The music industry has been made possible through performing rights based on a law introduced by the post-revolutionary French national assembly in 1791. However, it took until the mid-nineteenth century until a system of royalty collection was established in France (and another half a century or more in other countries). In France, this new system for non-dramatic performing rights was preceded by royalty regulations in theatres. This study describes how nineteenth century composers were compensated for their work in the Paris Opera through this performing right for drama, known as the ‘grand right’. The tariff-based compensation method had been put in place by a royal réglement in 1713. It created a classic winner-take-all phenomenon in which composers such as Auber, Meyerbeer, and Halévy thrived in the nineteenth century. A contributing fact was the opera house programming which, contrary to the programming of today, favoured new pieces. ‘Grand opéras’ were à la mode and they contributed to the financial success of their composers. However, these operas eventually lost their attraction. In 1884, the Paris Opera adopted a compensation system based on a percentage of box office revenues. The study is based on primary data for 1810–1866.

音乐产业的发展是通过根据法国革命后国民议会1791年制定的法律行使权利来实现的。然而，直到19世纪中叶，法国才建立了版税收集制度（另外一半在其他国家或超过一个世纪）。在法国，这种新的非戏剧表演权制度是在剧院使用版税规则之前制定的。这项研究描述了如何通过这种戏剧表演权（称为“大权”）来补偿19世纪作曲家在巴黎歌剧院的工作。基于电价补偿方法已经到位，由皇家réglement在1713年。它创造了一个经典的赢家通吃现象，在19世纪，奥伯，迈耶比尔和哈勒维等作曲家蓬勃发展。一个重要的事实是歌剧院的编程，与今天的编程相反，它偏爱新曲。' Grandopéras '是单调模式，它们为作曲家的财务成功做出了贡献。然而，这些歌剧最终失去了吸引力。1884年，巴黎歌剧院采用了基于票房收入百分比的补偿制度。该研究基于1810年至1866年的主要数据。