Abstract
Over the last decade, China’s music industry has witnessed remarkable transformations and developments. Leading the charge in music industries are streaming service platforms like Tencent Music Entertainment (TME), which boasts ownership of QQ Music, Kugou, and Kuwo, alongside NetEase Cloud Music. These platforms have not only attracted millions of users, offering them access to an extensive catalog of songs, albums, and thoughtfully curated playlists, but have also served as a powerful platform for musicians and artists to showcase their work. However, amid these transformations, China’s music industry grapples with the complexities of copyright concerns, platform dynamics, and governance issues in the digital era.
Chen’s book, ‘China’s Music Industry Unplugged: Business Models, Copyright, and Social Entrepreneurship in the Online Platform Economy’, offers a comprehensive exploration of the contemporary Chinese music industry in the digital age. The book is well-organized, providing readers with a structured journey through the intricacies of China’s music industry. Part I of the book, encompassing Chapters 1 through 4, serves as the backdrop for the exploration of the intersection between copyright law and social entrepreneurship within the online platform economy, with a specific focus on the Chinese music industry. It begins by providing a comprehensive background and initial observations about the evolving landscape, highlighting the potential challenges faced by underrepresented artists. Ethical considerations in conducting research in this context are also addressed. A significant portion of Part I is dedicated to a social-legal analysis of China’s copyright law and its historical evolution, shedding light on its impact on the music industry.
Part II, consisting of Chapters 5 through 8, shifts its focus toward the dynamic transformations within the music industry’s business models and strategies. Chapter 5 delves into the traditional proprietary model of music production and distribution, while Chapter 6 explores the renegade model, tracing the industry’s adaptation to the digital age. Chapter 7 introduces the platform ecosystem model, emphasizing the pivotal role of technology and social media platforms in shaping the industry’s landscape. Part II culminates by summarizing and reviewing the key theoretical models discussed, artist strategies, and implications for policy, and offers potential directions for future research, providing a comprehensive overview of the changing dynamics within the Chinese music industry.
One of the most significant research contributions made by Chen in this book is a historical and socio-legal analysis of the Chinese music industry. This analysis is grounded in the interaction of two key forces: copyright institutions and innovations in business models. Chen’s argument revolves around the development of the Chinese music industry, which has now reached a stage where three distinct business models intersect. These models are as follows: (1) The traditional proprietary model; (2) The renegade model; and (3) The platform ecosystem model. Chen’s examination sheds light on how these models coexist and impact the dynamics of the Chinese music industry.
Within this exploration, Chen also critically engages with the QUT scholars’ model, the social network model with a focus on the market. While recognizing the utopian vision of grassroots innovation (such as shanzhai and renegades) and the democratization of technology, Chen also acknowledges the crucial role played by the state in regulating and governing these often competing, and at times, cooperative forces, as also emphasized by GU’s (2018) analysis on China’s online video industry.
Chapter 7 marks a significant turning point in Chen’s work, as it introduces the concept of the platform ecosystem model, which serves as a critical framework for understanding the ongoing transformation of the music industry in the digital era. Within this chapter, Chen highlights the pivotal roles that technology and social media platforms play in shaping the industry’s ever-changing landscape. Moreover, by closely examining the strategies and tactics employed by artists within the online platform economy, this chapter provides valuable practical insights into how musicians can effectively navigate this complex terrain, making a substantial contribution to the current and future development of the digital music industry.
While Chen has indeed provided a substantial amount of cases and interview data, it could be beneficial to further delve into what Zhao (2019) characterizes as ‘informal practices’. A deeper exploration of how these informal labor practices influence the music industry, particularly within the context of social entrepreneurship, could contribute to a more comprehensive perspective.
In conclusion, this book serves as a timely and indispensable asset for individuals looking to acquire profound insights into the Chinese music industry and its significance on a global scale. Its research significance is notable as it conducts a thorough examination of the dynamic landscape of China’s music industry, addressing diverse elements such as business models, copyright protection, and the influence of the online platform economy. Furthermore, it provides valuable practical guidance for business strategies and policy formulation, making a substantial contribution to the scholarly discourse within this field.
