The Law of Musical Borrowing

2021 ◽  
Author(s):  
Michael W. Carroll
Keyword(s):  
Digital Technology ◽  
Copyright Infringement ◽  
Copyright Law ◽  
Fair Use ◽  
User Generated Content ◽  
Musical Borrowing ◽  
Online Platforms ◽  
The Law ◽  
Musical Creativity ◽  
Secondary Liability

Creating music often involves borrowing from preexisting sources. Copyright law applies to a range of common borrowing practices including sampling, remixing, linking, and creating user-generated content for online platforms. When analyzing musical borrowing, it is important to first establish what aspects of musical creativity copyright does and does not protect. A series of cases illustrate when the law identifies borrowing of unprotected aspects of prior works, such as musical ideas, common melodic sequences, and chord progressions. Other cases illustrate how the law also permits some borrowing of protected expression if the borrowing is fair use. Digital technology facilitates musical borrowing, and certain online practices such as posting hyperlinks to other musical sources are permitted unless the person posting the links knows that the link leads to infringing material, intends to encourage others to infringe or meets other requirements for secondary liability for copyright infringement.

The Law Enforcement Weakness of Songs and Musics Copyright Crimes

2021 ◽  
Vol 3 (1) ◽  
pp. 139-154
Author(s):  
Edi Tuahta Putra Saragih ◽  
Muhammad Citra Ramadhan ◽  
Isnaini Isnaini
Keyword(s):  
Law Enforcement ◽  
Research Method ◽  
Copyright Infringement ◽  
Copyright Law ◽  
Cultural Factor ◽  
Legal Research ◽  
The Real ◽  
The Law ◽  
Real Picture

This research aimed to: (a) obtain the forms of copyright infringement of songs and/or music (with or without lyrics); (b) understand the role of the police, in this case the Police Precinct, in the law enforcement; (c) identify the factors that influenced the law enforcement. The research method used the normative-empirical legal research, with the initial stages of specifying norms in order to get the proper picture, and then specifying empirical events in order to get the real picture. The research results showed several matters: 1) The forms of copyright infringement of songs and/or music (with or without lyrics) found included: the distribution of the works or the copies, the performances of the works, and the announcements of the works; 2) Police Precinct did notultimately carry out their role as a law enforcer for the copyright infringement of songs and/or music (with or without lyrics); and 3) The factors that influenced the law enforcement on the copyright infringement of songs and/or music (with or without lyrics), namely: legislation factor, in the matter of complaint offenses; law enforcement factor, in terms of the capacity of members; less supportive factor of facilities and infrastructure; legal awareness factor, in the problem of the lack of legal counseling; and cultural factor, related to the differences in norms in the copyright law between those in society and those in regulations. 

scholarly journals PERLINDUNGAN HAK CIPTA PADA BUKU ELEKTRONIK (E-BOOK) DI INDONESIA

2020 ◽  
Vol 8 (10) ◽  
pp. 1589
Author(s):  
Ida Ayu Lidya Nareswari Manuaba ◽  
Ida Ayu Sukihana
Keyword(s):  
Copyright Infringement ◽  
Copyright Law ◽  
License Agreement ◽  
Study Results ◽  
The Law ◽  
Object Of Study

Studi ini bertujuan untuk mengetahui pengaturan mengenai buku elektronik (e-book) menurut Undang-Undang Hak Cipta Nomor 28 Tahun 2014 yang selanjutnya disebut dengan UUHC, dan mengetahui bentuk penyelesaian sengketa yang dapat ditempuh apabila terjadi pelanggaran hak cipta pada buku elektronik (E-book). Studi ini menggunakan metode penelitian hukum normatif dengan memusatkan objek kajian pada UUHC. Hasil studi menunjukkan bahwa penjelasan dari Pasal 40 Ayat (1) huruf n UUHC secara implisit mengakui bahwa buku elektronik (E-book) merupakan salah satu ciptaan adaptasi yang dilindungi. Maka dari itu buku elektronik (E-book) adalah bentuk adaptasi atau pengalihwujudan dari buku cetak sehingga buku elektronik (E-book) harus dilindungi. Bagi orang lain yang ingin mengkonversi buku cetak menjadi buku elektronik (E-book) harus mendapatkan izin dari penciptanya melalui perjanjian lisensi yang dibuat oleh para pihak dan harus memenuhi syarat sahnya perjanjian sebagaimana diatur dalam Pasal 1320 KUHPer. Apabila terdapat pelanggaran hak cipta dalam penggandaan buku elektronik tanpa seizin Pencipta maka berdasarkan Pasal 95 Ayat (1) UUHC perkara tersebut dapat diselesaikan melalui pengadilan dan tanpa melalui pengadilan. Penyelesaian sengketa tanpa melalui pengadilan dapat dilakukan dengan cara arbitrase, mediasi, negosiasi, dan konsiliasi. Khusus untuk jalur pengadilan, hanya Pengadilan Niaga yang berwenang untuk menyelesaikan perkara dalam bidang hak cipta. This study aims to find out the law of e-book or e-book copyright based on Copyright Law Number 28 Year 2014 which known as UUHC and the forms of how to settled any cases that is used if the e-book copyright occurs. This study use normative law methods and focusing to UUHC as the object of study. The study results show that the explanation from Article 40 Paragraph (1) letter n of the UUHC implicity admit that e-book is one of protected adaptation creation. Therefore e-book can be interpreted as a form of aadaption or transformation of printed book so that e-book need to be protected. For those who want to convert a printed book into an e-book need the author permission through license agreement that made by each side and need to fulfill the legal terms of the agreement which regulated in Article 1320 BW. If there is a copyright infringement in duplicating books without the author permission, based on Article 95 Paragraph (1) UUHC this case can be settled by courts or without trial can be solved by arbitration, mediation, negotiation, and conciliation. Specifically for the case which can be settled by court, the court who own the authorization to settle the cases is Commercial Court.

scholarly journals Copyright’s Digital/Analog Divide

2016 ◽  
Author(s):  
Matthew Sag
Keyword(s):  
Copyright Infringement ◽  
Copyright Law ◽  
Fair Use ◽  
Cultural Participation ◽  
Private Interests ◽  
Private Control ◽  
Media Environments ◽  
The Many ◽  
Copyright Enforcement ◽  
Made In

This Article shows how the substantive balance of copyright law has beenovershadowed online by the system of intermediary safe harbors enacted aspart of the Digital Millennium Copyright Act (“DMCA”) in 1998. The Internetsafe harbors and the system of notice-and-takedown fundamentally changedthe incentives of platforms, users, and rightsholders in relation to claimsof copyright infringement. These different incentives interact to yield afunctional balance of copyright online that diverges markedly from theexperience of copyright law in traditional media environments. This articlealso explores a second divergence: the DMCA’s safe harbor system is beingsuperseded by private agreements between rightsholders and large commercialInternet platforms made in the shadow of those safe harbors. Theseagreements relate to automatic copyright filtering systems, such asYouTube’s Content ID, that not only return platforms to their gatekeepingrole, but encode that role in algorithms and software.The normative implications of these developments are contestable. Fair useand other axioms of copyright law still nominally apply online; but inpractice, the safe harbors and private agreements made in the shadow ofthose safe harbors are now far more important determinants of onlinebehavior than whether that conduct is, or is not, substantively incompliance with copyright law. The diminished relevance of substantivecopyright law to online expression has benefits and costs that appearfundamentally incommensurable. Compared to the offline world, onlineplatforms are typically more permissive of infringement, and more open tonew and unexpected speech and new forms of cultural participation. However,speech on these platforms is also more vulnerable to over-reaching claimsby rightsholders. There is no easy metric for comparing the value ofnon-infringing expression enabled by the safe harbors to that which hasbeen unjustifiably suppressed by misuse of the notice-and-takedown system.Likewise, the harm that copyright infringement does to rightsholders is noteasy to calculate, nor is it easy to weigh against the many benefits of thesafe harbors.DMCA-plus agreements raise additional considerations. Automatic copyrightenforcement systems have obvious advantages for both platforms andrightsholders; they may also allow platforms to be more hospitable tocertain types of user content. However, automated enforcement systems mayalso place an undue burden on fair use and other forms of non-infringingspeech. The design of copyright enforcement robots encodes a series ofpolicy choices made by platforms and rightsholders and, as a result,subjects online speech and cultural participation to a new layer of privateordering and private control. In the future, private interests, not publicpolicy will determine the conditions under which users get to participatein online platforms that adopt these systems. In a world wherecommunication and expression is policed by copyright robots, thesubstantive content of copyright law matters only to the extent that thosewith power decide that it should matter.Keywords: Copyright, DMCA, Infringement, Internet, Safe harbors,Enforcement, Fair use, Automation, Algorithms, Robots.

Copyright Law in the Digital Age

2004 ◽  
pp. 223-233 ◽  
Author(s):  
Jordan M. Blanke
Keyword(s):  
Digital Technology ◽  
Digital Age ◽  
Copyright Law ◽  
Public Knowledge ◽  
Court Cases ◽  
Current State ◽  
The Law

This chapter discusses the current state of copyright law with respect to works contained on different media. It traces the history and purpose of the law, while focusing on how digital technology has shaped its evolution. It describes how recent legislation and court cases have created a patchwork of law whose protection often varies depending upon the medium on which the work lies. The author questions whether some of the recent legislation has lost sight of the main purpose behind the copyright law, the promotion of learning and public knowledge.

scholarly journals COMPARATIVE STUDY OF IMPLICATION FOR IMPLEMENTING COPYRIGHT LAW AND BOOK LAW IN THE LIBRARY COLLECTION SERVICE

2019 ◽  
Vol 8 (2) ◽  
pp. 234
Author(s):  
Mohamad Pandu Ristiyono ◽  
Ratna Nurhayati
Keyword(s):  
Comparative Study ◽  
Research Method ◽  
Social Function ◽  
Copyright Law ◽  
Fair Use ◽  
Copyright Holder ◽  
Fair Dealing ◽  
Library Collection ◽  
The Social ◽  
The Law

This article examines the implication of Copyright Law and Book Law implementation <br />of the service in the library. The research method used is normative juridical legal. The<br />correlation between the Book Law, Law on Handover of Print and Recorded Works<br />and the Library Law, both are lex specialist derogate generalist of the Copyright<br />Law or not, according to the author is the adoption or depiction of the fair use and<br />fair dealing doctrine as which is the social function of copyright. The Copyright<br />Law provides protection for Author and Copyright Holder with exclusive rights to<br />be exploited. Related to the Law on Handover of Print and Record Works which<br />gives the obligation of the Author or Copyright Holder to deposit their work for the<br />purpose of preservation and other social purposes to the library which is regulated<br />in the Library Law

scholarly journals Die Verwendung von Bearbeitungen urheberrechtlich geschützter Werke

2019 ◽  
Author(s):  
Eliane Haas
Keyword(s):  
Copyright Law ◽  
Fair Use ◽  
Commercial Use ◽  
The Future ◽  
The Law ◽  
Feasible Solutions ◽  
The Right ◽  
Economic Function

This study deals with the phenomenon of derivative works and the challenges it poses to copyright law. The author shows how the law should meet these challenges in the future; in doing so, she takes a close look at the economic function of copyright law. As a first approach, the author examines whether extensive interpretation of existing Swiss copyright limitations, such as the parody exception or the right to cite, leads to feasible solutions. As a second approach, she outlines and assesses possible solutions de lege ferenda. Her focus here lies on a new exception for creative derivatives, a fair use exception and an exception for non-commercial use for Swiss copyright law.

Lessons in Copyright Activism

2016 ◽  
Vol 12 (1) ◽  
pp. 50-63 ◽  
Author(s):  
Renee Hobbs
Keyword(s):  
Digital Media ◽  
Teaching And Learning ◽  
Large Scale ◽  
Digital Rights Management ◽  
Copyright Law ◽  
Fair Use ◽  
Digital Learning ◽  
Pros And Cons ◽  
The Law ◽  
K 12

Digital learning is being transformed by changes in copyright law. This article discusses the author's personal journey as a copyright education activist through two rounds of rulemaking proceedings before the Copyright Office concerning the anti-circumvention provisions of one part of the copyright law, the Digital Millennium Copyright Act (DMCA), which is the law that exempts YouTube and other ISPs from liability from copyright claims and criminalizes the circumvention of digital rights management (DRM) software that protects DVDs from being copied. Every three years, petitioners can claim their rights have been compromised by the current law; the Copyright Office pores over the petitions, weighs the pros and cons, and then offers recommendations to the Librarian of Congress, who ultimately grants or denies the exemptions. The author was successful in expanding the rights of K-12 teachers to legally “rip” DVDs by using the Section 1201 rulemaking process, which is one of the only significant ways that educators can expand their rights to use copyrighted material for teaching and learning purposes. By asserting the rights of K-12 educators to circumvent encryption to make fair use of copy-protected DVDs and online digital media for teaching and learning, the law begins to move beyond the needs of large-scale content owners to include the rights of educators and students.

Consequences of the Nature of the Parody Exception

2019 ◽  
pp. 70-90
Author(s):  
Sabine Jacques
Keyword(s):  
Freedom Of Expression ◽  
Copyright Infringement ◽  
Copyright Law ◽  
Fair Use ◽  
Fair Dealing ◽  
Freedom Of Contract ◽  
Strict Interpretation ◽  
Legal Nature ◽  
The Right ◽  
And Function

This chapter examines the consequences of the nature and function of the parody exception in copyright law. It first explains the ‘mechanics’ behind the parody exception, particularly as a defence to copyright infringement, before discussing the legal nature of copyright exceptions and in relation to copyright and contract laws. It then addresses the question of whether copyright exceptions, especially the parody exception, amount to rights or are more akin to interests. It also considers the principle of strict interpretation as a rule of interpretation for the parody exception and reviews recent decisions that illustrate whether the user rights approach resulted in any noticeably broader interpretation of copyright exceptions. Finally, it explores the principles underpinning freedom of contract and how judges, notwithstanding the parody exception’s procedural label as a defence, assess fair use, fair dealing, or rules of the genre in light of the right to freedom of expression.

scholarly journals Urgensi Perubahan Delik Biasa Menjadi Delik Aduan dan Relevansinya terhadap Perlindungan dan Penegakan Hak Cipta

2019 ◽  
Vol 1 (2) ◽  
pp. 347-362 ◽  
Author(s):  
Hanafi Amrani
Keyword(s):  
Law Enforcement ◽  
Civil Rights ◽  
Active Role ◽  
Copyright Infringement ◽  
Copyright Law ◽  
Copyright Holder ◽  
The Law ◽  
The Right ◽  
Exclusive Right

This article discusses two main issues: first, what is the urgency of the change in nature of offences from ordinary offence to be complaint offence in the copyright law; second, how is the relevance of the change in the nature of the offense to protect and enforce copyright. The urgency of changes in offenses is usually an offense against complaints because copyright is an exclusive right that is personal and civil rights. This personal and civil right indicate the absolute right of the creator or the copyright holder to the results of their work, including the right to report or not to infringe their copyright. Therefore conceptually this personal and civilian nature emphasizes the alignment of mindset that the complaint offence is more appropriately applied to copyright infringement. Whereas the relevance of complaint offence for protection and enforcement of copyright can be seen from the significant role of the creator or copyright holder in the law enforcement process. The creator or copyright holder can play an active role in providing information and evidence of copyright infringement so that the law enforcement process becomes more effective and efficient. Abstrak Artikel ini membahas dua permasalahan pokok: pertama, apa urgensi perubahan delik biasa menjadi delik aduan dalam Undang-undang Hak Cipta; kedua, bagaimana relevansi perubahan sifat delik tersebut terhadap perlindungan dan penegakan hukum hak cipta. Urgensi perubahan delik biasa menjadi delik aduan adalah karena hak cipta merupakan hak eksklusif yang bersifat personal dan keperdataan. Sifat personal dan keperdataan ini mengindikasikan adanya hak mutlak dari pencipta atau pemegang hak cipta atas hasil karya ciptanya, termasuk hak untuk melaporkan atau tidak atas pelanggaran hak ciptanya. Oleh karena itu secara konseptual sifat personal dan keperdataan ini lebih mengedepankan keselarasan pola pikir bahwa delik aduan lebih tepat diterapkan terhadap pelanggaran hak cipta. Sedangkan relevansi delik aduan terhadap perlindungan dan penegakan hak cipta dapat dilihat dari peran yang signifikan dari pencipta atau pemegang hak cipta dalam proses penegakan hukum. Pencipta atau pemegang hak cipta dapat berperan aktif dalam memberikan keterangan dan bukti-bukti dari pelanggaran hak cipta tersebut sehingga proses penegakan hukum dapat berjalan lebih efektif dan efisien.

scholarly journals An Elegy for Greg Ham: Copyright Law, the Kookaburra Case, and Remix Culture

2013 ◽  
Vol 17 (2) ◽  
pp. 385 ◽  
Author(s):  
Matthew Rimmer
Keyword(s):  
Critical Evaluation ◽  
Copyright Infringement ◽  
Digital Economy ◽  
Copyright Law ◽  
Fair Use ◽  
Law Reform ◽  
Digital Sampling ◽  
Musical Works ◽  
Copyright Ownership

The Kookaburra case was a tragic and controversial copyright dispute, highlighting the need for copyright law reform by the Australian Parliament. In this case, a copyright action was brought by Larrikin Records against Men at Work, alleging copyright infringement by Down Under of the Kookaburra song composed by Marion Sinclair. The dispute raised a host of doctrinal matters. There was disquiet over the length of the copyright term. There were fierce contests as to the copyright ownership of the Kookaburra song. The litigation raised questions about copyright infringement and substantiality — particularly in relation to musical works. The case highlighted frailties in Australia’s regime of copyright exceptions. The litigation should spur the Australian Law Reform Commission to make recommendations for law reform in its inquiry, Copyright and the Digital Economy. This paper provides a critical evaluation of the options of a defence for transformative use; a defence for fair use; and statutory licensing. The paper also examines the question of appropriate remedies in respect of copyright infringement. The conclusion considers the implications of the Kookaburra case for other forms of musical works — including digital sampling, mash-ups, and creative remixes. It finishes with an elegy for Greg Ham — paying tribute to the multi-instrumentalist for Men at Work.

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