The most complete guide to the law and business of music. Updated regularly to keep pace with a rapidly evolving industry.

(Berklee Press). Learn copyright essentials in order to succeed in today's music industry. With the free-form exchange of music files and musical ideas online, understanding copyright laws has become essential to career success in the new music marketplace. This cutting-edge, plain-language guide shows you how copyright law drives the contemporary music industry. Whether you are an artist, lawyer, entertainment Web site administrator, record label executive, student, or other participant in the music industry, this book will help you understand how copyright law affects you, helping you use the law to your benefit. Topics include basic copyright law, the Copyright Act, proper licenses for the legal online delivery of music, high profile court decisions related to copyright violations, using music on sites like MySpace and YouTube, and much more.

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.

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, hip-hop, jazz, blues, electronic and dance music, as well as a diversity of region-specific genres, such as Jamaican music, River Plate Tango, Irish folk music, Hungarian folk music, Flamenco, Indian traditional music, Australian indigenous music, Maori music and many others. This genre-conscious analysis builds on a theoretical section in which musicologists and lawyers offer their insights into fundamental issues concerning music genre categorisation, the typology of music borrowing and copyright law's ontological struggle with musical borrowing in theory and practice. The chapters are threaded together by a central theme, ie, that the cumulative nature of music creativity is the result of collective bargaining processes among many 'musicking' parties that have socially constructed creative music authorship under a rich mix of generic conventions.

This book analyzes regulatory models established in the field of online music distribution, and examines their consistency with the overarching objectives of copyright law. In order to do so, the book takes a deep dive into the provisions of international treaties, EU Directives as well as the German and US copyright systems and case law. It subsequently scrutinizes the identified regulatory models from the standpoint of the copyright’s objectives with regard to incentives, rewards, a level playing field, and dissemination. Lastly, it endorses the improved market-based statutory license as a preferable instrument in the online music field. The book is intended for all readers with an interest in music copyright law. Part I will especially benefit copyright scholars and practitioners seeking in-depth insights into the current legal situation regarding streaming and downloading. In turn, Part II will above all appeal to scholars interested in “law and economics” and in the theoretical foundations of online music copyright. Policy recommendations can be found in Part III.

Das Bildungsgesetz der spanischen Regierung aus dem Jahre 2013 (sp. LOMCE) gilt als Todesstoß für künstlerische Fächer an allgemein bildenden Schulen: Erst 1990 als Pflichtfach eingeführt, wird Musik nun nur noch als Wahlfach angeboten. Auch die Musiklehrerausbildung an den Hochschulen verzeichnet massive Einbußen. Besonders irritierend daran ist, dass die betroffenen Universitätsgremien zu dieser politischen Entscheidung nicht gehört wurden. Damit verschwindet in Spanien das Studienfach Lehramt Musik je nach Universität nach nicht einmal 18 bis 20 Jahren aus dem Studienangebot.

Presents a guide for those interested in pursuing a career in the performing arts, with advice and tips on assessing interests and skills, setting goals, planning career actions, searching for a job, networking, and pursuing success in the workplace.

Hearing is an intricate modality of sensory perception. It is continuously enfolded in the surroundings in which it takes place. While passive in its disposition, hearing is integral to the movement and fluctuations of one’s environment. At all times, hearing remains open, (in)active but attuned to the present and continuously immersed in the murmur of its background. A delicate perception that is always situated but fundamentally overarching and extended into the open. Hearing is an immanent modality of being in and with the world. Beyond the capacity of sensory perception, hearing is also the ultimate juridical act, a sense-making activity that adjudicates and informs the spatio-temporal acoustics of justice. This penultimate volume of ‘Law and the Senses’ gathers contributions from across different disciplines working on the relationship between law and hearing, the human vocalisations and non-human echolocations, the spatial and temporal conditions in which hearing takes place, as well as the forms of order and control that listening entails. Through notions and practices of improvisation and noise, attunement and audibility sonic spatiality and urban sonicity they explore, challenge and expand the structural and sensorial qualities of law. Moreover, they recognise how hearing directs us to perceiving and understanding the intrinsic acoustic sphere of simultaneous relations, which challenge and break the normative distinctions that law informs and maintains. In an attempt to hear the ambiguous, indefinable and unembodied nature of hearing, as well as its objects – sound and silence – this volume approaches hearing as both an ontological and epistemological device to think with and about law.

Acoustic Jurisprudence provides the first detailed study of the trial of Simon Bikindi, who was convicted by the International Criminal Tribunal for Rwanda of inciting genocide with his songs. Using Bikindi as a case study, the book develops the many relations between law and sound, and the importance of sound in legal practice more widely.