Music and Copyright

PRELUDE
I.: Music and Copyright: The Search to Separate Idea from Expression
II.: The Rise of Copyright: A Brief Review
CHAPTER 1. THE COPYRIGHT LAW: AN OVERVIEW
I.: Basic Principles: An Introduction
II.: The Idea/Expression Dichotomy
III.: Filtration
IV.: A Sampling of Unprotectable Elements of Non-Musical Works
VI.: Lack of Jurisdiction: Extraterritorial Acts
CHAPTER 2. THE BASIC ELEMENTS OF MUSICAL LANGUAGE AND IDEAS: THE COPYRIGHT PERSPECTIVE
I.: Music as Language
II.: Copyright and the Components of Musical Language and Ideas
III.: The Limitations of Musicological Analysis a Solution: Context and Spirit
IV.: Musical Ideas and Expressions: A Sampling
CHAPTER 3. INFRINGEMENT AND THE COMMENCEMENT OF LITIGATION
I.: The Plaintiff
II.: The Defendant
CHAPTER 4. THE IMPORTANCE OF THE EXPERT: THE MUSICOLOGICAL EXPERT
I.: Infringement of Musical Works: The Importance of Expert Opinion and Guidance
II.: Music Infringement, The Courts and The Search for Answers
III.: Selecting the Expert
IV.: The Gatekeeper Role of the Court: The Daubert Hearing
V.: The Musicological Expert: Translator and Teacher of Musical Language
VI.: The Next Phase: Maintaining Contact with the Expert
CHAPTER 5. THE IMPORTANCE OF THE EXPERT: THE APPORTIONMENT EXPERT
I.: Historical Background and Rationale Underlying Apportionment
II.: The Apportionment Expert
III.Final Thoughts: Apportionment and the Tolerance of Imperfection
CHAPTER 6. BORROWING, THE ART OF PARODY AND OTHER EXERCISES IN FAIR USE
I.: The Origins and Uses of Parody and Satire
II.: Common Sense and Clarification: Campbell v. Acuff-Rose
III.: Parody In Literature, Motion Pictures and The Visual Arts
IV.: Musical Parody
V.: Satire in Literature and the Theatre
VI.: Satire in Music: Don Quixote, Richard Strauss and Mozart
VII.: The Convergence of Parody and Satire
VIII.: The Quotation
IX.: The Indirect Suppression of Parody, Satire and Quotation
X.: Non-Musical and Musical Equivalents A Brief Cadenza
XI.: Coda: The Obscenity/Pornography Syndrome
CHAPTER 7. DISCOVERY
I.: Discovery Tools and their Uses
II.: The Discovery Plan: Ultimate Facts and Controlling Authorities
III.: A Hypothetical Case Study: Tunesmith v. Crater
IV.: Interrogatories
V.: Requests for Admission
VI.: The Taking of Depositions
CHAPTER 8. MUSIC AND SUMMARY JUDGMENT
I.: Early History and The Anti-Summary Judgment Bias
II.: Celotex, Anderson and Matsushita: Clearing the Air
III.: Specific Grounds for Summary Judgment In Copyright Litigation
IV.: Preparing a Summary Judgment Motion
CHAPTER 9. COPYRIGHT AND MUSIC IN THE COURTROOM THE CASE OF BAXTER V. UNIVERSAL AND WILLIAMS
I.: Preparation for a Music Infringement Trial: Special Considerations
II.: The Theme for the Trial
III.: The Opening Statement and Closing Argument
IV.: A Note on Direct Examination
V.: A Note on Cross Examination
VI.: Jury Instructions and Special Verdicts
VII.: Motions During and After Trial
CHAPTER 10. POSTLUDE: BACK TO THE FUTURE
I.: The Impact of Modern Technology on Copyright Law
II.: The Plea for Non-Protectability