With recent cases such as the 'Blurred Lines' decision, the 'Dancing baby' case that has wrong footed Prince and Universal Music hitting the headlines, the ongoing litigation in the U.S about pre 1972 copyrights in sound recordings, and the recent debate on who should earn what from the digital 'pie', this new book, edited by Dr Andreas Rahmatian from the School of Law at the University of Glasgow, is timely, and the publicity tells us:
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.
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