{"id":23244,"date":"2022-05-27T10:44:00","date_gmt":"2022-05-27T08:44:00","guid":{"rendered":"https:\/\/avoloi.eu\/?p=23244"},"modified":"2022-05-27T10:44:00","modified_gmt":"2022-05-27T08:44:00","slug":"streaming-droits-artistes","status":"publish","type":"post","link":"https:\/\/avoloi.fr\/blog\/streaming-droits-artistes\/","title":{"rendered":"Streaming et droits des artistes"},"content":{"rendered":"

L\u2019essor des plates-formes de streaming a boulevers\u00e9 la situation juridique des artistes-interpr\u00e8tes de la musique. L\u2019\u00e9volution des nouvelles technologies a peu \u00e0 peu conduit \u00e0 l\u2019\u00e9laboration de nouvelles normes internationales. Pour autant, les droits des artistes restent fragiles face \u00e0 la vente d\u2019\u0153uvre d\u00e9mat\u00e9rialis\u00e9e. Et l\u2019\u00e9pid\u00e9mie de Covid-19 n\u2019a fait que mettre en \u00e9vidence une situation in\u00e9quitable en privant les artistes des revenus des concerts. Le live stream est alors devenu un outil marketing de promotion indispensable pour les artistes, permettant de maintenir un lien pr\u00e9cieux avec le public. Pourtant le recours aux plateformes de streaming comme Spotify, Deezer ou Apple music, et la multiplication des instants musicaux partag\u00e9s sur les r\u00e9seaux sociaux posent de r\u00e9elles questions concernant la r\u00e9mun\u00e9ration des droits des artistes. Heureusement, les acteurs \u00e9conomiques s’emploient \u00e0 mettre en place un mod\u00e8le qui valorise le travail de l’artiste et le produit num\u00e9rique<\/a> comme une \u0153uvre \u00e0 part enti\u00e8re.<\/p>\n

Le droit de la mise \u00e0 la disposition du public<\/strong><\/h2>\n

Le droit patrimonial dans l\u2019industrie de la musique recouvre :
– Le droit de reproduction m\u00e9canique, c\u2019est-\u00e0-dire la r\u00e9mun\u00e9ration de l\u2019auteur par la fixation d’une \u0153uvre sur un support afin de la communiquer au public ;
– Et le droit de repr\u00e9sentation publique, qui concerne la communication de l’\u0153uvre au public au moyen de concerts par exemple.

Le trait\u00e9 de l\u2019OMPI sur les interpr\u00e9tations et ex\u00e9cutions et les phonogrammes<\/a>, adopt\u00e9 le 30 juin 1996, a eu pour objet d\u2019adapter les droits des artistes-interpr\u00e8tes et des producteurs au nouvel environnement num\u00e9rique de la musique. Son article 10 reconna\u00eet notamment le droit exclusif d\u2019autoriser la mise \u00e0 la disposition du public de la prestation des artistes-interpr\u00e8tes de mani\u00e8re que chacun puisse y avoir acc\u00e8s individuellement.

Dans un premier temps, les artistes c\u00e8dent leurs droits au producteur (maison de disques, label ind\u00e9pendant) dans le cadre d\u2019un contrat d\u2019enregistrement exclusif et sont r\u00e9mun\u00e9r\u00e9s de mani\u00e8re proportionnelle selon le taux pr\u00e9vu au contrat. Le producteur devient alors cessionnaire des droits de l\u2019artiste-interpr\u00e8te et titulaire de ses propres droits voisins. Il n\u00e9gocie alors des accords avec les plates-formes pour l\u2019exploitation des enregistrements.

Mais, le calcul des redevances propos\u00e9es par les plates-formes pr\u00eate \u00e0 controverse. Actuellement, les recettes des abonnements sont r\u00e9parties aux ayants-droit selon un ratio entre le nombre de streams propos\u00e9s dans leur catalogue et le nombre de streams r\u00e9alis\u00e9s sur la plate-forme pendant une p\u00e9riode donn\u00e9e. Les paiements des abonn\u00e9s ne sont donc pas uniquement destin\u00e9s aux artistes qu\u2019ils \u00e9coutent.<\/p>\n

La recherche d\u2019un nouveau mod\u00e8le \u00e9conomique<\/strong><\/h2>\n

Certaines plateformes tendent \u00e0 modifier le syst\u00e8me sur la base d\u2019un mod\u00e8le centr\u00e9 sur l\u2019utilisateur. Les abonnements servent alors \u00e0 r\u00e9mun\u00e9rer uniquement les artistes que les utilisateurs \u00e9coutent. Plus \u00e9quitable, ce syst\u00e8me tend \u00e0 plus de coh\u00e9rence entre les revenus des artistes et la r\u00e9alit\u00e9 de l\u2019\u00e9coute. Pour autant, cela ne modifie pas radicalement le niveau de la r\u00e9mun\u00e9ration per\u00e7ue par les artistes. Les contrats d’exclusivit\u00e9 sont en revanche un bon moyen pour les artistes de se diff\u00e9rencier et de garder un certain contr\u00f4le sur leur business.

Afin de favoriser un march\u00e9 num\u00e9rique \u00e9quitable, la directive europ\u00e9enne n\u00b0 2019\/790 du 17 avril 2019<\/a>, sur le droit d\u2019auteur<\/a> et les droits voisins dans le march\u00e9 unique num\u00e9rique a renforc\u00e9 les droits des artistes-interpr\u00e8tes. Son article 18 affirme le principe selon lequel les artistes doivent recevoir une r\u00e9mun\u00e9ration appropri\u00e9e pour l\u2019utilisation de leur travail. Celui-ci est transpos\u00e9 dans l\u2019article L. 212-3 du Code de la propri\u00e9t\u00e9 intellectuelle.

Par ailleurs, le nouvel article L. 212-14 du Code de la propri\u00e9t\u00e9 intellectuelle<\/a> pr\u00e9voit que la mise \u00e0 disposition de l\u2019\u00e9coute de l\u2019\u0153uvre requiert la garantie d\u2019une r\u00e9mun\u00e9ration minimale. Ces modalit\u00e9s sont \u00e9tablies par accord sp\u00e9cifique conclu entre les organisations professionnelles et organismes de gestion collective repr\u00e9sentants les artistes-interpr\u00e8tes d\u2019une part et les producteurs de phonogrammes d\u2019autre part.

Les organismes de gestion collective peuvent ainsi prendre part \u00e0 la n\u00e9gociation. Interm\u00e9diaires indispensables pour r\u00e9\u00e9quilibrer les relations contractuelles, ils permettent de r\u00e9affirmer la place centrale des artistes. Cela tend \u00e0 soutenir la valeur particuli\u00e8re de leur musique qui ne peut \u00eatre trait\u00e9e comme un simple produit.<\/p>\n

Image : Alexander Sinn<\/a>\u00a0on\u00a0Unsplash<\/a><\/em><\/p>\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

L\u2019essor des plates-formes de streaming a boulevers\u00e9 la situation juridique des artistes-interpr\u00e8tes de la musique.<\/p>\n","protected":false},"author":2,"featured_media":23245,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[274],"tags":[605,45,675,382],"class_list":["post-23244","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-droit-de-la-propriete-intellectuelle-numerique","tag-auteur","tag-droit","tag-droit-dauteur","tag-propriete-intellectuelle"],"yoast_head":"\nStreaming et droits des artistes - Le blog Avoloi<\/title>\n<meta name=\"description\" content=\"Streaming - Quels sont les droits des artistes face \u00e0 la vente d\u2019\u0153uvre d\u00e9mat\u00e9rialis\u00e9e ? 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