Generative AI, improving mental health, and collaboration bring authors’ rights society leaders and CIAM together in Seoul

The global unified voice of music creators invited the CEOs and Chairs of authors’ rights societies from around the world to a special joint session in Seoul, Korea. Held following the CISAC General Assembly, the event was a unique opportunity surrounding CIAM’s Executive Committee meetings to delve into the pressing concerns affecting creators in the heart of one of the most vibrant, dynamic music cultures today.

The joint session allowed for CIAM to present the historic organization, its mission, and its global network of alliances and partners to leaders of the world’s authors’ rights societies. It reminded societies that CIAM is governed, supported by, and is the unified global voice of music creators. CIAM has partner alliances covering all geographic regions as well as a partnership with Fair Trade Music International.

Additional photos of the meetings can be viewed here and below.

The session was opened by CIAM President Eddie Schwartz, who introduced APMA Chair Yoon Myungsun to deliver his welcoming remarks and to thank CEOs “who are leading with excellent management the heart of the copyright industry.”

Myungsun said, “We are working very hard on the frontlines to defend and protect the rights of creators not only in Asia-Pacific, but around the world. We are trying to help and look out for each other to develop solidarity and balance among copyright societies.”

Eddie Schwartz reinforced the solidarity with authors’ rights societies, “You are here today for us, and we will always at CIAM be here for you.”

The session featured two key events: a presentation on the mental health and wellbeing of creators by Danish society KODA, and a panel on generative AI featuring distinguished speakers from Canada, Australia, Korea, and France.

In Denmark, the second happiest country in the world, a concerning problem among music creators has been revealed-their health and wellbeing are significantly lower than the general Danish population. How can this be? KODA CEO Gorm Arildsen revealed their findings as well as their society’s environmental and social  efforts, in the hopes of bringing change not only to their own music creators, but those around the world.

Research conducted by KODA with the University of Westminster on mental health and wellbeing revealed significant challenges faced by music creators. It includes data from 1,865 Danish music creators, roundtables from 60 industry professionals and clinicians, and interviews with music makers.

The report discovered that, when compared to the general Danish population:

• Nearly 70% of music creators under 40 have abnormal levels of anxiety. Creators over the age of 40 reported lower or normal levels of anxiety in comparison.
• 2 out of 3 female musicians have an abnormal level of anxiety. 62% of male musicians have a normal level of anxiety compared to 35% of female musicians. 
• Almost 60% of younger musicians are struggling or suffering. This compared to 5% struggling or 3% suffering of the general Danish population.
• More than 50% of women are struggling or suffering
• Overall, pursuing music as a career increases the risk of anxiety.

To address the issues, several solutions are being explored. Identifying and gathering services into one unified place can simplify and make it easier for creators to find help. In Denmark’s case, this also includes the government stepping forward and providing support by changing policies. Providing help from qualified professionals and accredited support groups were another area to improve. Finally, the study identified the need to address the existing gap between the reality of being a professional musician, versus the expectations people have as they explore or launch their career in music.

KODA’s efforts show a responsibility to do more in today’s society. Arildsen stated, “I don’t think you can run any company today and not work with sustainability. You cannot recruit the best talent if you don’t work with sustainability.” In hiring dedicated people focused on environmental and social efforts, KODA has become a leader in this field, even doubling the number of  candidates wanting to work for the society. KODA developed a code of conduct, which has been adopted by 80 music companies in Denmark, and carried out a study on anxiety to explore mental health and wellbeing of creators.

The joint session continued with the creators’ perspective and concerns on the impact of generative AI on music creators. Moderated by Eddie Schwartz, a panel discussion was held featuring SOCAN CEO Jennifer Brown, APRA CEO Dean Ormston, KOMCA Vice-Chair Park Haki, and CISAC Director of Legal and Policy Constance Herreman.

The panel began by exploring the question of the ingestion of creative works being decided by US courts to be fair use, and how that might affect licensing globally, given the largest AI companies are based in America. Constance Herreman responded that fair use will be decided on a case by case basis.

Next the panel discussed the need to find evidence and research the size of the wealth generated by generative AI, in order to ensure that creators receive a fair share of that pie. “This all goes up to securing maximum remuneration for the exploitation of creative content…to ensure the stability and remuneration of creative industries,” APRA CEO Dean Ormston stated.

Collaboration is key to this, which “will be one of the biggest strengths that CISAC and CIAM have always had,” stated SOCAN CEO Jennifer Brown.

KOMCA Vice Chair Park Haki drew attention to the fear that human beings will become obsolete. “There are less and less musicians that create background music. You input a few pieces of data, and there’ll be millions of songs…that will reduce our motivation to create and be creative.” We “have to look at the fundamental characteristics of human beings that we want to preserve.”

That need to protect humanity, led to the next section of the panel, a discussion on whether generative AI is a human rights issue. Clearly, it is as Jennifer Brown stated, “If we kept it to just copyright, we are limiting ourselves. This is a platform looking to replace you. This is a labour issue as well.”

A sense of urgency permeated the panel. Milton R. Underwood Chair Professor Gervais of Vanderbilt University Law School declared that “We are at a pivotal moment in history…Misappropriation, if left unchecked, could have catastrophic consequences not only for the creators themselves but for the collective cultural heritage and the very fabric of human expression.” Constance Herreman agreed, “We need to be innovative and find a way to license now.”

Following the panel, CIAM’s partner alliances detailed their recent and upcoming activities held on regional levels for music creators during the Executive Committee meeting.

In Africa, the AMA is holding the inaugural AMA Awards, celebrating the voices of the industry with laureates nominated by their peers from the continent and African diaspora. The awards cover six categories: songwriters, composers, lead performers, musicians, executive producers, and managers.” The regional laureates have been selected with voting underway for the global prize list to be announced June 20th. 

In Asia-Pacific, APMA continues to support emerging societies. Given the high potential to develop structures, collections, distributions, and programs to support music creators in numerous territories, APMA has become an essential partner through educating the sector, governments, and creators, as well as organizing resources to put in place systems and technologies to facilitate royalty payments to rights holders and creators. APMA has completed donations to 10 societies. Most recently, APMA and KOMCA are providing IT support for CMOs in six countries. APMA is also campaigning to address concerns on buyouts, the digital environment, and GenAI.

In Latin America, ALCAM President Juca Novaes detailed its new executive team elected in May and ALCAM’s efforts to further expand in the region, including Mexico and the Caribbean. ALCAM’s work concentrates on digital literacy, authors’ rights, and building creative encounters through spaces for musical exchange. Notably, the alliance completed training activities in Paraguay, Bolivia, Patagonia and Guatemala. 

Across Europe, ECSA has concentrated much of their efforts on artificial intelligence and lobbying, particularly given the EU has formerly adopted the AI Act on May 21st. ECSA is working heavily to raise copyright as a priority in the EU’s approach to GenAI. In November 2023, ECSA collaborated with 12 organizations to publish a joint statement to EU policy makers calling for transparency on training data and labelling for those deploying generative AI. ECSA will be actively exchanging with the EU AI office, which is to be created, on behalf of music creators to ensure their rights are respected, reinforced, and at the centre of this new evolution in the world.

Outside of AI, ECSA is lobbying to improve shortcomings in the DSM-directive. ECSA has released the “Music streaming and its impact on music creators” report to ensure a sustainable future for creators. ECSA has been working on improving the streaming environment with the European Parliament CULT committee, publishing a position paper in 2023. ECSA is also seeking to intervene on unfair contractual practices, including buyouts and transfer of rights.

Within cultural activities, ECSA is also involved with the Camille Awards, which are given to composers of exceptional pieces of film and audiovisual. The next edition will take place in Paris on November 13th, 2024 at the Bibliothèque nationale de France in Paris. The alliance promotes the European Contemporary Composers Orchestra (ECCO) Concert, which raises visibility of contemporary art music through performances and collaborations.

In Canada, Music Creators North America has been actively lobbying for Bill C-11 The Online Streaming Act to promote Canadian works and finance creation of Canadian content. The bill will require streaming companies to contribute a portion of their revenues to Canadian, Indigenous and Francophone music and audiovisual content. MCNA has been intervening regularly on the modernization of the Canadian broadcasting act through submissions, public hearings, and participating in negotiations. The alliance is collaborating with a coalition to update private copying to include phones and other modern devices used to copy music.. Similar to other regions, MCNA is lobbying the government and participating in consultations regarding Canada’s legislation on copyright and GenAI. MCNA has an informational resource available for Canadian music creators: musiccreator.ca.

In the United States, MCNA is monitoring and intervening on GenAI, notably in regard to the use of copyright works in ingesting musical works, fighting for transparency obligations, and advocating for an additional sui generis right of remuneration for music creators and rights holders. Outreach to legislators and policymakers in Washington DC is currently underway.

MCNA is working with the MLC, notably on unmatched royalty distributions to ensure that unmatched works are identified correctly so royalties can be paid to the relevant creators and rights holders. MCNA has been drawing attention to the need to refrain from distributing monies by market share related to unmatched, unclaimed, and unidentified works until every effort has been made to identify the works is undertaken. MCNA is also monitoring and recommending rules to ensure transparency on MLC’s activities as well as include more music creators in the MLC’s governance structure. 

Fair Trade Music International Chair Marco Foley provided updates on the organization and campaign to promote an ethical, sustainable and transparent music ecosystem. Over time, FTMI has expanded from its founding region in North America to have broad representation from 9 countries. Through the partnership with CIAM, FTMI touches each region across the globe.

In 2023, the FTMI Awards were launched with a ceremony in Rio de Janeiro during the CIAM General Assembly. Award for Contribution of the Year went to Solange Cesarovna and the Lifetime Achievement Award was dedicated to Jörg Evers. The shortlist has been selected for the 2024 edition.

Additionally, FTMI will be launching with CIAM the whitepaper on generative AI written by Professor  Daniel Gervais. It will include infographics, a video, and interview clips to best explain the complex issue affecting music creators. FTMI’s website will soon have a section on generative AI, complementing informative material already available to educate creators, such as a video explaining the MLC unmatched royalty issue.