Institutional Reformulation in Music Royalty Management in Indonesia: A Comparative Study with Germany and France
DOI:
https://doi.org/10.59525/rechtsvinding.1783Keywords:
institutional reform; music royalties; one-stop system.Abstract
The normative management of song and/or music copyright royalties in Indonesia has been designed to adhere to a one-gate system through the National Collective Management Institute (LMKN), but in practice it is still colored by institutional fragmentation at the sectoral Collective Management Institution (LMK) layer, high operational cost cuts, and weak transparency in the Song and/or Music Information System (SILM). This research aims to analyze juridical problems and the implications of institutional fragmentation on the transparency of royalty management, as well as to formulate an ideal institutional reformulation model based on comparative studies with the Gesellschaft für musikalische Aufführungs- und mechanische Vervielfältigungsrechte (GEMA) in Germany and the Société des auteurs, compositeurs et éditeurs de musique (SACEM) in France. The research uses normative juridical methods with legislative, conceptual, and comparative approaches. The results of the study show that the root of the problem stems from the weakness of the substance of the regulation that legitimizes the multiplicity of LMKs, thereby triggering financial inefficiency, overlapping authority, and low distribution accountability. Comparative studies show that the success of GEMA and SACEM rests on institutional centralization, strict state supervision, and transparent audits. This study recommends an integrated one-stop institutional reconstruction accompanied by a revision of Government Regulation Number 56 of 2021 to ensure legal certainty and openness for creators, musicians, and copyright holders.
References
Anggraen, A. D., Santoso, B., & Prabandari, A. P. (2021). Perlindungan Hak Kekayaan Intelektual (HKI) Pada Usaha Mikro Kecil dan Menengah (UMKM) di Bidang Pengrajin Batik dan Kuliner. Notarius, 14(2), 650–665.
Apsari, K., Dharmawan, N. K. S., & others. (2025). Model Pengaturan Pembagian Harta Bersama pada Proses Perceraian yang Bersumber dari Royalti Hak Cipta. Jurnal Ilmiah Kebijakan Hukum, 19(1), 1–16.
Arika, D., & Disemadi, H. S. (2022). Perlindungan pencipta atas pembajakan novel di marketplace. Jurnal Yustisiabel, 6(2), 182–206.
Aruna, F. H. S., & Muliya, L. S. (2023). Tanggungjawab Pelaku Usaha terhadap Konsumen Pengguna Kosmetik Berbahaya Berdasarkan UU Nomor 8 Tahun 1999. Jurnal Riset Ilmu Hukum (JRIH), 3(2), 63–68.
Ayu Palar, M. R., Rafianti, L., Puspitasari, W., & Novianti, I. (2025). Centralized management of copyright royalties: A case study on the National Collective Management Organization for songs and music in Indonesia. The Journal of World Intellectual Property, 28(1), 24–57.
Bieringer, F. (2025). KI-generierte Musik und die GEMA-Vermutung: eine Analyse rechtlicher und praktischer Aspekte.
Bieringer, F. (2026). Die GEMA-Vermutung im Zeitalter der KI-Musik. API Magazin, 7(1).
Bourreau, M., & Gensollen, M. (2006). L’impact d’Internet et des Technologies de l’Information et de la Communication sur l’industrie de la musique enregistrée. Revue d’économie Industrielle, 116, 31–70.
Cahyani, N. (2020). Perlindungan Hak Cipta Pada Pencipta Lagu Yang Dapat Diunduh Secara Bebas Di Internet. Jurnal Ilmiah Hukum, 26(1), 37–49.
Corputty, P. (2020). Omnibus Law Sebagai Alternatif Penyembuh Obesitas Regulasi Sektoral. Jurnal Saniri, 1(1), 44–61.
De Tissot, O., & Wagner-Edelman, F. (2010). Analyse prospective de la rémunération des auteurs, artistes-interprètes et producteurs à l’ère de la numérisation.
Firyalfatin. (2025). Problematika Royalti Musik Masih Jadi “PR” Pemerintah. Hukumonline.Com.
Friedman, L. M. (2009). Sistem Hukum Perspektif Ilmu Sosial. Nusa Media.
Halfmeier, A. (2016). Litigation without end? The Deutsche Telekom case and the German approach to private enforcement of securities law. In Class Actions in Context (pp. 279–298). Edward Elgar Publishing.
Indirakirana, A., & Krisnayanie, N. K. M. (2021). Upaya Perlindungan Hak Cipta Konten Youtube WNA Yang Dijiplak Oleh WNI Dalam Perspektif Bern Convention. Ganesha Law Review, 3(2), 85–96.
Indonesia, V. (2024). Endah Widiastuti Kritik Transparansi LMKN.
Lhermite, S. (2022). Le rôle de la SACEM dans l’évolution de l’industrie musicale francophone à l’heure du numérique. Sorbonne Doctoral Law Review-Revue Doctorale de Droit de La Sorbonne, 5(1).
Martinelli, I., Reinhart, F., Natalie, C., & Milianty, Y. (2023). Keterbukaan dan Kepastian Hukum dalam Teori Kontrak Roscoe Pound. UNES Law Review, 6(2), 4099–4107.
Marzuki, P. M. (2017). Penelitian Hukum: Edisi Revisi. Prenada Media.
Maulana, R. D., & Dirkareshza, R. (2025). The Challenges of Direct Licensing Implementation in Indonesia’s Music Royalty System: Assessing Copyright Law from the Perspective of Creators. Journal of Law, Politic and Humanities, 6(1), 850–860.
Menger, P.-M. (2002). Le paradoxe du musicien: le compositeur, le mélomane et l’État dans la société contemporaine.
Mouron, P. (2024). La SACEM perçoit (depuis longtemps) des droits d’auteur sur la diffusion de musiques lors de cérémonies funéraires, et c’est tout à fait légal. Les Surligneurs.
News, A. (2024). LMKN: Royalti 2022 Rp35 Miliar, 2023 Rp55,15 Miliar, Target 2024 Rp120 Miliar.
NURJANAH, T. N. T., & Azizah, S. (2025). Problematika Sistem Royalti di Indonesia: Studi Kasus Agnez Mo dan Implikasi bagi Perlindungan Hak Cipta. Nexus Yuridis, 1(1).
Octaviany, E. A., Arimbi, D., & Ikrardini, Z. (2024). Pencabutan Hak Asuh Ibu Kandung Atas Anak Dibawah Umur Pasca Terjadinya Perceraian. Rechtswetenschap Jurnal Mahasiswa Hukum, Hak Asuh Anak (Hadhanah); Pertimbangan Hakim; Pencabutan Hak Pengasuhan, 1–20.
Pahlevi, A. N., Fauzi, S. M., El Hakam, G. A., Aulia, A. M., Najmudin, N., & Kholid, M. (2025). IMPLIKASI PAJAK PENGHASILAN ATAS ROYALTI HAK CIPTA MUSIK DALAM EKONOMI DIGITAL. Bureaucracy Journal: Indonesia Journal of Law and Social-Political Governance, 5(2), 1536–1549.
Permatasuri, I., & Judge, Z. (2023). Kedudukan Hukum Pencipta Dan Pemegang Hak Cipta Terhadap Akuisisi Perusahaan Penerbit. Jurnal Hukum Indonesia, 2(2), 93–104.
Risca Selfeny, Muthia Sakti, & Iwan Erar Joesoef. (2025). Legal Liability for Copyright Infringement of Video Content Uploaded by Malaysian Individuals for Commercial Purposes on TikTok. Nusantara: Journal of Law and Islamic Law, 1(2), 40–72. https://doi.org/10.65101/nusantara.v1i2.183
Rizkia, N. D., & Fardiansyah, H. (2022). Hak Kekayaan Intelektual: Suatu Pengantar. Widina Bhakti Persada.
Rupp, H. (2024). Verwertungsgesellschaften als Partnereinrichtungen für Musikschaffende. Musik Und Recht, 203–232.
Tiran, T. (2022). Hak Cipta Karya Digital pada NFT Dikaitkan dengan Hak Akses yang Memiliki Nilai Ekonomi sebagai Hak Kebendaan Berdasarkan Peraturan Perundang-Undangan di Indonesia. Jurnal Kewarganegaraan, 6(3), 6006–6013.
Weekly, M. I. (2024). Streaming Royalties: Why Artists Are Still Fighting for Fair Pay.
Yaman, R. Y., Kiren, B. F., Marlina, T., & Handiriono, R. (2024). Pengaturan Hukum Pendistribusian Royalti Hak Cipta dan Pengaruhnya Terhadap Pelarangan Lagu oleh Pencipta. Jurnal Ilmu Hukum, Humaniora Dan Politik (JIHHP), 4(5).
Yanto, O., Chen, Q. C., & Sari, N. W. (2022). Legal Protection on Economic Rights of Pirated Work of Songs in Intellectual Properties. Nagari Law Review, 6(1), 1–11. https://doi.org/10.25077/nalrev.v.6.i.1.p.1-11.2022
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2026 Abdul Haris Nafis, Suherman Suherman, Iwan Erar Joesoef
This work is licensed under a Creative Commons Attribution 4.0 International License.
