Library Catalogue
Music Borrowing and Copyright Law : (Record no. 212205)
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| 000 -LEADER | |
|---|---|
| fixed length control field | 05521cam a22002655i 4500 |
| 001 - CONTROL NUMBER | |
| control field | 23178003 |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20231123130950.0 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION | |
| fixed length control field | 230608s2023 vau 000 0 eng |
| 010 ## - LIBRARY OF CONGRESS CONTROL NUMBER | |
| LC control number | 2023940304 |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER | |
| International Standard Book Number | 9781509949380 |
| Qualifying information | (hardback) |
| 040 ## - CATALOGING SOURCE | |
| Original cataloging agency | DLC |
| Language of cataloging | eng |
| Description conventions | rda |
| Transcribing agency | DLC |
| 042 ## - AUTHENTICATION CODE | |
| Authentication code | pcc |
| 082 ## - DEWEY DECIMAL CLASSIFICATION NUMBER | |
| Classification number | 346.0482 |
| 245 00 - TITLE STATEMENT | |
| Title | Music Borrowing and Copyright Law : |
| Remainder of title | a genre-by-genre analysis / |
| Statement of responsibility, etc. | Enrico Bonadio, Chen Wei Zhu. |
| 263 ## - PROJECTED PUBLICATION DATE | |
| Projected publication date | 2312 |
| 264 #1 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE | |
| Place of production, publication, distribution, manufacture | Gordonsville : |
| Name of producer, publisher, distributor, manufacturer | Hart Publishing, An Imprint of Bloomsbury Publishing, |
| Date of production, publication, distribution, manufacture, or copyright notice | 2023. |
| 300 ## - PHYSICAL DESCRIPTION | |
| Extent | xviii, 464 pages |
| Dimensions | 22 cm |
| 336 ## - | |
| -- | text |
| -- | txt |
| -- | rdacontent |
| 365 ## - TRADE PRICE | |
| Price amount | Rs. 14798.00 |
| 505 ## - Contents | |
| Contents | Foreword, Paul Heald (University of Illinois, USA);<br/>Introduction: Music Borrowing and Copyright Law, Enrico Bonadio (City, University of London, UK) and Chen Wei Zhu (University of Birmingham, UK);<br/>Part I: Music Genres, Borrowing and Copyright;<br/>1. Defining Music Genres: Critical Issues with Music Taxonomies, Franco Fabbri (State University of Milan, Italy);<br/>2. A Brief History and Typology of Musical Borrowing and Reworking, J Peter Burkholder (Indiana University Jacobs School of Music, USA);<br/>3. Litigating Musical Universals and Particulars: Copyright Law's Ontological Struggle with Music Borrowing, Chen Wei Zhu (University of Birmingham, UK);<br/>4. We Can Work It Out: Methods in Forensic Musicology, Joe Bennett (Berklee College of Music, USA);<br/>5. Forensic Musicology in Action: A Personal Perspective, Guy Protheroe (Freelance Professional Musician, UK);<br/>6. Borrowing from Traditional Culture: Ownership and Commodification of Traditional Music from a Cultural Custodianship Perspective, Anthony CK Kakooza (Byenkya, Kihika & Co Advocates, Uganda);<br/>Part II: Analysing Music Genres and their Relationship with Copyright;<br/>Section A: General;<br/>7. Pop and the Musical Unconscious, Jose Bellido (University of Kent, UK);<br/>8. 'Do the Right Thing' or 'Fight the Power': Hip-Hop Music, Sampling and Copyright Law, Joyce Lee (NASCAR Media Ventures, USA) and Marc Mimler (City, University of London, UK);<br/>9. Understanding the Creative Processes, Musical Borrowing and Copyright Protection of the Electronic Dance Music Industry, Nicola Lucchi (University Pompeu Frabra of Barcelona, Spain);<br/>10. How Jazz Persists at the Periphery of Copyright, Katherine M Leo (Millikin University, USA);<br/>11. Confronting an Extractive Raciliased Genre System: Black Lives Matter, Royalty Recovery and Musical Reparations, Olufunmilayo B Arewa (Temple University, USA) and Matt Stahl (University of Western Ontario, Canada);<br/>12. 'Not like Pyrates': Borrowing, Copyright and Creativity in the Eighteenth Century, Ann van Allen-Russell (Royal College of Music, UK);<br/>Section B: Americas;<br/>13. Remix, Reuse and Reggae: Creativity and Copyright in Jamaican Music, Enrico Bonadio Bonadio (City, University of London, UK) and Bryan Khan (University of the West Indies, Trinidad and Tobago);<br/>14. Rhythm and Melody Sans Humanité: Copyright and the Development of Calypso Music, Bryan Khan (University of the West Indies, Trinidad and Tobago);<br/>15. Pholourie Bina Chutney: Copyright and Cultural Identity in Indo-Caribbean Music, Bryan Khan (University of the West Indies, Trinidad and Tobago);<br/>16. River Plate Tango: Appropriation, Borrowing and Innovation, Maximiliano Marzetti (É SEG School of Management, France);<br/>Section C: Europe;<br/>17. Ownership as Sharing: The Practices of Irish Folk Music, Luke McDonagh (London School of Economics, UK);<br/>18. Hungarian Musical Heritage Goes Viral – Hungarian Folk Music from a Copyright Perspective, Péter Mezei (University of Szeged, Hungary) and Gergely Békés (Attorney-at-law, Hungary);<br/>19. Flamenco Music, Borrowing Practices and the Limits of Copyright, Antoni Rubí-Puig (Universitat Pompeu Fabra, Spain);<br/>20. Canzone napoletana, Chanson française and Southern Italian Folk Music: Who Took from Whom? Giovanni Maria Riccio (University of Salerno, Italy);<br/>21. Greek Traditional Music: Creativity, Copyright and the Commons, Stavroula Karapapa (University of Essex, UK);<br/>Section D: Africa and Middle East;<br/>22. Israeli Music Genres: Appropriation and Borrowing as a Tool for National and Cultural Emergence and Structuring, Omri Rachum-Twaig (Tel Aviv University, Israel);<br/>23. Feel the Benga Beat: Music Borrowing and Copyright Law in Kenya, Marisella N Ouma (Africa University, Zimbabwe);<br/>24. The Many Facets of Borrowing and Creativity in South African Music, Tobias Schonwetter (University of Cape Town, South Africa) and Bram Van Wiele (University of Auckland Business School, New Zealand);<br/>Section E: Asia and Oceania;<br/>25. History, Functionality and Dignity: Traditional Chinese Music Borrowing and Copyright Protection in China, Tianxiang He (City University of Hong Kong, Hong Kong) and Jing Li (University of Birmingham, UK);<br/>26. Music Borrowing in the History of Japanese Music, Ryu Kojima (Kyushu University, Japan);<br/>27. Creation and the Dreamtime: Indigenous Music in Australia, Michael Blakeney (University of Western Australia, Australia);<br/>28. E tu, Stand Up: Copyright and Maori Music, Jonathan Barrett (Victoria University of Wellington Te Herenga Waka, New Zealand);<br/>Index. |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | "A ground-breaking evaluation of how copyright law influences, or is influenced by, musical creativity and borrowing practices within a rich diversity of music genres"-- |
| Assigning source | Provided by publisher. |
| 700 1# - ADDED ENTRY--PERSONAL NAME | |
| Personal name | Bonadio, Enrico, |
| Relator term | editor. |
| 700 1# - ADDED ENTRY--PERSONAL NAME | |
| Personal name | Zhu, Chen Wei, |
| Relator term | editor. |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) | |
| Source of classification or shelving scheme | Dewey Decimal Classification |
| Koha item type | BOOKs |
| Withdrawn status | Lost status | Source of classification or shelving scheme | Materials specified (bound volume or other part) | Damaged status | Not for loan | Home library | Current library | Shelving location | Date acquired | Cost, normal purchase price | Total Checkouts | Total Renewals | Full call number | Barcode | Date last seen | Date last checked out | Price effective from | Koha item type | Public note |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Dewey Decimal Classification | HB | NLS | NLS | REFERENCE SECTION | 23/11/2023 | 14798.00 | 2 | 3 | 346.0482 BON | 39374 | 02/06/2026 | 22/05/2026 | 23/11/2023 | BOOKs | Recommended by Dr. Arul George Scaria |