The rapidly growing music market in China is ranked fifth in the world’s top 10. As a member state of the World Intellectual Property Organization (WIPO), China has worked hard in recent decades to protect music copyright. The first Copyright Law went into effect in 1991 and regulations have since been constantly updated.
Ongoing change in the music industry continues to pose challenges. As in other jurisdictions, such as the United Kingdom or the European Union, China faces the problem of low remuneration for the creators of music, along with other issues arising from digitalization and artificial intelligence (AI). The Chinese market also has its own specific challenges.
For now, the administrative agencies that handle copyright in China are working together to address challenges in the modern music market.
Regulatory background and Government plans
The Copyright Law has been amended three times, in 2001, 2010 and 2020. In 2021, the Government also issued its Outline for Building a Powerful Intellectual Property Nation, in which it set forth its goals for the protection of intellectual property (IP), including copyright, up until 2035. The National Copyright Administration of the People’s Republic of China (NCAC) plans to release its next five-year copyright plan in 2026. In 2023, issues relating to collective management were discussed at the ninth China International Copyright Expo.
The shift toward licensed digital music consolidated power in the hands of streaming platforms and music companies
In 2005, with the digital music business flourishing, the NCAC joined the Cyberspace Administration of China, the Ministry of Industry and Information Technology and the Ministry of Public Security to launch the “Jianwang” (Sword Net) campaign to combat online copyright infringement and piracy. At the same time, it issued a notice to online music service providers to stop the unauthorized distribution of works of music.
The campaign brought about significant progress in efforts to combat online piracy, but the shift toward licensed digital music consolidated power in the hands of streaming platforms and music companies. Therefore, in 2017, the NCAC urged major domestic and international music companies, including Universal Music Group, Warner Music Group and Sony Music, to ensure that their music licensing regimes were fair and discouraged exclusive copyright licensing.
Market dynamics in a digital world
The effort to regulate exclusive copyright licensing for music, in turn, has inadvertently reinforced the dominance of music-related platforms. Musicians often transferred their rights to recording companies, which then negotiated licensing deals with streaming services such as Tencent Music Entertainment (TME), the leading music company in China. It owns four major streaming platforms: QQ Music, Kugou Music, Kuwo Music and WeSing.
Companies such as TME not only play a role as managers and distributors of musical works but may also own copyright interests. For instance, TME and its co-investors acquired a 20 percent equity stake in Universal Music Group in 2020 and 2021, strengthening its hold on global music assets. TME declared revenue of 7.02 billion yuan (around US$1 billion) in the third quarter of 2024 but how much of it is distributed to musicians is unknown. Indeed, in 2021 the State Administration for Market Regulation reportedly fined TME for breaching the country’s Anti‑Unfair Competition Law.
Many Chinese musicians stay relevant by appearing on TV programs and variety shows
Another major player is Mango TV, which has leveraged exclusive music-related TV programs to expand its market influence. Unlike TME, Mango TV offers a broad range of variety shows, dramas and entertainment content. Its increasingly popular music programs often feature top Chinese artists, idol groups and rising stars. Its portfolio includes nine seasons of Singers from 2013 to 2024, Infinity and Beyond and Time Concert. Music fans in China must pay to access those exclusive programs on Mango TV. Following the release of Singer 2024, the stock price of Mango Super Media, the company behind Mango TV, surged by 12 percent.
The rise of new musicians in China
Before music talent shows became popular, the Chinese music market was dominated by famous singers and traditional media, offline channels and albums. The proliferation of music programs has shot non-celebrities to fame. Mao Buyi, a onetime nursing student, first appeared on the screen and won on The Coming One show in 2017, grabbing attention across the country. His original songs, such as “Xiao Chou” and “People Like Me”, became instant hits – the former was played more than 10 million times in the 24 hours after its release.
Beyond traditional album releases, many Chinese musicians stay relevant by appearing on TV programs and variety shows. A striking example is the reappearance of a group of contestants who appeared on the Happy Boy show in 2007. In 2022, Chen Chusheng, Wang Zhengliang, Lu Hu, Wang Yuexin, Su Xing and Zhang Yuan reunited on a reality TV show, Welcome to the Mushroom House, calling themselves 0713 in reference to their rankings in the top 13 of the show in 2007. Their friendship, humor and relatability drew big audiences, leading them to perform on Mango TV’s variety show Go for Happiness . Riding a wave of renewed popularity, 0713 released new music, drawing nostalgic fans and a new audience. Their success led to more appearances on reality TV shows, commercial endorsements and concerts, making them a remarkable “comeback” story in recent Chinese music industry history.
Looking ahead
In November 2024, the eighth National Conference on Copyright Protection and Development in Digital Environment, which was held in Guiyang, addressed emerging copyright concerns, including the impact of AI on copyright, and concluded with a call for the development of a high-quality digital music industry. During the event, the China Audio-Video and Digital Publishing Association (CADPA), the Copyright Society of China (CSC), companies, digital music platforms and independent musicians jointly launched the Digital Music Copyright Market Fair Competition Industry Self-Discipline Convention. That initiative underscores their commitment to maintain fair competition in the digital music market, avoid exclusive copyright licensing agreements, set copyright licensing fees equitably and improve the operations of CMOs.
The growth and prosperity of the Chinese music market do not depend solely on musicians’ creative output, but also on factors such as the role of streaming services, the influence of TV platforms and ongoing work to update industry regulations. Fostering a more equitable regime for musicians and a more cooperative environment among stakeholder companies and CMOs will be crucial for all.
About the author
Dr. Qinqing Xu is a lecturer (assistant professor) in intellectual property law at the University of Manchester, in the United Kingdom. Dr. Xu’s research interests focus on copyright, including the collective management of works of music, and cover a wide range of other topics, such as IP and gaming. Her monograph, Collective Management of Music Copyright: A Comparative Analysis of China, the United States and Australia, was published in 2023.
