本文選題：音樂著作權(quán) + 集體管理　； 參考：《山東大學(xué)》2014年碩士論文

【摘要】：隨著科技的不斷發(fā)展和進(jìn)步,無論是從對(duì)著作權(quán)人的權(quán)利的行使與保護(hù)來說,還是出于對(duì)文化的傳播與發(fā)展的角度,著作權(quán)集體管理都是不可缺少的手段。具體到音樂著作權(quán)的保護(hù)與音樂文化的傳播與發(fā)展,音樂著作權(quán)集體管理更是顯得尤為重要,音樂著作權(quán)集體管理組織在音樂著作權(quán)人和音樂作品利用者之間所起到的橋梁作用是無可取代的。而我國的音樂著作權(quán)集體管理組織相較于世界知識(shí)產(chǎn)權(quán)保護(hù)制度較為成熟的國家來講,起步較為晚、發(fā)展也較為緩慢,相關(guān)制度不太健全,且立法方面的相關(guān)規(guī)定也有所匱乏。正是由于上述的種種弊端,我國的音樂著作權(quán)保護(hù)力度顯得較為薄弱,音樂版權(quán)市場(chǎng)的發(fā)展也較為混亂。具體來說,現(xiàn)如今在我國,中國音樂著作權(quán)協(xié)會(huì)是在國家版權(quán)局和中國音樂家協(xié)會(huì)共同的發(fā)起下設(shè)立的唯一存在的音樂著作權(quán)集體管理組織,在這種情形下,中國音樂著作權(quán)協(xié)會(huì)明顯的具有官方性、唯一性的特點(diǎn),這種特點(diǎn)雖然為音樂著作權(quán)的管理帶來了統(tǒng)一快捷的便利,但其很容易造成中國音樂著作權(quán)協(xié)會(huì)在中國音樂版權(quán)市場(chǎng)的壟斷地位。從中國音樂著作權(quán)集體管理組織的權(quán)利來源模式上來看,我國的音樂著作權(quán)集體管理組織從音樂著作權(quán)人處取得獨(dú)占性許可授權(quán),而觀之我國的集體管理組織的現(xiàn)狀,由于缺乏有效的制約和監(jiān)督機(jī)制,國內(nèi)的音樂版權(quán)市場(chǎng)還未形成統(tǒng)一透明的規(guī)制,尤其是目前我國對(duì)于著作權(quán)的集體管理缺乏科學(xué)的許可費(fèi)標(biāo)準(zhǔn)確立機(jī)制。在此基礎(chǔ)上,著作權(quán)法第三次修改則根據(jù)國外有關(guān)經(jīng)驗(yàn),在本次修法中,擴(kuò)充了相關(guān)內(nèi)容,并引進(jìn)了著作權(quán)的延伸性集體管理制度,該做法引起了業(yè)界人士的極大反響。著作權(quán)延伸性集體管理制度的引入誠然有著不可小覷的益處,該制度不僅能保證作品利用者在利用作品時(shí)的合法性,減少交易成本,增強(qiáng)經(jīng)濟(jì)效益,還能平衡著作權(quán)人、作品利用人及社會(huì)發(fā)展之間的利益沖突,對(duì)于中國音樂著作權(quán)協(xié)會(huì)的發(fā)展規(guī)模來講也是大有裨益。從本次修法對(duì)相關(guān)規(guī)定進(jìn)行豐富和完善的角度來說,《著作權(quán)法》的新修是在立法層次上對(duì)相關(guān)制度的有益探索。但是對(duì)于本次采用的延伸性管理規(guī)定,社會(huì)各方面的質(zhì)疑卻不絕于耳,其原因也不難理解,拋開我國音樂著作權(quán)集體管理組織的管理水平較為低下不說,其半官方性質(zhì)與壟斷之嫌已足以使業(yè)內(nèi)人士憂心。也正是由于中國音樂著作權(quán)協(xié)會(huì)在我國音樂表演權(quán)領(lǐng)域的獨(dú)占地位,對(duì)于延伸性管理規(guī)定的適用要采取慎重的態(tài)度,且應(yīng)從立法上加強(qiáng)對(duì)中國音樂著作權(quán)集體管理制度的完善和監(jiān)督,即對(duì)其予以反壟斷手段上的規(guī)制,以平衡音樂版權(quán)市場(chǎng)的主體性、平等性。
[Abstract]:With the continuous development and progress of science and technology, the collective management of copyright is an indispensable means in terms of the exercise and protection of the rights of copyright owners, as well as the transmission and development of culture. In terms of the protection of music copyright and the spread and development of music culture, the collective management of music copyright is particularly important. Music copyright collective management organization plays an irreplaceable role as a bridge between music copyright owners and music users. Compared with the mature countries of the world intellectual property protection system, the music copyright collective management organization of our country starts relatively late, develops slowly, the related system is not perfect, and the relevant provisions of the legislation are also lacking. Because of the above malpractices, the protection of music copyright in our country is weak, and the development of music copyright market is chaotic. Specifically, today in China, the China Music copyright Association is the only existing collective music copyright management organization established under the joint initiative of the State copyright Administration and the Chinese musicians Association. In this case, The Chinese Music copyright Association obviously has the characteristics of being official and unique, although this characteristic has brought a unified and quick convenience to the management of music copyright. But it can easily lead to the monopoly position of China Music copyright Association in Chinese music copyright market. From the view of the mode of the right source of Chinese music copyright collective management organization, the music copyright collective management organization of our country obtains the exclusive license authorization from the music copyright owner, but views the present situation of our country's collective management organization. Due to the lack of effective restriction and supervision mechanism, the domestic music copyright market has not yet formed a unified and transparent regulation, especially for the collective management of copyright in China is lack of a scientific licensing fee standard establishment mechanism. On this basis, the third revision of the copyright Law is based on the relevant experience of foreign countries, in this amendment, the relevant content has been expanded, and the extended collective management system of copyright has been introduced, which has aroused a great response from the people in the industry. It is true that the introduction of the extended collective management system of copyright can not be underestimated. This system can not only guarantee the legitimacy of the users of the works, reduce transaction costs, enhance economic benefits, but also balance the copyright owners. The conflict of interest between the people and the social development is beneficial to the development of the Chinese Music copyright Association. From the point of view of enriching and perfecting the relevant regulations, the new revision of copyright Law is a beneficial exploration of the relevant system at the legislative level. However, as to the extended management regulations adopted this time, various aspects of society have been constantly questioned, and the reasons are not difficult to understand. The management level of the collective management organizations for music copyright in our country is relatively low. Its semi-official nature and the suspicion of monopoly is enough to make the industry worried. It is precisely because of the exclusive position of the Chinese Music copyright Association in the field of music performance rights in China that it is necessary to take a prudent attitude towards the application of the extended management regulations. In order to balance the subjectivity and equality of the music copyright market, we should strengthen the perfection and supervision of the collective management system of Chinese music copyright in legislation, that is, to regulate its antitrust means.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：D923.41

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