Full Description
The music business is a multifaceted, transnational industry that operates within complex and rapidly changing political, economic, cultural and technological contexts. The mode and manner of how music is created, obtained, consumed and exploited is evolving rapidly. It is based on relationships that can be both complimentary and at times confrontational, and around roles that interact, overlap and sometimes merge, reflecting the competing and coinciding interests of creative artists and music industry professionals. It falls to music law and legal practice to provide the underpinning framework to enable these complex relationships to flourish, to provide a means to resolve disputes, and to facilitate commerce in a challenging and dynamic business environment.
The Present and Future of Music Law presents thirteen case studies written by experts in their fields, examining a range of key topics at the points where music law and the post-digital music industry intersect, offering a timely exploration of the current landscape and insights into the future shape of the interface between music business and music law.
Contents
Foreword: Music Law: Music and the Law
Peter Hook, Joy Division, New Order, University of Central Lancashire, UK
Reflections by Tony Rigg, University of Central Lancashire, UK
Introduction: Music Law: Unravelling Complexities
Ann Harrison, Partner SSB Solicitors Ltd, University of Central Lancashire, UK and Tony Rigg, University of Central Lancashire, UK
Part I: Tensions Between the Rights of Copyright Owners and the Freedom to Create.
1. Copyright, Royalties and Industrial Decline
Richard Osborne, Middlesex University, UK
2. Sampling Practice: The Threat of Copyright Management to Its Future (and Past)
Justin Morey, Leeds Beckett University, UK
3. Emerging Frontiers: Platform regulation of mashups in and beyond an EU context
Alan Hui, University of Oslo, Norway
4. Music Copyright, Creators and Fans: Enemies or Friends in the Digital Domain?
Paul Oliver, Edinburgh Napier University, UK and Stefan Lalchev, University of West London, UK
5. Piracy Past, Present and Future & How the Recording Industry Can Disrupt, Mitigate and Innovate in Troubled Waters
James Brandes, Digital Copyright Consultancy, UK
Part II: Responding to the Needs of Music Business
6.Mediation and Arbitration: An Alternative Forum for Transnational Dispute Resolution in the Music Industries
Metka Potocnik, University of Wolverhampton, UK
7. The Acoustic Trademark
Katarzyna Krupa-Lipinska, Nicolaus Copernicus University, Poland
8. The Derivative Works Right and the Creative Epistemologies of the Other: Working towards a Legal Framework for Remix
Lesley Model, University of Sussex, UK
9. The U.S. Compulsory License; A Lesson in Technological Development and Legislation Shaping the Music Market
Ralph W Peer, Peermusic, USA
Part III: The Developing Commercial Landscape
10. Blockchain: Hero or Hindrance for the Music Industry from a Legal Perspective
Charlotte O'Mara, Partner Gunnercooke, UK
11.Greening the Live Music Industry
Teresa Moore, A Greener Festival, UK
12. Branding and Endorsement: The Growing Importance of Branding and the Developing Legal Framework
Emma Harding, Music Lawyer SSB Solicitors Ltd, UK
13. The Artist Manager Relationship
Jules O'Riordan, a.k.a. Judge Jules, DJ, Producer and Partner Sound Advice LLP, UK and Leslie Gillon, University of Central Lancashire, UK
![イブニング 2020年14号 [2020年6月23日発売]](../images/goods/ar2/web/eimgdata/EK-0870912.jpg)
