Creative Autonomy, Copyright and Popular Music in Nigeria:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Cham
Springer International Publishing AG
2020
|
| Schlagworte: | |
| Beschreibung: | Description based on publisher supplied metadata and other sources |
| Beschreibung: | 1 Online-Ressource (326 pages) |
| ISBN: | 9783030486945 |
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| 505 | 8 | |a Intro -- Foreword -- Acknowledgments -- Contents -- Abbreviations -- List of Statutes, Conventions, Directives, Decrees and Regulations -- Hansard -- US Congressional Reports -- List of Figures -- List of Tables -- 1 The Significance of Measuring Creative Autonomy for Copyright Law -- 1.1 Introduction to the Problem -- 1.2 Illustration of the Problem -- 1.2.1 Uniform Sounds and the Interplay between Creativity and Commerce -- 1.2.2 The 'Performing Author' and the Intersection between Creating and Performing a Work -- 1.2.3 Copyright and the Status Quo -- 1.3 Significance of this Book -- 1.4 Hypothesis and Sub-questions -- 1.5 Scope and Limitations -- 1.6 Sources and Materials Used -- 1.7 Methodology -- 1.7.1 Conceptualising a Framework for Measuring Creativity -- 1.7.2 Measuring Creative Autonomy -- 1.8 A Brief Overview of Copyright in Music -- 1.8.1 The Requirement of Originality under Copyright Law -- 1.8.2 An Overview of Authorial Economic Rights -- 1.8.3 Authorship and Ownership -- 1.8.4 Performers' Rights -- 1.9 Conclusion -- 2 The Traditional Structure of the Popular Music Industry, and the Performing Author's Role -- 2.1 Introduction -- 2.2 Defining Popular Music -- 2.3 The Traditional Structure of the Popular Music Industry -- 2.3.1 Executive Roles -- 2.3.1.1 Artiste and Repertoire (A& -- R) Agents -- 2.3.1.2 Record Label Executives -- 2.3.1.3 Music Publishing Executives -- 2.3.1.4 Promoters and Distributors -- 2.3.2 Creative Roles -- 2.3.2.1 Authors: Composers and Lyricists -- 2.3.2.2 Performers -- 2.3.2.3 The Performing Author -- 2.3.3 Independent Music and Producers -- 2.3.4 Collective Administration -- 2.4 Conclusion -- 3 The Unique Structure of the Nigerian Popular Music Industry -- 3.1 Introduction -- 3.2 The Structure and Development of the Nigerian Popular Music Industry | |
| 505 | 8 | |a 3.3 Undocumented, yet Formidable Distribution Networks-Alaba International Market -- 3.4 The Nigerian Copyright Commission and the Regulation of Collective Administration for Music -- 3.5 The Developments in the Genre of Afro-Pop Since the Mid-1990s -- 3.6 Conclusion -- 4 An Empirical Analysis of the Status of Performing Authors' Creative Autonomy -- 4.1 Introduction -- 4.1.1 Objectives and Methodology -- 4.2 Performing Authors -- 4.2.1 Performing Authors' Perspective on Music Authorship -- 4.2.1.1 Ideals in Song Writing -- 4.2.1.2 Concerns in the Authorial Process -- 4.2.1.3 The Impact of the 'Performing Author-Record Label' Relationship on the Creative Process -- 4.2.1.4 Numeric Effect of the Status Quo on Cultural Output -- 4.2.1.5 Methods of Choosing Songs for Release to the Public -- 4.2.1.6 Unveiling the Participants in the Authorial Process -- 4.2.1.7 Creative Control -- 4.2.2 Concerns Arising from Copyright Exploitation Contracts -- 4.2.3 Performing Authors' Perspective on Copyright Law in Nigeria -- 4.2.4 Anecdotal Concerns -- 4.2.5 Defining the Ideals of Creative Autonomy -- 4.3 Record Label Executives -- 4.3.1 On the Creative Process -- 4.3.2 On Recording Contracts -- 4.3.3 On Copyright Law -- 4.4 Observations from Stakeholders -- 4.4.1 On the Creative Process -- 4.4.2 On the Interactions between Record Labels Executives and Performing Authors -- 4.4.3 On Copyright Law -- 4.5 Comparative Observations from Entire Sample -- 4.5.1 Competing Concerns in Authorial Processes -- 4.5.2 On Copyright Law -- 4.5.3 The Decision Maker in Authorial Processes -- 4.6 Postscript on Copyright and Contracts -- 4.6.1 On Contracts -- 4.6.1.1 Jesse Jagz -- 4.6.1.2 'X-Band' -- 4.6.2 On Copyright -- 4.7 Conclusion -- 5 Justifying Creative Autonomy within Copyright Discourse -- 5.1 Introduction | |
| 505 | 8 | |a 5.2 Canonical Articulations of Creative Autonomy within Human Rights and International Conventions -- 5.2.1 Freedom of Expression within Human Rights Law -- 5.2.2 The Right to Moral and Material Interests from Authorship -- 5.2.3 The Preservation of Autonomy and Diversity in Cultural Expression -- 5.3 Justification for Creative Autonomy in Deontological Theories -- 5.3.1 Justifying Creative Autonomy in Lockean Theory -- 5.3.2 The Kantian Concept of Creative Autonomy -- 5.3.3 Hegel on Creative Autonomy -- 5.3.4 Moral Rights as Distinct from Creative Autonomy -- 5.4 A Consequentialist Case for Creative Autonomy -- 5.4.1 Classical Utilitarian Thought -- 5.4.2 Theories on the Measurement of Utility -- 5.4.3 The Consequentialist Computation of Efficiency in Copyright -- 5.4.3.1 Incentives for Authors -- 5.4.3.2 Society's Access to Cultural Works -- 5.4.3.3 Creative Autonomy in the Consequentialist Formula for Efficiency in Copyright Law -- 5.5 Conclusion -- 6 Problems for Creative Autonomy in Copyright Law -- 6.1 Introduction: Anomalies in the Dynamics of Copyright Law -- 6.2 Pre-fixation -- 6.2.1 The Interval between Creation and Fixation -- 6.2.2 Problems for Performing Authors -- 6.3 Fixation: Its Definition and Impact on Authorship -- 6.3.1 The Insufficiency of Performers' Rights -- 6.3.2 Authorship of Sound Recordings -- 6.3.3 The Bargaining for Sound Recording Rights -- 6.4 Ineffective Restrictions on the Transmission of Moral Rights -- 6.5 Conclusion -- 7 Problems for Creative Autonomy in New Business Models -- 7.1 Introduction: New Music Platforms as Opportunities or Threats to Creative Autonomy -- 7.2 Television Talent Competitions -- 7.3 The Internet as an Aid or Hurdle for Performing Authors -- 7.4 The Nature and Effects of Multiple Rights '360' Deals -- 7.5 Conclusion -- 8 Problems for Creative Autonomy in Recording Contracts | |
| 505 | 8 | |a 8.1 Introduction -- 8.2 Assignments v Licences -- 8.3 Work-for-Hire Clauses in Recording Contracts -- 8.4 Unfair Bargaining Terms -- 8.4.1 Unfair Terms -- 8.4.2 Non-payment of Consideration: Controlled Composition Clauses -- 8.4.3 Ambiguous Terms -- 8.5 Conclusion -- 9 Strategic Policy and Legislative Recommendations for the Preservation of Creative Autonomy -- 9.1 Introduction -- 9.2 Policy Recommendations: Guidelines for Performing Authors -- 9.2.1 The Importance of Courting Public Sympathy -- 9.2.2 Copyright Education for Performing Authors -- 9.2.3 Guidelines for Performing Authors in Negotiations for Copyright Exploitation Contracts -- 9.2.4 Recording Studio Etiquette for the Performing Author -- 9.3 Legislative Recommendations: Reflecting the Importance and Fragility of Authorial Independence -- 9.3.1 Vesting Authorship of Sound Recordings in Performing Authors -- 9.3.2 Protecting Performing Authors' Creative Autonomy in Copyright Exploitation Contracts -- 9.3.3 The Practicality of Reintroducing the Reversion Clause -- 9.3.3.1 Economic Practicality -- 9.3.3.2 Inalienability -- 9.3.3.3 Restoring Creative Autonomy -- 9.3.3.4 Concluding Remarks on the Reversion Clause -- 9.3.4 The Importance of Implementing National Copyright Goals -- 9.4 Conclusion: Proposed Amendment Bill -- 10 Summary and Conclusions -- Bibliography -- Index | |
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| contents | Intro -- Foreword -- Acknowledgments -- Contents -- Abbreviations -- List of Statutes, Conventions, Directives, Decrees and Regulations -- Hansard -- US Congressional Reports -- List of Figures -- List of Tables -- 1 The Significance of Measuring Creative Autonomy for Copyright Law -- 1.1 Introduction to the Problem -- 1.2 Illustration of the Problem -- 1.2.1 Uniform Sounds and the Interplay between Creativity and Commerce -- 1.2.2 The 'Performing Author' and the Intersection between Creating and Performing a Work -- 1.2.3 Copyright and the Status Quo -- 1.3 Significance of this Book -- 1.4 Hypothesis and Sub-questions -- 1.5 Scope and Limitations -- 1.6 Sources and Materials Used -- 1.7 Methodology -- 1.7.1 Conceptualising a Framework for Measuring Creativity -- 1.7.2 Measuring Creative Autonomy -- 1.8 A Brief Overview of Copyright in Music -- 1.8.1 The Requirement of Originality under Copyright Law -- 1.8.2 An Overview of Authorial Economic Rights -- 1.8.3 Authorship and Ownership -- 1.8.4 Performers' Rights -- 1.9 Conclusion -- 2 The Traditional Structure of the Popular Music Industry, and the Performing Author's Role -- 2.1 Introduction -- 2.2 Defining Popular Music -- 2.3 The Traditional Structure of the Popular Music Industry -- 2.3.1 Executive Roles -- 2.3.1.1 Artiste and Repertoire (A& -- R) Agents -- 2.3.1.2 Record Label Executives -- 2.3.1.3 Music Publishing Executives -- 2.3.1.4 Promoters and Distributors -- 2.3.2 Creative Roles -- 2.3.2.1 Authors: Composers and Lyricists -- 2.3.2.2 Performers -- 2.3.2.3 The Performing Author -- 2.3.3 Independent Music and Producers -- 2.3.4 Collective Administration -- 2.4 Conclusion -- 3 The Unique Structure of the Nigerian Popular Music Industry -- 3.1 Introduction -- 3.2 The Structure and Development of the Nigerian Popular Music Industry 3.3 Undocumented, yet Formidable Distribution Networks-Alaba International Market -- 3.4 The Nigerian Copyright Commission and the Regulation of Collective Administration for Music -- 3.5 The Developments in the Genre of Afro-Pop Since the Mid-1990s -- 3.6 Conclusion -- 4 An Empirical Analysis of the Status of Performing Authors' Creative Autonomy -- 4.1 Introduction -- 4.1.1 Objectives and Methodology -- 4.2 Performing Authors -- 4.2.1 Performing Authors' Perspective on Music Authorship -- 4.2.1.1 Ideals in Song Writing -- 4.2.1.2 Concerns in the Authorial Process -- 4.2.1.3 The Impact of the 'Performing Author-Record Label' Relationship on the Creative Process -- 4.2.1.4 Numeric Effect of the Status Quo on Cultural Output -- 4.2.1.5 Methods of Choosing Songs for Release to the Public -- 4.2.1.6 Unveiling the Participants in the Authorial Process -- 4.2.1.7 Creative Control -- 4.2.2 Concerns Arising from Copyright Exploitation Contracts -- 4.2.3 Performing Authors' Perspective on Copyright Law in Nigeria -- 4.2.4 Anecdotal Concerns -- 4.2.5 Defining the Ideals of Creative Autonomy -- 4.3 Record Label Executives -- 4.3.1 On the Creative Process -- 4.3.2 On Recording Contracts -- 4.3.3 On Copyright Law -- 4.4 Observations from Stakeholders -- 4.4.1 On the Creative Process -- 4.4.2 On the Interactions between Record Labels Executives and Performing Authors -- 4.4.3 On Copyright Law -- 4.5 Comparative Observations from Entire Sample -- 4.5.1 Competing Concerns in Authorial Processes -- 4.5.2 On Copyright Law -- 4.5.3 The Decision Maker in Authorial Processes -- 4.6 Postscript on Copyright and Contracts -- 4.6.1 On Contracts -- 4.6.1.1 Jesse Jagz -- 4.6.1.2 'X-Band' -- 4.6.2 On Copyright -- 4.7 Conclusion -- 5 Justifying Creative Autonomy within Copyright Discourse -- 5.1 Introduction 5.2 Canonical Articulations of Creative Autonomy within Human Rights and International Conventions -- 5.2.1 Freedom of Expression within Human Rights Law -- 5.2.2 The Right to Moral and Material Interests from Authorship -- 5.2.3 The Preservation of Autonomy and Diversity in Cultural Expression -- 5.3 Justification for Creative Autonomy in Deontological Theories -- 5.3.1 Justifying Creative Autonomy in Lockean Theory -- 5.3.2 The Kantian Concept of Creative Autonomy -- 5.3.3 Hegel on Creative Autonomy -- 5.3.4 Moral Rights as Distinct from Creative Autonomy -- 5.4 A Consequentialist Case for Creative Autonomy -- 5.4.1 Classical Utilitarian Thought -- 5.4.2 Theories on the Measurement of Utility -- 5.4.3 The Consequentialist Computation of Efficiency in Copyright -- 5.4.3.1 Incentives for Authors -- 5.4.3.2 Society's Access to Cultural Works -- 5.4.3.3 Creative Autonomy in the Consequentialist Formula for Efficiency in Copyright Law -- 5.5 Conclusion -- 6 Problems for Creative Autonomy in Copyright Law -- 6.1 Introduction: Anomalies in the Dynamics of Copyright Law -- 6.2 Pre-fixation -- 6.2.1 The Interval between Creation and Fixation -- 6.2.2 Problems for Performing Authors -- 6.3 Fixation: Its Definition and Impact on Authorship -- 6.3.1 The Insufficiency of Performers' Rights -- 6.3.2 Authorship of Sound Recordings -- 6.3.3 The Bargaining for Sound Recording Rights -- 6.4 Ineffective Restrictions on the Transmission of Moral Rights -- 6.5 Conclusion -- 7 Problems for Creative Autonomy in New Business Models -- 7.1 Introduction: New Music Platforms as Opportunities or Threats to Creative Autonomy -- 7.2 Television Talent Competitions -- 7.3 The Internet as an Aid or Hurdle for Performing Authors -- 7.4 The Nature and Effects of Multiple Rights '360' Deals -- 7.5 Conclusion -- 8 Problems for Creative Autonomy in Recording Contracts 8.1 Introduction -- 8.2 Assignments v Licences -- 8.3 Work-for-Hire Clauses in Recording Contracts -- 8.4 Unfair Bargaining Terms -- 8.4.1 Unfair Terms -- 8.4.2 Non-payment of Consideration: Controlled Composition Clauses -- 8.4.3 Ambiguous Terms -- 8.5 Conclusion -- 9 Strategic Policy and Legislative Recommendations for the Preservation of Creative Autonomy -- 9.1 Introduction -- 9.2 Policy Recommendations: Guidelines for Performing Authors -- 9.2.1 The Importance of Courting Public Sympathy -- 9.2.2 Copyright Education for Performing Authors -- 9.2.3 Guidelines for Performing Authors in Negotiations for Copyright Exploitation Contracts -- 9.2.4 Recording Studio Etiquette for the Performing Author -- 9.3 Legislative Recommendations: Reflecting the Importance and Fragility of Authorial Independence -- 9.3.1 Vesting Authorship of Sound Recordings in Performing Authors -- 9.3.2 Protecting Performing Authors' Creative Autonomy in Copyright Exploitation Contracts -- 9.3.3 The Practicality of Reintroducing the Reversion Clause -- 9.3.3.1 Economic Practicality -- 9.3.3.2 Inalienability -- 9.3.3.3 Restoring Creative Autonomy -- 9.3.3.4 Concluding Remarks on the Reversion Clause -- 9.3.4 The Importance of Implementing National Copyright Goals -- 9.4 Conclusion: Proposed Amendment Bill -- 10 Summary and Conclusions -- Bibliography -- Index |
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| id | DE-604.BV048223055 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T19:50:37Z |
| indexdate | 2024-07-10T09:32:27Z |
| institution | BVB |
| isbn | 9783030486945 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-033603788 |
| oclc_num | 1204061523 |
| open_access_boolean | |
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| psigel | ZDB-30-PQE |
| publishDate | 2020 |
| publishDateSearch | 2020 |
| publishDateSort | 2020 |
| publisher | Springer International Publishing AG |
| record_format | marc |
| spelling | Gani, Mary W. Verfasser aut Creative Autonomy, Copyright and Popular Music in Nigeria Cham Springer International Publishing AG 2020 ©2020 1 Online-Ressource (326 pages) txt rdacontent c rdamedia cr rdacarrier Description based on publisher supplied metadata and other sources Intro -- Foreword -- Acknowledgments -- Contents -- Abbreviations -- List of Statutes, Conventions, Directives, Decrees and Regulations -- Hansard -- US Congressional Reports -- List of Figures -- List of Tables -- 1 The Significance of Measuring Creative Autonomy for Copyright Law -- 1.1 Introduction to the Problem -- 1.2 Illustration of the Problem -- 1.2.1 Uniform Sounds and the Interplay between Creativity and Commerce -- 1.2.2 The 'Performing Author' and the Intersection between Creating and Performing a Work -- 1.2.3 Copyright and the Status Quo -- 1.3 Significance of this Book -- 1.4 Hypothesis and Sub-questions -- 1.5 Scope and Limitations -- 1.6 Sources and Materials Used -- 1.7 Methodology -- 1.7.1 Conceptualising a Framework for Measuring Creativity -- 1.7.2 Measuring Creative Autonomy -- 1.8 A Brief Overview of Copyright in Music -- 1.8.1 The Requirement of Originality under Copyright Law -- 1.8.2 An Overview of Authorial Economic Rights -- 1.8.3 Authorship and Ownership -- 1.8.4 Performers' Rights -- 1.9 Conclusion -- 2 The Traditional Structure of the Popular Music Industry, and the Performing Author's Role -- 2.1 Introduction -- 2.2 Defining Popular Music -- 2.3 The Traditional Structure of the Popular Music Industry -- 2.3.1 Executive Roles -- 2.3.1.1 Artiste and Repertoire (A& -- R) Agents -- 2.3.1.2 Record Label Executives -- 2.3.1.3 Music Publishing Executives -- 2.3.1.4 Promoters and Distributors -- 2.3.2 Creative Roles -- 2.3.2.1 Authors: Composers and Lyricists -- 2.3.2.2 Performers -- 2.3.2.3 The Performing Author -- 2.3.3 Independent Music and Producers -- 2.3.4 Collective Administration -- 2.4 Conclusion -- 3 The Unique Structure of the Nigerian Popular Music Industry -- 3.1 Introduction -- 3.2 The Structure and Development of the Nigerian Popular Music Industry 3.3 Undocumented, yet Formidable Distribution Networks-Alaba International Market -- 3.4 The Nigerian Copyright Commission and the Regulation of Collective Administration for Music -- 3.5 The Developments in the Genre of Afro-Pop Since the Mid-1990s -- 3.6 Conclusion -- 4 An Empirical Analysis of the Status of Performing Authors' Creative Autonomy -- 4.1 Introduction -- 4.1.1 Objectives and Methodology -- 4.2 Performing Authors -- 4.2.1 Performing Authors' Perspective on Music Authorship -- 4.2.1.1 Ideals in Song Writing -- 4.2.1.2 Concerns in the Authorial Process -- 4.2.1.3 The Impact of the 'Performing Author-Record Label' Relationship on the Creative Process -- 4.2.1.4 Numeric Effect of the Status Quo on Cultural Output -- 4.2.1.5 Methods of Choosing Songs for Release to the Public -- 4.2.1.6 Unveiling the Participants in the Authorial Process -- 4.2.1.7 Creative Control -- 4.2.2 Concerns Arising from Copyright Exploitation Contracts -- 4.2.3 Performing Authors' Perspective on Copyright Law in Nigeria -- 4.2.4 Anecdotal Concerns -- 4.2.5 Defining the Ideals of Creative Autonomy -- 4.3 Record Label Executives -- 4.3.1 On the Creative Process -- 4.3.2 On Recording Contracts -- 4.3.3 On Copyright Law -- 4.4 Observations from Stakeholders -- 4.4.1 On the Creative Process -- 4.4.2 On the Interactions between Record Labels Executives and Performing Authors -- 4.4.3 On Copyright Law -- 4.5 Comparative Observations from Entire Sample -- 4.5.1 Competing Concerns in Authorial Processes -- 4.5.2 On Copyright Law -- 4.5.3 The Decision Maker in Authorial Processes -- 4.6 Postscript on Copyright and Contracts -- 4.6.1 On Contracts -- 4.6.1.1 Jesse Jagz -- 4.6.1.2 'X-Band' -- 4.6.2 On Copyright -- 4.7 Conclusion -- 5 Justifying Creative Autonomy within Copyright Discourse -- 5.1 Introduction 5.2 Canonical Articulations of Creative Autonomy within Human Rights and International Conventions -- 5.2.1 Freedom of Expression within Human Rights Law -- 5.2.2 The Right to Moral and Material Interests from Authorship -- 5.2.3 The Preservation of Autonomy and Diversity in Cultural Expression -- 5.3 Justification for Creative Autonomy in Deontological Theories -- 5.3.1 Justifying Creative Autonomy in Lockean Theory -- 5.3.2 The Kantian Concept of Creative Autonomy -- 5.3.3 Hegel on Creative Autonomy -- 5.3.4 Moral Rights as Distinct from Creative Autonomy -- 5.4 A Consequentialist Case for Creative Autonomy -- 5.4.1 Classical Utilitarian Thought -- 5.4.2 Theories on the Measurement of Utility -- 5.4.3 The Consequentialist Computation of Efficiency in Copyright -- 5.4.3.1 Incentives for Authors -- 5.4.3.2 Society's Access to Cultural Works -- 5.4.3.3 Creative Autonomy in the Consequentialist Formula for Efficiency in Copyright Law -- 5.5 Conclusion -- 6 Problems for Creative Autonomy in Copyright Law -- 6.1 Introduction: Anomalies in the Dynamics of Copyright Law -- 6.2 Pre-fixation -- 6.2.1 The Interval between Creation and Fixation -- 6.2.2 Problems for Performing Authors -- 6.3 Fixation: Its Definition and Impact on Authorship -- 6.3.1 The Insufficiency of Performers' Rights -- 6.3.2 Authorship of Sound Recordings -- 6.3.3 The Bargaining for Sound Recording Rights -- 6.4 Ineffective Restrictions on the Transmission of Moral Rights -- 6.5 Conclusion -- 7 Problems for Creative Autonomy in New Business Models -- 7.1 Introduction: New Music Platforms as Opportunities or Threats to Creative Autonomy -- 7.2 Television Talent Competitions -- 7.3 The Internet as an Aid or Hurdle for Performing Authors -- 7.4 The Nature and Effects of Multiple Rights '360' Deals -- 7.5 Conclusion -- 8 Problems for Creative Autonomy in Recording Contracts 8.1 Introduction -- 8.2 Assignments v Licences -- 8.3 Work-for-Hire Clauses in Recording Contracts -- 8.4 Unfair Bargaining Terms -- 8.4.1 Unfair Terms -- 8.4.2 Non-payment of Consideration: Controlled Composition Clauses -- 8.4.3 Ambiguous Terms -- 8.5 Conclusion -- 9 Strategic Policy and Legislative Recommendations for the Preservation of Creative Autonomy -- 9.1 Introduction -- 9.2 Policy Recommendations: Guidelines for Performing Authors -- 9.2.1 The Importance of Courting Public Sympathy -- 9.2.2 Copyright Education for Performing Authors -- 9.2.3 Guidelines for Performing Authors in Negotiations for Copyright Exploitation Contracts -- 9.2.4 Recording Studio Etiquette for the Performing Author -- 9.3 Legislative Recommendations: Reflecting the Importance and Fragility of Authorial Independence -- 9.3.1 Vesting Authorship of Sound Recordings in Performing Authors -- 9.3.2 Protecting Performing Authors' Creative Autonomy in Copyright Exploitation Contracts -- 9.3.3 The Practicality of Reintroducing the Reversion Clause -- 9.3.3.1 Economic Practicality -- 9.3.3.2 Inalienability -- 9.3.3.3 Restoring Creative Autonomy -- 9.3.3.4 Concluding Remarks on the Reversion Clause -- 9.3.4 The Importance of Implementing National Copyright Goals -- 9.4 Conclusion: Proposed Amendment Bill -- 10 Summary and Conclusions -- Bibliography -- Index Copyright-Nigeria Erscheint auch als Druck-Ausgabe Gani, Mary W. Creative Autonomy, Copyright and Popular Music in Nigeria Cham : Springer International Publishing AG,c2020 9783030486938 |
| spellingShingle | Gani, Mary W. Creative Autonomy, Copyright and Popular Music in Nigeria Intro -- Foreword -- Acknowledgments -- Contents -- Abbreviations -- List of Statutes, Conventions, Directives, Decrees and Regulations -- Hansard -- US Congressional Reports -- List of Figures -- List of Tables -- 1 The Significance of Measuring Creative Autonomy for Copyright Law -- 1.1 Introduction to the Problem -- 1.2 Illustration of the Problem -- 1.2.1 Uniform Sounds and the Interplay between Creativity and Commerce -- 1.2.2 The 'Performing Author' and the Intersection between Creating and Performing a Work -- 1.2.3 Copyright and the Status Quo -- 1.3 Significance of this Book -- 1.4 Hypothesis and Sub-questions -- 1.5 Scope and Limitations -- 1.6 Sources and Materials Used -- 1.7 Methodology -- 1.7.1 Conceptualising a Framework for Measuring Creativity -- 1.7.2 Measuring Creative Autonomy -- 1.8 A Brief Overview of Copyright in Music -- 1.8.1 The Requirement of Originality under Copyright Law -- 1.8.2 An Overview of Authorial Economic Rights -- 1.8.3 Authorship and Ownership -- 1.8.4 Performers' Rights -- 1.9 Conclusion -- 2 The Traditional Structure of the Popular Music Industry, and the Performing Author's Role -- 2.1 Introduction -- 2.2 Defining Popular Music -- 2.3 The Traditional Structure of the Popular Music Industry -- 2.3.1 Executive Roles -- 2.3.1.1 Artiste and Repertoire (A& -- R) Agents -- 2.3.1.2 Record Label Executives -- 2.3.1.3 Music Publishing Executives -- 2.3.1.4 Promoters and Distributors -- 2.3.2 Creative Roles -- 2.3.2.1 Authors: Composers and Lyricists -- 2.3.2.2 Performers -- 2.3.2.3 The Performing Author -- 2.3.3 Independent Music and Producers -- 2.3.4 Collective Administration -- 2.4 Conclusion -- 3 The Unique Structure of the Nigerian Popular Music Industry -- 3.1 Introduction -- 3.2 The Structure and Development of the Nigerian Popular Music Industry 3.3 Undocumented, yet Formidable Distribution Networks-Alaba International Market -- 3.4 The Nigerian Copyright Commission and the Regulation of Collective Administration for Music -- 3.5 The Developments in the Genre of Afro-Pop Since the Mid-1990s -- 3.6 Conclusion -- 4 An Empirical Analysis of the Status of Performing Authors' Creative Autonomy -- 4.1 Introduction -- 4.1.1 Objectives and Methodology -- 4.2 Performing Authors -- 4.2.1 Performing Authors' Perspective on Music Authorship -- 4.2.1.1 Ideals in Song Writing -- 4.2.1.2 Concerns in the Authorial Process -- 4.2.1.3 The Impact of the 'Performing Author-Record Label' Relationship on the Creative Process -- 4.2.1.4 Numeric Effect of the Status Quo on Cultural Output -- 4.2.1.5 Methods of Choosing Songs for Release to the Public -- 4.2.1.6 Unveiling the Participants in the Authorial Process -- 4.2.1.7 Creative Control -- 4.2.2 Concerns Arising from Copyright Exploitation Contracts -- 4.2.3 Performing Authors' Perspective on Copyright Law in Nigeria -- 4.2.4 Anecdotal Concerns -- 4.2.5 Defining the Ideals of Creative Autonomy -- 4.3 Record Label Executives -- 4.3.1 On the Creative Process -- 4.3.2 On Recording Contracts -- 4.3.3 On Copyright Law -- 4.4 Observations from Stakeholders -- 4.4.1 On the Creative Process -- 4.4.2 On the Interactions between Record Labels Executives and Performing Authors -- 4.4.3 On Copyright Law -- 4.5 Comparative Observations from Entire Sample -- 4.5.1 Competing Concerns in Authorial Processes -- 4.5.2 On Copyright Law -- 4.5.3 The Decision Maker in Authorial Processes -- 4.6 Postscript on Copyright and Contracts -- 4.6.1 On Contracts -- 4.6.1.1 Jesse Jagz -- 4.6.1.2 'X-Band' -- 4.6.2 On Copyright -- 4.7 Conclusion -- 5 Justifying Creative Autonomy within Copyright Discourse -- 5.1 Introduction 5.2 Canonical Articulations of Creative Autonomy within Human Rights and International Conventions -- 5.2.1 Freedom of Expression within Human Rights Law -- 5.2.2 The Right to Moral and Material Interests from Authorship -- 5.2.3 The Preservation of Autonomy and Diversity in Cultural Expression -- 5.3 Justification for Creative Autonomy in Deontological Theories -- 5.3.1 Justifying Creative Autonomy in Lockean Theory -- 5.3.2 The Kantian Concept of Creative Autonomy -- 5.3.3 Hegel on Creative Autonomy -- 5.3.4 Moral Rights as Distinct from Creative Autonomy -- 5.4 A Consequentialist Case for Creative Autonomy -- 5.4.1 Classical Utilitarian Thought -- 5.4.2 Theories on the Measurement of Utility -- 5.4.3 The Consequentialist Computation of Efficiency in Copyright -- 5.4.3.1 Incentives for Authors -- 5.4.3.2 Society's Access to Cultural Works -- 5.4.3.3 Creative Autonomy in the Consequentialist Formula for Efficiency in Copyright Law -- 5.5 Conclusion -- 6 Problems for Creative Autonomy in Copyright Law -- 6.1 Introduction: Anomalies in the Dynamics of Copyright Law -- 6.2 Pre-fixation -- 6.2.1 The Interval between Creation and Fixation -- 6.2.2 Problems for Performing Authors -- 6.3 Fixation: Its Definition and Impact on Authorship -- 6.3.1 The Insufficiency of Performers' Rights -- 6.3.2 Authorship of Sound Recordings -- 6.3.3 The Bargaining for Sound Recording Rights -- 6.4 Ineffective Restrictions on the Transmission of Moral Rights -- 6.5 Conclusion -- 7 Problems for Creative Autonomy in New Business Models -- 7.1 Introduction: New Music Platforms as Opportunities or Threats to Creative Autonomy -- 7.2 Television Talent Competitions -- 7.3 The Internet as an Aid or Hurdle for Performing Authors -- 7.4 The Nature and Effects of Multiple Rights '360' Deals -- 7.5 Conclusion -- 8 Problems for Creative Autonomy in Recording Contracts 8.1 Introduction -- 8.2 Assignments v Licences -- 8.3 Work-for-Hire Clauses in Recording Contracts -- 8.4 Unfair Bargaining Terms -- 8.4.1 Unfair Terms -- 8.4.2 Non-payment of Consideration: Controlled Composition Clauses -- 8.4.3 Ambiguous Terms -- 8.5 Conclusion -- 9 Strategic Policy and Legislative Recommendations for the Preservation of Creative Autonomy -- 9.1 Introduction -- 9.2 Policy Recommendations: Guidelines for Performing Authors -- 9.2.1 The Importance of Courting Public Sympathy -- 9.2.2 Copyright Education for Performing Authors -- 9.2.3 Guidelines for Performing Authors in Negotiations for Copyright Exploitation Contracts -- 9.2.4 Recording Studio Etiquette for the Performing Author -- 9.3 Legislative Recommendations: Reflecting the Importance and Fragility of Authorial Independence -- 9.3.1 Vesting Authorship of Sound Recordings in Performing Authors -- 9.3.2 Protecting Performing Authors' Creative Autonomy in Copyright Exploitation Contracts -- 9.3.3 The Practicality of Reintroducing the Reversion Clause -- 9.3.3.1 Economic Practicality -- 9.3.3.2 Inalienability -- 9.3.3.3 Restoring Creative Autonomy -- 9.3.3.4 Concluding Remarks on the Reversion Clause -- 9.3.4 The Importance of Implementing National Copyright Goals -- 9.4 Conclusion: Proposed Amendment Bill -- 10 Summary and Conclusions -- Bibliography -- Index Copyright-Nigeria |
| title | Creative Autonomy, Copyright and Popular Music in Nigeria |
| title_auth | Creative Autonomy, Copyright and Popular Music in Nigeria |
| title_exact_search | Creative Autonomy, Copyright and Popular Music in Nigeria |
| title_exact_search_txtP | Creative Autonomy, Copyright and Popular Music in Nigeria |
| title_full | Creative Autonomy, Copyright and Popular Music in Nigeria |
| title_fullStr | Creative Autonomy, Copyright and Popular Music in Nigeria |
| title_full_unstemmed | Creative Autonomy, Copyright and Popular Music in Nigeria |
| title_short | Creative Autonomy, Copyright and Popular Music in Nigeria |
| title_sort | creative autonomy copyright and popular music in nigeria |
| topic | Copyright-Nigeria |
| topic_facet | Copyright-Nigeria |
| work_keys_str_mv | AT ganimaryw creativeautonomycopyrightandpopularmusicinnigeria |