Music Borrowing and Copyright Law

A Genre-By-Genre Analysis
Herausgeber: Bonadio, Enrico; Zhu, Chen Wei

• Gebundenes Buch

Produktbeschreibung

This ground-breaking book examines the multifaceted dynamics between copyright law and music borrowing within a rich diversity of music genres from across the world. It evaluates how copyright laws under different generic conventions may influence, or are influenced by, time-honoured creative borrowing practices. Leading experts from around the world scrutinise a carefully selected range of musical genres, including pop, hip-hop, jazz, blues, electronic and dance music, as well as a diversity of region-specific genres, such as Jamaican music, River Plate Tango, Irish folk music, Hungarian folk music, Flamenco, Indian traditional music, Australian indigenous music, Maori music and many others. This genre-conscious analysis builds on a theoretical section in which musicologists and lawyers offer their insights into fundamental issues concerning music genre categorisation, the typology of music borrowing and copyright law's ontological struggle with musical borrowing in theory and practice. The chapters are threaded together by a central theme, ie, that the cumulative nature of music creativity is the result of collective bargaining processes among many 'musicking' parties that have socially constructed creative music authorship under a rich mix of generic conventions.

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Produktdetails

• Verlag: Bloomsbury Publishing PLC
• Seitenzahl: 488
• Erscheinungstermin: 19. Oktober 2023
• Englisch
• Abmessung: 244mm x 169mm x 25mm
• Gewicht: 968g
• ISBN-13: 9781509949380
• ISBN-10: 1509949380
• Artikelnr.: 66136606

Autorenporträt

Enrico Bonadio is Reader in Intellectual Property Law at City, University of London, UK. Chen Wei Zhu is Associate Professor at Birmingham Law School, University of Birmingham, UK.

Inhaltsangabe

Foreword
Paul Heald (University of Illinois
USA) Introduction: Music Borrowing and Copyright Law
Enrico Bonadio (City
University of London
UK) and Chen Wei Zhu (University of Birmingham
UK) Part I: Music Genres
Borrowing and Copyright 1. Defining Music Genres: Critical Issues with Music Taxonomies
Franco Fabbri (State University of Milan
Italy) 2. A Brief History and Typology of Musical Borrowing and Reworking
J Peter Burkholder (Indiana University Jacobs School of Music
USA) 3. Litigating Musical Universals and Particulars: Copyright Law's Ontological Struggle with Music Borrowing
Chen Wei Zhu (University of Birmingham
UK) 4. We Can Work It Out: Methods in Forensic Musicology
Joe Bennett (Berklee College of Music
USA) 5. Forensic Musicology in Action: A Personal Perspective
Guy Protheroe (Freelance Professional Musician
UK) 6. Borrowing from Traditional Culture: Ownership and Commodification of Traditional Music from a Cultural Custodianship Perspective
Anthony CK Kakooza (Byenkya
Kihika & Co Advocates
Uganda) Part II: Analysing Music Genres and their Relationship with Copyright Section A: General 7. Pop and the Musical Unconscious
Jose Bellido (University of Kent
UK) 8. 'Do the Right Thing' or 'Fight the Power': Hip-Hop Music
Sampling and Copyright Law
Joyce Lee (NASCAR Media Ventures
USA) and Marc Mimler (City
University of London
UK) 9. Understanding the Creative Processes
Musical Borrowing and Copyright Protection of the Electronic Dance Music Industry
Nicola Lucchi (University Pompeu Frabra of Barcelona
Spain) 10. How Jazz Persists at the Periphery of Copyright
Katherine M Leo (Millikin University
USA) 11. Confronting an Extractive Raciliased Genre System: Black Lives Matter
Royalty Recovery and Musical Reparations
Olufunmilayo B Arewa (Temple University
USA) and Matt Stahl (University of Western Ontario
Canada) 12. 'Not like Pyrates': Borrowing
Copyright and Creativity in the Eighteenth Century
Ann van Allen-Russell (Royal College of Music
UK) Section B: Americas 13. Remix
Reuse and Reggae: Creativity and Copyright in Jamaican Music
Enrico Bonadio Bonadio (City
University of London
UK) and Bryan Khan (University of the West Indies
Trinidad and Tobago) 14. Rhythm and Melody Sans Humanité: Copyright and the Development of Calypso Music
Bryan Khan (University of the West Indies
Trinidad and Tobago) 15. Pholourie Bina Chutney: Copyright and Cultural Identity in Indo-Caribbean Music
Bryan Khan (University of the West Indies
Trinidad and Tobago) 16. River Plate Tango: Appropriation
Borrowing and Innovation
Maximiliano Marzetti (É SEG School of Management
France) Section C: Europe 17. Ownership as Sharing: The Practices of Irish Folk Music
Luke McDonagh (London School of Economics
UK) 18. Hungarian Musical Heritage Goes Viral - Hungarian Folk Music from a Copyright Perspective
Péter Mezei (University of Szeged
Hungary) and Gergely Békés (Attorney-at-law
Hungary) 19. Flamenco Music
Borrowing Practices and the Limits of Copyright
Antoni Rubí-Puig (Universitat Pompeu Fabra
Spain) 20. Canzone napoletana
Chanson française and Southern Italian Folk Music: Who Took from Whom? Giovanni Maria Riccio (University of Salerno
Italy) 21. Greek Traditional Music: Creativity
Copyright and the Commons
Stavroula Karapapa (University of Essex
UK) Section D: Africa and Middle East 22. Israeli Music Genres: Appropriation and Borrowing as a Tool for National and Cultural Emergence and Structuring
Omri Rachum-Twaig (Tel Aviv University
Israel) 23. Feel the Benga Beat: Music Borrowing and Copyright Law in Kenya
Marisella N Ouma (Africa University
Zimbabwe) 24. The Many Facets of Borrowing and Creativity in South African Music
Tobias Schonwetter (University of Cape Town
South Africa) and Bram Van Wiele (University of Auckland Business School
New Zealand) Section E: Asia and Oceania 25. History
Functionality and Dignity: Traditional Chinese Music Borrowing and Copyright Protection in China
Tianxiang He (City University of Hong Kong
Hong Kong) and Jing Li (University of Birmingham
UK) 26. Music Borrowing in the History of Japanese Music
Ryu Kojima (Kyushu University
Japan) 27. Creation and the Dreamtime: Indigenous Music in Australia
Michael Blakeney (University of Western Australia
Australia) 28. E tu
Stand Up: Copyright and Maori Music
Jonathan Barrett (Victoria University of Wellington Te Herenga Waka
New Zealand)