intercultural empathy, translatability, and Afro-Diasporic music entrepreneurship. Furthermore, the article explores the challenges faced by Afro-Diasporic musicians in the music multimedia production industry and proposes innovative approaches to overcome these challenges. Opportunities discussed include embracing cultural authenticity, collaborating across borders, harnessing technological advancements, engaging with online communities, leveraging social media platforms, and building sustainable business models. The study aims to contribute to the understanding of migratory entrepreneurship, Afro-Diasporic music entrepreneurship, and cultural exchange within the digital music industry by analyzing theoretical perspectives and practical approaches. It seeks to guide researchers, practitioners, and policymakers in fostering inclusive and innovative entrepreneurial ecosystems. In addition, the article presents an overview of nine compelling suggestions for future research in the field of empowering Afro-Diasporic musicians within the music multimedia production industry. These research directions aim to shed light on various aspects of the industry, addressing gaps in knowledge and providing valuable insights into the challenges faced by Afro-Diasporic musicians. The study aims to develop effective strategies, policies, and interventions that foster inclusivity, equality, and opportunities for Afro-Diasporic musicians in the rapidly evolving music multimedia landscape by exploring various areas such as socio-economic factors, representation and diversity, cultural preservation and innovation, digital platforms and technology, collaborative practices, the impact of social media, and more. The proposed research methodologies ensure robustness and validity in investigating these important topics, enabling researchers to contribute to the development of an empowering and supportive ecosystem for Afro-Diasporic musicians in the music multimedia production industry.

Under the influence of digital transformation, which consists in the digitalization of various spheres of human life, a new technological phenomenon arises – a digital platform. In the context of economic development, rapid changes in digital technologies and a new quality of society, modern business is based on technological digital platforms. The authors of the article analyzed the concept of "digital platform" in the context of its use in business in the context of digitalization. The current approaches to the interpretation of digital platforms proposed by various scientists are considered. A digital platform should be considered as one of the digital tools of modern business that contributes to the digital transformation of socioeconomic systems, which is carried out on the basis of digital platforms that integrate economic, social and technological processes. Also, a digital platform is a virtual site for business and a set of its users, software, hardware and network complexes, a business model of the company that implements it, which provides users with the opportunity to interact, exchange resources, goods, services or information using digital technologies at any time from anywhere in the world. It provides a basis for creating and managing various online services, and may also include tools for data processing, integration with other services and process automation. The key elements of a digital platform are: community (participants, i.e. producers and consumers); data (ensuring interaction between participants); infrastructure (services, tools, rules within the platform). The advantages and disadvantages associated with the functioning of digital platforms are identified. It is also noted that the overall success of a digital platform depends on a number of conditions: firstly, it is the intelligent management of positive network effects (simultaneous growth of suppliers and consumers of goods and services); secondly, the maximum simplification of the main procedures for interaction on the platform and the reduction of costs for all interested participants. Therefore, digital platforms are one of the most important tools in the digitalization process and are considered promising for the digitalization of business. They consist of technological, productive, and communicative elements. This allows for the effective development of modern business using network platforms based on the principles of the sharing economy – the economy, which consists in the acquisition, provision or shared access to goods and services, carried out using digital platforms based on the community, which has become especially relevant in the context of the COVID-19 pandemic and the full-scale invasion of Ukraine.

This study aims to examine the legal protection of copyright creators of photographic works whose moral and economic rights are violated on the internet according to Law Number 28 of 2014 concerning Copyright. This research method uses a normative juridical research approach, namely research that refers to the legal norms that exist in statutory regulations, literature, expert opinion and papers. The results in this study indicate that photographic copyright infringement is still rife, referring to one of Aryono's cases, where photos on his personal Instagram were taken by online media for commercial purposes. In this case there was a violation of moral rights and economic rights. In the Copyright Law, it is explained in article 5 that moral rights are attached to the creator to maintain the creator's right which is valid for life and if used for commercial purposes, it is explained in Article 9 that the creator has economic rights, that is, everyone is required to obtain the author's permission to carry out commercial use of this protection. valid for 50 years.Keywords: Photographic Copyright, Copyright Infringement

Copyright is a right granted to anyone who creates an original work. Copyright grants moral and economic benefit and authority to the author of an artistic and literary work. Economic rights provide economic benefits the author, whereas moral rights consist of powers related to his personality. Economic rights can be used by the owner himself, by transferring them to other persons, or by granting a license. However, the author uses the moral rights either through the powers that he has granted to another person or by himself. It is not possible to evaluate the moral rights for money, that is, the owner of the work cannot transfer these rights to another person for the price. When the owner of the work dies, economic rights are transferred to the heirs. It is not possible to transfer moral rights on the copyrighted work through inheritance according to Turkish Copyright Law. However, after the author dies, some of the moral rights can be used by some relatives of the author for a certain period prescribed by the law. It is regulated in the 19th article of Turkish Copyright Code (TCC) under Turkish Copyright Law. This essay analyses the article 19 of the TCC that regulates the use of economic rights on the work after the death of the author.

The development of digital platforms such as TikTok has encouraged the emergence of affiliate-based marketing practices in e-commerce activities. Affiliate marketing is a digital marketing system that promotes another person's product or service through a special affiliate link and earns a commission if a purchase or transaction is made through that affiliate link. Product promotion content has become one of the most effective marketing methods in the digital world. However, in practice, there are cases where affiliates reuse video content belonging to creators for promotional purposes and to earn sales commissions without permission. This study aims to analyze the provisions of digital video copyright protection under Law Number 28 of 2014 concerning Copyright and to examine forms of copyright infringement in the use of TikTok videos by affiliates. The method used is a normative study, employing a legal approach, a conceptual approach, and factual analysis. Primary and secondary legal materials were used in this study, which was analyzed descriptively and qualitatively. The results of the study show that TikTok videos fall under the category of cinematographic works that are protected as stipulated in Article 40 paragraph (1) letter m of the Copyright Law. Copyright protection arises automatically based on the declarative principle since the creation is realized in a tangible form, covering moral and economic rights. The use of TikTok videos by affiliates for promotional purposes and to earn sales commissions constitutes commercial use which, if done without the creator's permission, violates the creator's economic rights as stipulated in Article 9 paragraph (3) and potentially violates moral rights under Article 5 of the Copyright Law.