000			05521cam a22002655i 4500
001			23178003
005			20231123130950.0
008			230608s2023 vau 000 0 eng
010			_a 2023940304
020			_a9781509949380 _q(hardback)
040			_aDLC _beng _erda _cDLC
042			_apcc
082			_a346.0482
245	0	0	_aMusic Borrowing and Copyright Law : _ba genre-by-genre analysis / _cEnrico Bonadio, Chen Wei Zhu.
263			_a2312
264		1	_aGordonsville : _bHart Publishing, An Imprint of Bloomsbury Publishing, _c2023.
300			_axviii, 464 pages _c22 cm
336			_atext _btxt _2rdacontent
365			_bRs. 14798.00
505			_aForeword, Paul Heald (University of Illinois, USA); Introduction: Music Borrowing and Copyright Law, Enrico Bonadio (City, University of London, UK) and Chen Wei Zhu (University of Birmingham, UK); Part I: Music Genres, Borrowing and Copyright; 1. Defining Music Genres: Critical Issues with Music Taxonomies, Franco Fabbri (State University of Milan, Italy); 2. A Brief History and Typology of Musical Borrowing and Reworking, J Peter Burkholder (Indiana University Jacobs School of Music, USA); 3. Litigating Musical Universals and Particulars: Copyright Law's Ontological Struggle with Music Borrowing, Chen Wei Zhu (University of Birmingham, UK); 4. We Can Work It Out: Methods in Forensic Musicology, Joe Bennett (Berklee College of Music, USA); 5. Forensic Musicology in Action: A Personal Perspective, Guy Protheroe (Freelance Professional Musician, UK); 6. Borrowing from Traditional Culture: Ownership and Commodification of Traditional Music from a Cultural Custodianship Perspective, Anthony CK Kakooza (Byenkya, Kihika & Co Advocates, Uganda); Part II: Analysing Music Genres and their Relationship with Copyright; Section A: General; 7. Pop and the Musical Unconscious, Jose Bellido (University of Kent, UK); 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); 9. Understanding the Creative Processes, Musical Borrowing and Copyright Protection of the Electronic Dance Music Industry, Nicola Lucchi (University Pompeu Frabra of Barcelona, Spain); 10. How Jazz Persists at the Periphery of Copyright, Katherine M Leo (Millikin University, USA); 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); 12. 'Not like Pyrates': Borrowing, Copyright and Creativity in the Eighteenth Century, Ann van Allen-Russell (Royal College of Music, UK); Section B: Americas; 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); 14. Rhythm and Melody Sans Humanité: Copyright and the Development of Calypso Music, Bryan Khan (University of the West Indies, Trinidad and Tobago); 15. Pholourie Bina Chutney: Copyright and Cultural Identity in Indo-Caribbean Music, Bryan Khan (University of the West Indies, Trinidad and Tobago); 16. River Plate Tango: Appropriation, Borrowing and Innovation, Maximiliano Marzetti (É SEG School of Management, France); Section C: Europe; 17. Ownership as Sharing: The Practices of Irish Folk Music, Luke McDonagh (London School of Economics, UK); 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); 19. Flamenco Music, Borrowing Practices and the Limits of Copyright, Antoni Rubí-Puig (Universitat Pompeu Fabra, Spain); 20. Canzone napoletana, Chanson française and Southern Italian Folk Music: Who Took from Whom? Giovanni Maria Riccio (University of Salerno, Italy); 21. Greek Traditional Music: Creativity, Copyright and the Commons, Stavroula Karapapa (University of Essex, UK); Section D: Africa and Middle East; 22. Israeli Music Genres: Appropriation and Borrowing as a Tool for National and Cultural Emergence and Structuring, Omri Rachum-Twaig (Tel Aviv University, Israel); 23. Feel the Benga Beat: Music Borrowing and Copyright Law in Kenya, Marisella N Ouma (Africa University, Zimbabwe); 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); Section E: Asia and Oceania; 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); 26. Music Borrowing in the History of Japanese Music, Ryu Kojima (Kyushu University, Japan); 27. Creation and the Dreamtime: Indigenous Music in Australia, Michael Blakeney (University of Western Australia, Australia); 28. E tu, Stand Up: Copyright and Maori Music, Jonathan Barrett (Victoria University of Wellington Te Herenga Waka, New Zealand); Index.
520			_a"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"-- _cProvided by publisher.
700	1		_aBonadio, Enrico, _eeditor.
700	1		_aZhu, Chen Wei, _eeditor.
942			_2ddc _cBK
999			_c212205 _d212205