Collective rights management in different markets. Comparing Norwegian and Nigerian music creators’ perceptions of CMOs and their own rights.

Collective management organizations (CMOs) ensure that rights holders are adequately remunerated when their work is publicly used. In the music industry, CMOs have been well-developed and integrated in many countries since the early 20th century, while they have only recently started operating in emerging markets. This research paper compares music creators (artists) from Norway and Nigeria regarding their music rights and trust in CMOs. Understanding these perspectives is essential for building a robust copyright framework, a sustainable music industry infrastructure, and a supportive environment for local talent development. The study is based on quantitative surveys conducted among music creators in both markets, aiming to highlight any significant differences or similarities. While CMOs have operated in Norway since the 1920s, they were established in Nigeria in 1984.

The collective management of rights depends on the interplay between the creator, the user, and the CMO. For this system to function properly, clear rules and regulations must be in place, along with a certain level of knowledge from creators about how the system works. This comparative analysis will explore the effectiveness of copyright management systems in both established and emerging markets, focusing on the creators’ knowledge and trust levels. While the basis of copyright management in the music industry is similar across markets, the degree of establishment, integration, and regulation varies. Does a well-established system ensure efficient copyright management? This depends not only on the rules and systems but also on the competence of the CMOs. The findings will provide insights into the efficiency of copyright regulation and its impact on the music industry in these diverse contexts.