Revenue Sharing at Music Streaming Platforms I: Homogeneity and Additivity Characterize Weighted Indices; Adding Equal Individual or Global Impact of Users Gives Pro-Rata or User-CentricResearch Paper
Motivation
Music streaming platforms collect a subscription fee from each user and pay part of the revenue to the artists whose content was played. The industry standard is the pro-rata method: the revenue pool is divided in proportion to each artist's total number of streams across all users. A competing method, the user-centric method, divides each user's own payment among the artists that user played, in proportion to that user's streams. SoundCloud adopted it in 2021 and Deezer has campaigned for it; the debate between the two methods is documented in the literature the paper cites, among others Dimont (2017), Haampland et al. (2022), Page and Safir (2018) and Meyn et al. (2023), listed below.
Bergantiños and Moreno-Ternero (arXiv:2310.11861, published in Management Science, 2025) put the debate on an axiomatic footing. Their Theorem 1 identifies the two basic principles every reasonable method in a large family satisfies, and isolates pro-rata and user-centric inside that family by one further principle each. This mission formalizes that theorem and the steps of its proof.
Setting
There are artists and a finite set of users, . A streaming problem records, for every artist and user , the number of times streamed content of . Each user pays , so the amount to share is . Write
- , the streams of artist ;
- , the streams of user ;
- , the artists user played, assumed nonempty for every user;
- , the profile of user , and the table without user .
A popularity index assigns to every problem a vector with positive sum, and artist is paid the reward
Since for every , an index is identified with its positive multiples. The pro-rata index is and the user-centric index is . A weight system assigns a weight to every user and every profile ; its weighted index is . Pro-rata is and user-centric is .
The axioms are:
- Homogeneity: if for all , with , then .
- Additivity: if splits into disjoint , then .
- Equal individual impact of similar users: if , then .
- Equal global impact of users: for all .
Two further axioms of §3 compare the methods: reasonable lower bound (the artists played by a group of users receive at least ) and click-fraud-proofness (changing one user's streams moves no artist's reward by more than ).
Formalization targets
Goal: Theorem 1 (p. 12)
For every popularity index :
Milestones (the proof, Appendix pp. 18–20)
- Every weighted index satisfies homogeneity and additivity (p. 18).
- An additive index decomposes as (p. 18).
- On a one-user problem a homogeneous index is (pp. 18–19).
- Theorem 1(a) as a statement on its own (p. 12).
- Pro-rata satisfies the three axioms of (b) (p. 19).
- Under the axioms of (b), any representing weight is the same at every nonzero profile (pp. 19–20).
- , and user-centric satisfies the axioms of (c) (p. 20).
- Under equal global impact, is the same for every user and nonzero profile (p. 20).
Companions (§3, p. 13; Appendix, pp. 21–22): user-centric satisfies reasonable lower bound and click-fraud-proofness; with at least two artists, pro-rata satisfies neither.
Significance
Theorem 1 says that the choice between the two methods used in practice is a choice between two principles, and nothing else, once homogeneity and additivity are accepted: equal individual impact of similar users ("all streams count the same") gives pro-rata, and equal global impact of users ("all users count the same") gives user-centric. Part (a) describes the whole family of methods that respect the two basic axioms, which includes capped and hybrid schemes proposed in the industry (p. 10). The companion results show that the further axioms of §3 separate the two methods in favour of user-centric. The paper's further results, the core of the associated cooperative game (Theorem 2) and the core-selection characterization (Theorem 3), are separate missions of this series.
The result is proved in the paper; its proofs are in the appendix (pp. 18–22). No machine-checked version is known. A formalization fixes the model precisely, including the conventions the paper leaves implicit (the disjointness in additivity, nonempty user lists, the identification of indices up to a positive factor), and records exactly where two artists are needed.
Difficulty
The "if" directions are direct computations. The "only if" directions are a functional equation on indices: additivity reduces an index to its values on one-user problems, and homogeneity forces those values to be proportional to the profile, so the remaining freedom is one weight per user and profile. The work in (b) and (c) is to show that this weight is constant, using the extra axiom only on small auxiliary problems that contain users outside the given problem. The constant must be one number for all problems: a constant depending on the problem would make (b) and (c) much weaker, and is not what the paper proves.
Formalization scope
Artists are Fin n, indexed from . Users are natural numbers, an infinite universe, and a problem is a finitely supported table ℕ →₀ (Fin n → ℕ) whose support is the user set ; every user of a problem therefore has a nonzero profile, which is the paper's standing assumption , and an index can only read the columns of users in . Streams are natural numbers. An index is a function from problems to Fin n → ℝ; it is a popularity index when it is nonnegative with positive sum on every problem with at least one user. The empty problem has nothing to share, and no positivity is demanded there; additivity forces the index to vanish on it. Additivity is stated for disjoint user sets: the printed axiom only says , which with would force and leave no index at all. "Is the pro-rata (user-centric) index" means "is a positive multiple of it, with one constant for all problems". Part (b) assumes at least two artists: with one artist the user-centric index satisfies its axioms and is not a multiple of pro-rata (every index then pays the whole to the single artist, so (b) holds at the level of rewards). Weights at the zero profile never enter a weighted index and are only required to be positive.
A formalization in which the positivity requirement applies to the empty problem, additivity allows overlapping user sets, or the constant in (b) or (c) depends on the problem is trivial or empty and is ruled out.
All objects are defined in one module, MusicStreaming.Axioms.Setting, on top of Mathlib's Finsupp and finite sums; nothing else is needed. Proofs of the milestones, alternative proofs of Theorem 1, and the verification that the definitions compute the paper's Example 1 are welcome.
Selected references
- G. Bergantiños and J. D. Moreno-Ternero, Revenue sharing at music streaming platforms, Management Science, 2025; preprint arXiv:2310.11861v1, 2023. https://arxiv.org/abs/2310.11861 (the source of every statement in this mission; Theorem 1 on p. 12, proofs on pp. 18–22).
- J. Meyn, M. Kandziora, S. Albers, M. Clement, Consequences of platforms' remuneration models for digital content: initial evidence and a research agenda for streaming services, Journal of the Academy of Marketing Science 51, 114–131, 2023 (reference [39] of the paper).
- J. Dimont, Royalty inequity: Why music streaming services should switch to a per-subscriber model, Hastings Law Journal 69, 675, 2017 (reference [22] of the paper).
- W. Page and D. Safir, Money in, money out: Lessons from CMOs in allocating and distributing licensing revenue, technical report, 2018 (reference [45] of the paper).
- O. Haampland, R. Johannessen, F. Moreau, P. Wikström, Fairness and royalty payment systems on music streaming platforms, mimeo, 2022 (reference [29] of the paper).