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- Albinsson, Staffan, 1951
(författare)
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A costly glass of water : The Bourget v. Morel case in Parisian courts 1847-1849
- 2014
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Ingår i: Svensk tidskrift för musikforskning - Swedish Journal of Music Research. - 2002-021X. ; 96:2, s. 59-70
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Tidskriftsartikel (refereegranskat)abstract
- The music business of today relies heavily on the performing right element of the Intellectual Property Right/IPR Laws. Unlike many other IPRs, the performing right did not come about as a result of technological inventions for the distribution of artistic content. The background is, rather, to be found in the general economic growth in the mid-nineteenth century which, in turn, was a result of the Industrial Revolution (Albinsson 2013). “Economic growth” is, however, a complex causal background that eventually needed a particular event which could function as a catalyst for the new IPR to be recognised, accepted (at least as a legal act) and implemented. This event has been identified as the Bourget v. Morel case in Paris 1847-49. It resulted in the legal framework on which the music industry of today, penetrating every aspect of our lives, relies. It is strikingly odd how this event has been narrated as a mere anecdote. This short paper provides more details.
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| 2. |
- Albinsson, Staffan, 1951
(författare)
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A Salary Bass: A study of bassists' earnings in the Royal Swedish Opera, 1799 – 1980
- 2016
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Ingår i: Scandinavian Economic History Review. - : Informa UK Limited. - 0358-5522 .- 1750-2837. ; 64:1, s. 19-35
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Tidskriftsartikel (refereegranskat)abstract
- The number of occupations which have hardly altered at all, thus not suffering from Schumpeterian ‘creative destruction’, is very restricted. However, one such profession is the contrabassist’s. Classical music is still largely produced in the same way as when it was first performed. There is very little productivity change in the actual production of music from bygone times. This, too, is a phenomenon rare in society at large and in the economy in particular. In this study I test Baumol’s Cost Disease with the Swedish Hovkapellet bass players as my focus. The disease occurs when salary increases in jobs that have seen no increase of labour are accepted. Have musicians such as bass players seen a stagnating salary development compared to professions in industries which have actually seen labour productivity growth? This, together with other related issues, is discussed based on longitudinal salary data for the Hovkapellet musicians and similar data from Copenhagen and Paris. All data are primary data collected from the orchestra archives. The data indeed verify the Baumol Cost Disease hypothesis. The open question discussed is whether that is an actual problem or not.
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| 3. |
- Albinsson, Staffan, 1951
(författare)
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ARIA RENTALS: THE ’GRAND’ PERFORMANCE RIGHT AT WORK IN THE ROYAL SWEDISH OPERA DURING THE TWENTIETH CENTURY
- 2021
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Ingår i: Review of Economic Research on Copyright Issues. - 1698-1359. ; 18, s. 26-55
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Tidskriftsartikel (refereegranskat)abstract
- This study describes how composers were compensated during the twentieth century for their work in the Royal Swedish Opera through a performance right for drama, known as the ’grand right’. The study is based on primary data until the end of the 1980s. During this period a percentage-based tariff was used. The main finding is the doubling of the percentage rate claimed by publishers during the three decades following the end of the Second World War. The trade agreement concerning the commissioning of new music, the monopolistic position of publishers, the lack of reuse of new operas, and audience tastes are also discussed. © 2021, Society for Economic Research on Copyright Issues. All rights reserved.
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| 4. |
- Albinsson, Staffan, 1951
(författare)
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Avoiding silent opera - The 'grand' performance right at work in nineteenth century Paris
- 2021
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Ingår i: European Journal of Law and Economics. - : Springer Science and Business Media LLC. - 0929-1261 .- 1572-9990. ; 51:1, s. 183-200
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Tidskriftsartikel (refereegranskat)abstract
- The music industry has been made possible through performance rights based on a law introduced by the post-revolutionary French national assembly in 1791. However, it took until the mid-nineteenth century until a system of royalty collection was established in France (and another half a century or more in other countries). In France, this new system for non-dramatic performance rights was preceded by royalty regulations in theatres. This study describes how nineteenth century composers were compensated for their work in the Paris Opera through this performance right for drama, known as the 'grand right'. The tariff-based compensation method had been put in place by a royal réglement in 1713. It created a classic winner-take-all phenomenon in which composers such as Auber, Meyerbeer, and Halévy thrived in the nineteenth century. A contributing fact was the opera house programming which, contrary to the programming of today, favoured new pieces. ‘Grand opéras’ were à la mode and they contributed to the financial success of their composers. However, these operas eventually lost their attraction. In 1884, the Paris Opera adopted a compensation system based on a percentage of box office revenues. The study is based on primary data for 1810-1866.
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| 5. |
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| 6. |
- Albinsson, Staffan, 1951
(författare)
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Breaking new ground - Intrapreneurs in Swedish Cultural Institutions
- 2019
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Ingår i: Nordisk kulturpolitisk tidsskrift. - : Scandinavian University Press / Universitetsforlaget AS. - 1403-3216 .- 2000-8325. ; 22:2, s. 355-380
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Tidskriftsartikel (refereegranskat)abstract
- In this study, ten intrapreneurs from Swedish Cultural Institutions have been interviewed. They are cultural entrepreneurs, rather than ‘civil servants’ or ‘officials’, in heart, spirit and action. Who are they? Why did they succeed? Their individual success stories are presented. Some have created new activities while maintaining their organisations reformed, but intact. One reshaped her institution to a fundamentally new position where what was produced was far from what had been the case when she was first employed. The respondents’ assessments regarding the accuracy of ten statements regarding the cultural entrepreneur’s mind-set are discussed. The ‘quadruple-bottom-line of cultural entrepreneurship’ is used as an analysis method, including: (1) economic prosperity, (2) artistic innovation, (3) social change, and (4) institutional development. Furthermore, how the ten intrapreneurs have influenced Swedish Cultural Policy Acts is also discussed.
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| 7. |
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| 8. |
- Albinsson, Staffan, 1951
(författare)
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Denna kinkiga och ominösa befattning! : Skalden Bernhard von Beskow som chef för Kongl. Theatern 1831 – 1832, en studie i ett misslyckat entreprenörskap
- 2018
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Ingår i: konferenspresentaton vid Musikforskning i dag, Uppsala 13–15 juni 2018..
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Skriftställaren Bernhard von Beskow (1796 – 1868) tillträdde den 1 februari 1831 tjänsten som förste direktör för Kongl. Theatern. Han var vid tillträdet redan en uppburen kulturprofil och skulle bli det i än högre grad, som mångårig ständig sekreterare i Svenska Akademien, efter perioden som teaterdirektör. Ett år in på sitt ämbete drabbades Beskow av sjukdom – sannolikt det vi idag kallar utmattningssyndrom. Han begärde sig tjänstledig under våren 1832 och beviljades entledigande från 25 juni 1832. Nils Personnes slutsats var att ”Beskow hade fått nog af teaterintriger, tidningsgnat och motigheter af alla slag”. Mina forskningsfrågor är: • Vad var det som hände på teatern? • Varför blev Beskow så kortvarig? • Vi vet från August Blanche att ”fan må vara teaterdirektör”. Var Beskow inte nog diabolisk? • I vad bestod motståndet och kritiken? • Hur tacklade Beskow sitt misslyckande?
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| 9. |
- Albinsson, Staffan, 1951
(författare)
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Early Music Copyrights - did they matter for Beethoven and Schumann?
- 2012
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Ingår i: International Review of the Aesthetics and Sociology of Music. - 0351-5796. ; 43:2
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Tidskriftsartikel (refereegranskat)abstract
- The general legal and business conditions pertaining to the music publishing business improved considerably in the 50 years between the 1790s, when Beethoven started his career, and the 1840s, when Schumann was at his professional peak. The paradigm shift in politics, economics and music at the end of the eighteenth century made it possible for Schumann to make a living predominantly from what he earned from publishers' fees. Publishers united to participate in the creation of stronger copyright laws. They could depend on legal protection against reprinters and thus it was possible for them to offer higher fees than previously.
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| 10. |
- Albinsson, Staffan, 1951
(författare)
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En miljard till svensk musik : Riksdaler och kronor i tjänst hos Musikaliska Akademien under 250 år
- 2023
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Kungliga Musikaliska Akademien grundades 1771. Dess barndom var svår trots att det var välbärgade individer ur Stockholms överklass som valdes som medlemmar. En av akademiens legendariska sekreterare konstaterade 25 år senare att akademiens primära syfte då verkar ha varit att anordna ett eget lotteri och att styrelsens roll var att avnjuta "de goda Måltider, som wankades hos Gumman Noach eller Simsons hwid hwarje Lotteri-Dragning". Så småningom kom kungliga donationer. Riksdagen började bidra med årliga anslag. Från mitten av 1800-talet har en stor mängd donationer kommit från privatpersoner. Akademien har därför nu att förvalta donationsfonder om sammanlagt runt en miljard kronor. Fondernas urkunder anger de ändamål som akademien måste rätta sig efter. Under runt halvtannat sekel var undervisningen vid konservatoriet akademiens viktigaste uppgift. Därtill kom att bygga upp ett musikbibliotek och senare även ett musikmuseum och ett musikhistoriskt arkiv. Under senare delen av 1900-talet blev dessa fyra verksamheter överförda till statliga myndigheter. Musikaliska Akademien har sedan 1981 ägnat sig åt att föra musiklivets talan i det offentliga, driva angelägna utvecklingsprojekt och fördela medel ur cirka 150 donationsstiftelser.
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