Music borrowing and copyright law: a genre-by-genre analysis
Gespeichert in:
| Weitere Verfasser: | , |
|---|---|
| Format: | Partitur Buch |
| Sprache: | English |
| Veröffentlicht: |
Oxford ; London ; New York ; New Delhi ; Sydney
Hart
2023
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | xviii, 464 Seiten Illustrationen, Notenbeispiele 25,1 cm |
| ISBN: | 9781509949380 |
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Datensatz im Suchindex
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| adam_text | TABLE OF CONTENTS Foreword.................................................................................................................................................v Paul Heald Acknowledgements............................................. vii List of Contributors............................................................................................................................ xiii List of Figures...................................................................................................................................... xix Introduction: Music Borrowing and Copyright Law............................................................................ 1 Enrico Bonadio and Chen Zhu PARTI MUSIC GENRES, BORROWING AND COPYRIGHT 1. Defining Music Genres: Critical Issues with Music Taxonomies................................................. 7 Franco Fabbri 2. A Brief History and Typology of Musical Borrowing and Reworking..................................... 21 J Peter Burkholder 3. Litigating Musical Universals and Particulars: Copyright Laws Ontological Struggle with Music Borrowing.......................................................................................... 41 Chen Wei Zhu 4. We Can Work It Out: Methods in Forensic Musicology............................................................ 57 Joe Bennett 5. Forensic Musicology in Action: A Personal Perspective.............. ...............................................75 Guy Protheroe 6. Borrowingfrom Traditional Culture: Ownership and Commodification of Traditional Music from a Cultural
Custodianship Perspective.................................... 97 Anthony CK Kakooza PART II ANALYSING MUSIC GENRES AND THEIR RELATIONSHIP WITH COPYRIGHT Section A: General 7. Pop and the Musical Unconscious................................... Jose Bellido 113
X 8. Table of Contents ‘Do the Right Thing’ or ‘Fight the Power?’: Hip-Hop Music, Sampling and Copyright Law.............................................................................................................. 127 Joyce Lee and Marc Mimler 9. Understanding the Creative Processes, Musical Borrowing and Copyright Protection of the Electronic Dance Music Industry........................................................... 145 Nicola Lucchi 10. How Jazz Persists at the Periphery of Copyright........................................................................ 155 Katherine Μ Leo 11. Confronting an Extractive Racialised Genre System: Black Lives Matter, Royalty Recovery and Musical Reparations..................................................................................... 173 Olufunmilayo В Arewa and Matt Stahl 12. ‘Not like Pyrates’: Borrowing, Copyright and Creativity in the Eighteenth Century............. 191 Ann van Allen-Russell Section B: Americas 13. Remix, Reuse and Reggae: Creativity and Copyright in Jamaican Music............................... 209 Enrico Bonadio and Bryan Khan 14. Rhythm and Melody Sans Humanité: Copyright and the Development of Calypso Music....................................................................................................................... 227 Bryan Khan 15. Pholourie Bina Chutney: Copyright and Cultural Identity in Indo-Caribbean Music......... 245 Bryan Khan 16. River Plate Tango: Appropriation, Borrowing and Innovation................................................. 265 Maximiliano Marzetti Section C: Europe 17.
Ownership as Sharing: The Practices of Irish Folk Music......................................................... 281 Luke McDonagh 18. Hungarian Musical Heritage Goes Viral - Hungarian Folk Music from a Copyright Perspective.............................................................................................................................. 291 Péter Mezei and Gergely Békés 19. Flamenco Music, Borrowing Practices and the Limits of Copyright......................................... 305 Antoni Rubi-Puig 20. Canzone napoletana. Chanson française and Southern Italian Folk Music: Who Took from Whom?...................................................................................................... 321 Giovanni Maria Riccio 21. Greek Traditional Music: Creativity, Copyright and the Commons......................................... 339 Stavroula Karapapa
Table of Contents xi Section D: Africa and Middle East 22. Israeli Music Genres: Appropriation and Borrowing as a Tool for National and Cultural Emergence and Structuring......................................................................... 353 Omri Rachum-Twaig 23. Feel the Benga Beat: Music Borrowing and Copyright Law in Kenya..................................... 369 Marisella N Ouma 24. The Many Facets of Borrowing and Creativity in South African Music................................. 379 Tobias Schonwetter and Bram Van Wide Section E: Asia and Oceania 25. History, Functionality and Dignity: Traditional Chinese Music Borrowing and Copyright Protection in China.................................................................................. 397 Tianxiang He and Jing Li 26. Music Borrowing in the History ofJapanese Music................................................................. 409 Ryu Kojima 27. Creation and the Dreamtime: Indigenous Music in Australia................................................ 419 Michael Blakeney 28. E tû, Stand Up: Copyright and Maori Music............................................................................ 433 Jonathan Barrett Index...................................................................................................................................................449
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| adam_txt |
TABLE OF CONTENTS Foreword.v Paul Heald Acknowledgements. vii List of Contributors. xiii List of Figures. xix Introduction: Music Borrowing and Copyright Law. 1 Enrico Bonadio and Chen Zhu PARTI MUSIC GENRES, BORROWING AND COPYRIGHT 1. Defining Music Genres: Critical Issues with Music Taxonomies. 7 Franco Fabbri 2. A Brief History and Typology of Musical Borrowing and Reworking. 21 J Peter Burkholder 3. Litigating Musical Universals and Particulars: Copyright Laws Ontological Struggle with Music Borrowing. 41 Chen Wei Zhu 4. We Can Work It Out: Methods in Forensic Musicology. 57 Joe Bennett 5. Forensic Musicology in Action: A Personal Perspective. .75 Guy Protheroe 6. Borrowingfrom Traditional Culture: Ownership and Commodification of Traditional Music from a Cultural
Custodianship Perspective. 97 Anthony CK Kakooza PART II ANALYSING MUSIC GENRES AND THEIR RELATIONSHIP WITH COPYRIGHT Section A: General 7. Pop and the Musical Unconscious. Jose Bellido 113
X 8. Table of Contents ‘Do the Right Thing’ or ‘Fight the Power?’: Hip-Hop Music, Sampling and Copyright Law. 127 Joyce Lee and Marc Mimler 9. Understanding the Creative Processes, Musical Borrowing and Copyright Protection of the Electronic Dance Music Industry. 145 Nicola Lucchi 10. How Jazz Persists at the Periphery of Copyright. 155 Katherine Μ Leo 11. Confronting an Extractive Racialised Genre System: Black Lives Matter, Royalty Recovery and Musical Reparations. 173 Olufunmilayo В Arewa and Matt Stahl 12. ‘Not like Pyrates’: Borrowing, Copyright and Creativity in the Eighteenth Century. 191 Ann van Allen-Russell Section B: Americas 13. Remix, Reuse and Reggae: Creativity and Copyright in Jamaican Music. 209 Enrico Bonadio and Bryan Khan 14. Rhythm and Melody Sans Humanité: Copyright and the Development of Calypso Music. 227 Bryan Khan 15. Pholourie Bina Chutney: Copyright and Cultural Identity in Indo-Caribbean Music. 245 Bryan Khan 16. River Plate Tango: Appropriation, Borrowing and Innovation. 265 Maximiliano Marzetti Section C: Europe 17.
Ownership as Sharing: The Practices of Irish Folk Music. 281 Luke McDonagh 18. Hungarian Musical Heritage Goes Viral - Hungarian Folk Music from a Copyright Perspective. 291 Péter Mezei and Gergely Békés 19. Flamenco Music, Borrowing Practices and the Limits of Copyright. 305 Antoni Rubi-Puig 20. Canzone napoletana. Chanson française and Southern Italian Folk Music: Who Took from Whom?. 321 Giovanni Maria Riccio 21. Greek Traditional Music: Creativity, Copyright and the Commons. 339 Stavroula Karapapa
Table of Contents xi Section D: Africa and Middle East 22. Israeli Music Genres: Appropriation and Borrowing as a Tool for National and Cultural Emergence and Structuring. 353 Omri Rachum-Twaig 23. Feel the Benga Beat: Music Borrowing and Copyright Law in Kenya. 369 Marisella N Ouma 24. The Many Facets of Borrowing and Creativity in South African Music. 379 Tobias Schonwetter and Bram Van Wide Section E: Asia and Oceania 25. History, Functionality and Dignity: Traditional Chinese Music Borrowing and Copyright Protection in China. 397 Tianxiang He and Jing Li 26. Music Borrowing in the History ofJapanese Music. 409 Ryu Kojima 27. Creation and the Dreamtime: Indigenous Music in Australia. 419 Michael Blakeney 28. E tû, Stand Up: Copyright and Maori Music. 433 Jonathan Barrett Index.449 |
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| spelling | Music borrowing and copyright law a genre-by-genre analysis edited by Enrico Bonadio and Chen Wei Zhu Oxford ; London ; New York ; New Delhi ; Sydney Hart 2023 xviii, 464 Seiten Illustrationen, Notenbeispiele 25,1 cm txt rdacontent n rdamedia nc rdacarrier Urheberrecht (DE-588)4062127-3 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Copyright / Music / Great Britain Allusions in music Quotation in music Droit d'auteur / Musique / Grande-Bretagne Citation dans la musique Copyright / Music Great Britain (DE-588)4143413-4 Aufsatzsammlung gnd-content Musik (DE-588)4040802-4 s Urheberrecht (DE-588)4062127-3 s DE-604 Bonadio, Enrico ca. 20./21. Jh. (DE-588)1172054185 edt Zhu, Chen Wei (DE-588)131909614X edt Erscheint auch als Online-Ausgabe, PDF 978-1-50994-940-3 Erscheint auch als Online-Ausgabe, EPUB 978-1-50994-939-7 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034843441&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Music borrowing and copyright law a genre-by-genre analysis |
| title_auth | Music borrowing and copyright law a genre-by-genre analysis |
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| title_full_unstemmed | Music borrowing and copyright law a genre-by-genre analysis edited by Enrico Bonadio and Chen Wei Zhu |
| title_short | Music borrowing and copyright law |
| title_sort | music borrowing and copyright law a genre by genre analysis |
| title_sub | a genre-by-genre analysis |
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| topic_facet | Urheberrecht Musik Aufsatzsammlung |
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