Music and CopyrightLee Marshall, Simon Frith Copyright lies at the very heart of the music business. It determines how music is marketed, artists are rewarded, and all the uses to which their work is put. And copyright claims and counter-claims are the source of recurring conflict: Who wrote what and when? Who owns these sounds? What are you allowed to do with them? Disputes about copying and theft are becoming ever noisier with digital technology and the new possibilities of sampling and downloading and large-scale piracy. This book has been written to explain the copyright system to non-legal specialists and to show why copyright issues are so fascinating and so important. Copyright is analyzed as a matter of philosophy and economics as well as law. It is approached from the contrasting perspectives of composers, performers, producers and bootleggers. Copyright law is seen to be central to the relationship between the global entertainment industry and local musical practices. The questions raised here are not just about music. They concern the very meaning of intellectual property rights in the context of rapid global and technological change. And they are not just about big business. They impinge on all our lives. |
Contents
The History and Philosophy of Copyright | |
Copyright and Economics | |
Copyright Politics and the International Music Industry | |
Copyright Law and Power in the Music Industry | |
Copyright and the Composer | |
Musicians | |
Technology Creative Practice and Copyright | |
Traditional Music Ownership in a Commodified World | |
Music and the Media | |
Infringers | |
Where Now for Copyright? | |
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activities agreement allows argued argument artists become benefit Berne broadcasters cent century chapter claim collecting societies common composers composition concept concerned consumers contracts Convention copying copyright law corporate costs countries court created creative creators cultural deal discussed distribution early economic effect established European example exclusive exploitation fair granted ideas important increase individual infringement intellectual property interests involved issue kind legislation licensing live London material means monopoly music industry musicians nature notes original owners ownership particular performance person piracy play popular music possible practice Press prevent principle printing problem production protection publishers question radio reason recent recognised record companies reference result role rules sampling sharing significant song sound studio suggests trade traditional University users