Concepts of Music and Copyright: How Music Perceives Itself and How Copyright Perceives Music
Abstract
Copyright specialists have often focused on the exploitation of copyright of music and on infringement, but not on the question of how copyright conceptualises music. This highly topical volume brings together specialists in music, musicology and copyright law, providing a genuinely interdisciplinary research approach. It compares and contrasts the concepts of copyright law with those of music and musical performance. The contributors discuss the notions of the musical work, performance, originality, authorship in music and in copyright, and co-ownership from the perspective of their own disciplines. The book also examines the role of the Musicians' Union in the evolution of performers' rights in UK copyright law, and, in an empirical study, the transaction costs theory for notice-and-takedown regimes in relation to songs uploaded on YouTube. © The Editor and Contributors Severally 2015. All rights reserved.
... In der Musiktheorie ist ein Werk ein offenes Konzept, potentiell in Bewegung und unsicher (Goehr, 1992). Das Urheberrecht wandelt das offene Werkkonzept in ein geschlossenes um (Rahmatian, 2015), das mit bestimmten, aber nicht weniger unsicheren Dimensionen ausgestattet ist. Den Kern eines Musikwerks sieht das Urheberrecht bis heute in der Melodie, die über den Melodienschutz mit einem eigenen Schutz versehen ist (Pierson et al., 2011). ...
Neue Produkte herzustellen, die bereits existierenden bis zur Verwechslung ähneln, verlangt von Kreativen den paradoxen Spagat zwischen Neuheit und Bekanntheit auf die Spitze zu treiben. Gerade Auftragszusammenhänge der Kreativwirtschaft können die Produktion ähnlicher Artefakte einfordern und dem Wunsch nach Einzigartigkeit widersprechen, der Gegenwartsgesellschaften angeblich auszeichnet. Diese bewerten das Besondere, das Werk als kreativ und stellen ihm Kopien oder Plagiate gegenüber, die als unkreativ gelten. Die Analyse intentionaler Produktionen von Ähnlichkeit öffnet hier den Blick auf die vielfältige und von Unsicherheiten geprägte liminale Kreativität der Versionen. Fallbeispiele der Herstellung von Soundalikes zeigen anhand von Beobachtungen, Interviews und Gerichtsfällen, wie ästhetische, rechtliche, wissenschaftliche und wirtschaftliche Grenzziehungen musikalisches Versionieren anleiten. Kreative nutzen Kombinationen kleinster Transformationen, um Musikprodukte einer Referenz anzunähern und von ihr zu entfernen, und produzieren dabei Artefakte im Graubereich zwischen Werk und Plagiat.
... Eben dies wird dann von Befürwortern als Idee der Musik bezeichnet. 403 Aus einer solchen abstrakten Reduktion kann wiederum eine andere Tonfolge kreiert werden, welche die erste noch deutlich erkennen lässt, obwohl sie nur an rudimentären Stellen Überschneidungen aufweist. ...
To what extent may a piece of music be inspired by another without infringing copyrights? What is the role of originality and freedom of ideas in this context? When does such a piece maintain a sufficient distance to the protected work or fall under the exception for pastiches? The dissertation answers these questions with regard to the legal development in Germany and Europe. Copyright principles and doctrines are not only examined in their application to musical contexts, but are also fundamentally challenged on the basis of the findings. The dissertation thus offers a practice-oriented analysis of relevant criteria of music copyright law on the one hand, and questions the fundamentals of copyright law on the other.
... Whereas, copyright is about authorship, during the time period of protection the copyright work is a static entity in the eyes of the law. 72 So too the rights of paternity, a statutory moral right afforded to creators which links creatives to their work. ...
Intellectual property (IP) law awareness and education amongst creatives is an emerging theme of the IP policy agenda. This is important to society for socio-cultural growth, but also because research confirms that people with creative personalities are more likely to identify commercial opportunities, start a business and create employment, supporting economic development. This research found that to reach creative people it is important for IP law academics and experts to have a deeper understanding of the psychological traits that distinguish them from other cultural groups such as scientists or business people. How creatives perceive the value of the IP rights in their work influences their behaviour in identifying, managing and enforcing their rights. Through a discussion of ‘creative identity’ theory, linked to practical examples of thoughtful interventions by the Nottingham Creative IP Project (NCIP), this article examines how academics can transform IP educational practice to specifically target creatives.
In his Leçons VII (Le désir politique de dieu) Pierre Legendre applies the idea or expression of ‘instituting time’ (‘instituer le temps’), that is, working with time as a malleable material, but at the same time conceptualising time as dogmatic time, especially in the interpretation of law. As an example of this concept he refers to the English Common Law, a ‘style’ of ‘governing by solving cases’. This text will analyse the notion of two times of law—inaugural/mythological and historical—and how it applies to Common Law judgments, as well as to Institutional Writers that are characteristic of Scots Law in particular.
British musicians receive “equitable remuneration” when their recordings are played in public or are broadcast. Performers’ rights are weaker than those of songwriters, however. This is largely because songwriters are the first owners of their copyrights, whereas performers rarely own the copyright in their sound recordings. This article concerns the remuneration of musicians’ labor. It looks at the legislative evolution of performers’ rights in the UK and addresses the influence that songwriters, record companies, and the Musicians’ Union have had on this area of copyright law. It argues that performers will only achieve legislative parity with songwriters if the ownership and conceptualization of sound recording copyright are reconfigured. This copyright should be awarded to performers for their creative labor, rather than to record companies for their financial and administrative endeavors.
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