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Steal this music : how intellectual property law affects musical creativity / Joanna Demers

Av:

Demers, Joanna

Utgivning: Athens, Georgia : University of Georgia Press, 2006Beskrivning: 178 sISBN:

0-8203-2777-8
978-0-8203-2777-8

Ämne:

Upphovsrätt för musik -- Förenta Staterna

DDK-klassifikation:

346.730482 22/swe

SAB-klassifikation:

Oeaea

Sammanfattning: Is music property? Under what circumstances can music be stolen? Such questions lie at the heart of Demers's look at how overzealous intellectual property (IP) litigation both stifles and stimulates musical creativity. A musicologist, industry consultant, and musician, Demers dissects works that have brought IP issues into the mainstream culture, such as DJ Danger Mouse's Grey Album and Mike Batt's homage-gone-wrong to John Cage's silent composition 4'33. Demers also discusses such artists as Ice Cube, DJ Spooky, and John Oswald, whose creativity is sparked by their defiant circumvention of licensing and copyright issues. Demers is concerned about the fate of transformative appropriation - the creative process by which artists and composers borrow from, and respond to, other musical works. In the United States, only two elements of music are eligible for copyright protection: the master recording and the composition (lyrics and melody) itself. Harmony, rhythm, timbre, and other qualities that make a piece distinctive are virtually unregulated.

Holdings ( 1 )
Title notes ( 1 )

Holdings
Item type	Current library	Call number	Materials specified	Copy number	Status	Date due	Barcode	Item holds
Book	Musik- och teaterbiblioteket Magasin A	C 9515		1	Available		26201809318

Total holds: 0

Is music property? Under what circumstances can music be stolen? Such questions lie at the heart of Demers's look at how overzealous intellectual property (IP) litigation both stifles and stimulates musical creativity. A musicologist, industry consultant, and musician, Demers dissects works that have brought IP issues into the mainstream culture, such as DJ Danger Mouse's Grey Album and Mike Batt's homage-gone-wrong to John Cage's silent composition 4'33. Demers also discusses such artists as Ice Cube, DJ Spooky, and John Oswald, whose creativity is sparked by their defiant circumvention of licensing and copyright issues. Demers is concerned about the fate of transformative appropriation - the creative process by which artists and composers borrow from, and respond to, other musical works. In the United States, only two elements of music are eligible for copyright protection: the master recording and the composition (lyrics and melody) itself. Harmony, rhythm, timbre, and other qualities that make a piece distinctive are virtually unregulated.