Music and Copyright Essay

3068 Words Oct 18th, 2008 13 Pages
Music has a powerful influence on society, like mass media and television. In our society today, music has the ability to define our culture. Many people around the world listen to music while driving, at work, doing housework, or even studying. Music may be seen as simple and unproblematic, but looking at the structure behind it is very important. One of the key features of music is music copyright and what that means to the music industry. Defining what this means in the historical context is of great significance. Music and copyright is a vital aspect of the music industry. The question that remains, however, is what happens with motivation or intension when samples of music are not originally controlled in a larger network. …show more content…
She mentions that if a copyright law is charged with protecting a particular arrangement of notes, then maybe copyright laws should protect the riffs, melodies, harmonies, etc., or all of them. It is of great importance to understand the meaning behind what this means by looking at copyright laws and what it means to the music industry. One characteristic of intellectual property rights is copyright. This means that it can be bought or sold like any other form of property (McCann 1998). McCann states that the creator of an artistic piece of work is the first owner of a copyright. The owner has the exclusive rights to do or to authorize anyone else to do certain things with the whole or any extensive part of the work. The author and or the creator is at the centre of the copyright paradigm as a separate and discrete body or entity. This is because the concept of the writer or composer is a special participant in the production process which is worthy of attention. Authorship is important within the context of copyright because as McCann points out: The ‘authorship’ concept, although highly visible in contemporary copyright law, usually appears as a focus of consensus rather than debate. ‘Authorship’, as deployed in texts and in cultural understandings, has been anything but a stable, inert foundation for the structure of copyright doctrine. Rather, the ideologically charged
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