Collective Management of Rights in Musical Works and Sound Recordings: A Critique of the Copyright Society of Nigeria

2017 ◽  
Vol 48 (7) ◽  
pp. 838-863 ◽  
Author(s):  
Olugbenga Ajani Olatunji ◽  
Kayode Ibrahim Adam ◽  
Faith Oyetola Aboyeji
Keyword(s):  
Sound Recordings ◽  
Collective Management ◽  
Musical Works

2. Copyright

2017 ◽  
Author(s):  
Tim Press
Keyword(s):  
European Union ◽  
Public Interest ◽  
Copyright Law ◽  
Substantial Part ◽  
The European Union ◽  
Dramatic Works ◽  
Sound Recordings ◽  
Fair Dealing ◽  
The Public ◽  
Musical Works

This chapter defines copyright as arising whenever a work is created under qualifying conditions. The Copyright, Designs, and Patents Act 1988 (CDPA) defines eight types of work that fall under two categories: works that must be original or ‘authorial works’, including literary works, dramatic works, musical works, and artistic works; and works that need not be original or ‘entrepreneurial works’: films, sound recordings, broadcasts, and the typographical arrangement of published editions. Copyright is infringed by copying or communicating the whole or a substantial part of a work—referred to as primary infringement—or by dealing in infringing copies of a work-referred to as secondary infringement. There are some major and many minor defences to copyright infringement including the ‘fair dealing’ defences and the public interest. Many aspects of copyright law have been harmonized by the European Union.

From the gut? Questions on Artificial Intelligence and music

2020 ◽  
Vol 10 (4) ◽  
pp. 503-513
Author(s):  
Florian Koempel ◽  
Keyword(s):  
Artificial Intelligence ◽  
Copyright Protection ◽  
Music Industry ◽  
Training Process ◽  
Sound Recordings ◽  
Legal Requirement ◽  
Human Creativity ◽  
Musical Works ◽  
Youtube Videos ◽  
The Eu

AI applications are manifold in the music industry, both as tools assisting composers in creating and as music generating machines. AI applications assisting composers are widely used, for example in providing drum sequences or mastering services. AI-generated music is mainly used as production music, for example in synchronizing YouTube videos. Copyright implications relate initially to the use of existing works to train the computer, and secondly to the copyright protection for AI-generated musical works or sound recordings. This article firstly looks at the copyright acts involved in the training process in the EU, UK and US as well as potentially applicable exceptions. Secondly, it addresses the copyright position of AI-generated music and in particular the legal requirement of human creativity as the basis of copyright protection for musical works. The situation for sound recordings might be different.

scholarly journals Sync That Tune! The Role of Collective Management of Rights in Film Production and Distribution

2020 ◽  
pp. 273-290
Author(s):  
Rudolf Leška
Keyword(s):  
State Regulation ◽  
Global Organizations ◽  
Good Practices ◽  
Collective Management ◽  
Cross Border ◽  
Industry Standards ◽  
Musical Works ◽  
Film Producer ◽  
Production And Distribution

Abstract Whenever a film is produced and distributed, a license to use the music and sound recording may be needed. While the film producer usually owns the copyright in the film and underlying works or actors’ performances, responsibility for the clearance of rights in music and sound recordings remains largely on the shoulders of users (broadcasters, cinema operators, VOD platforms). They usually need to get a license through a CMO or directly from the rightsholder. In the case of musical works, the procedures are largely standardized, mainly in offline use. When it comes to licensing the rights for cross-border use online or when phonogram producers and performers are involved, the licensing situation becomes messy which introduces significant uncertainty into the market. Instead of advocating state regulation, the author pleads for the development of cross-border industry standards and procedures, good practices and reciprocal agreements between CMOs to be developed in a collaboration of global organizations representing rightsholders.

scholarly journals Protecting Creativity: Why Moral Rights Should be Extended to Sound Recordings under New Zealand Copyright Law

2001 ◽  
Vol 32 (1) ◽  
pp. 163
Author(s):  
Nicholas Stuart Wood
Keyword(s):  
New Zealand ◽  
Common Law ◽  
Civil Law ◽  
Music Industry ◽  
Copyright Law ◽  
Moral Rights ◽  
Sound Recordings ◽  
Rights Protection ◽  
Musical Works

Traditionally, moral rights have not extended to the creators of sound recordings under either common law or civil law systems. The somewhat outdated rationale of this exclusion of sound recordings from the ambit of moral rights protection was generally that sound recordings were merely mechanical reproductions of already existing musical works, and hence the recordings lacked sufficient creativity to make them worthy of moral rights protection. In 1996, the WIPO Performances and Phonograms Treaty sought to remedy this anomaly in copyright law by extending the moral rights of paternity and of integrity to performers whose performances are fixed in sound recordings.This paper argues that New Zealand should follow WIPO's lead and extend the moral rights provisions of the Copyright Act 1994 to sound recordings. The author argues that sound recordings are imbued with sufficient creativity to merit moral rights protection and that this protection should be granted not only to performers but to sound engineers and producers, who also contribute creatively to the recording. This paper examines how moral rights in relation to sound recordings might work in practice and what remedies should be available for breach of these rights. The author concludes that the extension of moral rights to sound recordings need not impact detrimentally on the music industry, as some commentators fear.

scholarly journals KEWAJIBAN PEMBAYARAN ROYALTI TERHADAP COVER LAGU MILIK MUSISI INDONESIA

2020 ◽  
Vol 8 (12) ◽  
pp. 1908
Author(s):  
Dewa Gede Jeremy Zefanya ◽  
Anak Agung Sri Indrawati
Keyword(s):  
Intellectual Property Rights ◽  
Research Method ◽  
Legal Protection ◽  
The Internet ◽  
Legal Research ◽  
Sound Recordings ◽  
Video Clips ◽  
Collective Management ◽  
Commercial Use ◽  
Legal Consequences

Tujuan dari penulisan ini untuk mengetahui pengaturan terkait dengan kewajiban pembayaran royalti terhadap perbuatan mengcover lagu musisi indonesia berdasarkan ketentuan Undang-Undang No. 28 Tahun 2014 tentang Hak Cipta dan akibat hukum yang ditimbulkan apabila para pihak menolak membayar royalti kepada musisi selaku pencipta lagu dan musik. Metode penelitian yang digunakan dalam tulisan ini adalah penelitian hukum normatif dengan menggunakan pendekatan perundang-undangan dan mengkaji dari literatur-literatur kepustakaan. Hasil studi menunjukkan bahwa perlindungan atas Hak Kekayaan Intelektual ini dilakukan dengan tujuan memberikan suatu penghargaan kepada kelompok atau perseorangan yang telah memberikan ide dan gagasannya dalam menciptakan sebuah karya Dalam perkembangannya, industri digital telah mengalami pasang surut khususnya yang dirasakan oleh para musisi. Musisi yang juga sekaligus sebagai pencipta, penyanyi, pemusik dan bahkan produser dari rekaman suara ataupun video klipnya dapat mendistribusikan karyanya bukan hanya melalui CD dan radio, namun juga dapat mengunggahnya ke media internet untuk dipublikasikan serta mendapatkan royalti. Penggunaan lagu secara komersial tidak dianggap sebagai pelanggaran Hak Cipta asalkan pengguna memenuhi kewajiban mereka berdasarkan perjanjian dengan Lembaga Manajemen Kolektif (LMK) untuk membayar lagu royalty berdasarkan pasal 87 ayat (4) Undang-Undang No.28 Tahun 2014 tentang Hak Cipta. LMK selaku penerima kuasa dari pencipta lagu memiliki kewenangan untuk melaporkan pihak (users) tersebut ke pihak yang berwenang bahwa telah terjadi pelanggaran penggunaan hak cipta lagu dan musik untuk kepentingan komersial. The purpose expected in this writing is to find out the legal protection regarding the obligation to pay royalties for covering songs by Indonesian musicians based on the provisions of Law no. 28 of 2014 concerning Copyright and the legal consequences that arise if the parties refuse to pay royalties to musicians as song and music composers. The research method used in this paper is normative legal research using a statutory approach and reviewing the literature literature. The results of the study show that the protection of Intellectual Property Rights is carried out with the aim of giving an award to groups or individuals who have given their ideas and ideas in creating a work. In its development, the digital industry has experienced ups and downs, especially those felt by musicians. Musicians who are also creators, singers, musicians and even producers of sound recordings or video clips can distribute their works not only via CD and radio, but can also upload them to the internet for publication and get royalties. Commercial use of songs is not considered a copyright infringement as long as users fulfill their obligations under the agreement with the Collective Management Institute (LMK) to pay for royalty songs based on article 87 paragraph (4) of Law No. 28 of 2014 concerning Copyright . LMK as the recipient of power from the songwriter has the authority to report the users to the authorities that there has been a violation of the use of song and music copyright for commercial purposes.

2. Copyright

2019 ◽  
pp. 11-38
Author(s):  
Tim Press
Keyword(s):  
European Union ◽  
Public Interest ◽  
Copyright Law ◽  
Substantial Part ◽  
The European Union ◽  
Dramatic Works ◽  
Sound Recordings ◽  
Fair Dealing ◽  
The Public ◽  
Musical Works

This chapter defines copyright as arising whenever a work is created under qualifying conditions. The Copyright, Designs, and Patents Act 1988 (CDPA) defines eight types of work that fall under two categories: works that must be original or ‘authorial works’, including literary works, dramatic works, musical works, and artistic works; and works that need not be original or ‘entrepreneurial works’: films, sound recordings, broadcasts, and the typographical arrangement of published editions. Copyright is infringed by copying or communicating the whole or a substantial part of a work—referred to as primary infringement—or by dealing in infringing copies of a work—referred to as secondary infringement. There are some major and many minor defences to copyright infringement including the ‘fair dealing’ defences and the public interest. Many aspects of copyright law have been harmonized by the European Union.

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