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Music Borrowing and Copyright Law : a genre-by-genre analysis /
Music Borrowing and Copyright Law : a genre-by-genre analysis /
Enrico Bonadio, Chen Wei Zhu.
- xviii, 464 pages 22 cm
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);
Index.
"A ground-breaking evaluation of how copyright law influences, or is influenced by, musical creativity and borrowing practices within a rich diversity of music genres"--
9781509949380
2023940304
346.0482
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);
Index.
"A ground-breaking evaluation of how copyright law influences, or is influenced by, musical creativity and borrowing practices within a rich diversity of music genres"--
9781509949380
2023940304
346.0482
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