Music Borrowing and Copyright Law: A Genre-by-Genre Analysis

Author: Enrico Bonadio; Chen Wei Zhu
Publisher: Hart Publishing
ISBN: 9781509949380
Published In: October 2023
Format: Hardback
Jurisdiction: U.K. ? Disclaimer:
Countri(es) stated herein are used as reference only

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Contents

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This ground-breaking book examines the multifaceted dynamics between copyright law and music borrowing within a rich diversity of music genres from across the world. It evaluates how copyright laws under different generic conventions may influence, or are influenced by, time-honoured creative borrowing practices.

Leading experts from around the world scrutinise a carefully selected range of musical genres, including pop, jazz, blues, hip-hop, electronic and dance, punk-rock and hardcore, choral and classical music, as well as a diversity of region-specific genres, such as flamenco, tango, Irish, Hungarian, Greek, Israeli, Arabic, Jamaican, Cuban, Maori, Australian aboriginal, African, Chinese, Indian, Sri Lankan, Vietnamese, Japanese, and Canadian music.

This genre-specific analysis builds on a theoretical section in which musicologists and lawyers offer their insights into fundamental issues concerning music genre categorisation, copyright's struggle with musical genres, and the typology of music borrowing practice under different generic conventions. The chapters are threaded together by a central theme, ie, that the cumulative nature of music creativity is precisely the result of collective bargaining processes among many “musicking” parties that have socially constructed creative music authorship under a rich mix of generic conventions.

Introduction, Enrico Bonadio (University of London, United Kingdom) and Chen Zhu (University of Birmingham, United Kingdom)

Part One: Music Genres, Borrowing and Copyright

1. Defining Music Genres: Critical Issues with Music Taxonomies, Franco Fabbri (University of Huddersfield, United Kingdom)

2. Copyright Law's Ontological Struggle with Music Borrowing, Chen Zhu (University of Birmingham, United Kingdom)

3. A Brief History and Typology of Musical Borrowing and Reworking, Peter Burkholder (Indiana University, United States of America)

4. We Can Work It Out: Methods in Forensic Musicology, Joe Bennett (Berklee College, United States of America)

5. Forensic Musicology in Action-A Personal Perspective, Guy Protheroe (English Chamber Choir, United Kingdom)

6. Borrowing from the Tradition: Ownership and Commodification of Traditional Music from the African Perspective, Anthony Kakooza (Uganda Christian University, Uganda)

Part Two: Analyzing Music Genres and their Relationships with Copyright

7. Pop Music, Jose Bellido (University of Kent, United Kingdom)

8. Hip-Hop, Marc Mimler (Bournemouth University, UK) and Joyce Lee (IP Attorney, United States of America)

9. Electronic and Dance Music, Nicola Lucchi (Pompeu Fabra University, Spain)

10. Jazz, Katherine Leo (Millikin University, United States of America)

11. Confronting an Extractive Racialized Genre System: Black Lives Matter, Royalty Recovery and Musical Reparations, Funmi Arewa (Temple University, United States of America) and Matt Stahl (University of Western Ontario, Canada)

12. Classical Music-'Not like Pyrates': Borrowing, Copyright and Creativity in the Eighteenth Century, Ann van Allen-Russell (Trinity Laban Conservatoire of Music and Dance, United Kingdom)

13. Remix, Reuse, And Reggae: Creativity And Copyright In Jamaican Music, Enrico Bonadio (University of London, United Kingdom) and Bryan Khan (University of the West Indies, Trinidad & Tobago)

14. Rhythm And Melody Sans Humanité: Copyright And The Development Of Calypso Music, Bryan Khan (University of the West Indies, Trinidad & Tobago)

15. Pholourie Bina Chutney: Copyright And Cultural Identity In Indo-Caribbean Music, Bryan Khan (University of the West Indies, Trinidad & Tobago)

16. Tango, Max Marzetti (IESEG School of Business, France)

17. Irish Folk Music, Luke McDonagh (London School of Economics and Political Science, United Kingdom)

18. Hungarian Folk Music, Peter Mezei (University of Szeged, Hungary) and Gergely Békés (Békés Law Firm, Hungary)

19. Flamenco, Antoni Rubí Puig (Universitat Pompeu Fabra, Spain)

20. Neapolitan Music, Giovanni Maria Riccio (University of Salerno, Italy)

21. Greek Traditional Music, Stavroula Karapapa (University of Essex, United Kingdom)

22. Israeli Traditional Music, Omri Rachum-Twaig (University of Tel Aviv, Israel)

23. Kenyan Music, Marisella Ouma (Africa University, Zimbabwe)

24. South African Music, Tobias Schonwetter (University of Cape Town, South Africa) and Bram Van Wiele (University of Auckland Business School, New Zealand)

25. Chinese Traditional Music, Tianxiang He (City University, Hong Kong) and Jing Li (Jinan University, China)

26. Indian Music, Nandita Saikia (Lawyer, India)

27. Japanese Traditional Music, Ryu Kojima (Kyushu University, Japan)

28. Indigenous Music of Australia, Michael Blakeney (University of Western Australia, Australia)

29. Maori Music, Jonathan Barrett (University of Auckland, New Zealand)