The music business is a multifaceted, transnational industry that operates within complex and rapidly changing political, economic, cultural and technological contexts. The mode and manner of how music is created, obtained, consumed and exploited is evolving rapidly. It is based on relationships that can be both complimentary and at times confrontational, and around roles that interact, overlap and sometimes merge, reflecting the competing and coinciding interests of creative artists and music industry professionals. It falls to music law and legal practice to provide the underpinning framework to enable these complex relationships to flourish, to provide a means to resolve disputes, and to facilitate commerce in a challenging and dynamic business environment.
The Present and Future of Music Law presents thirteen case studies written by experts in their fields, examining a range of key topics at the points where music law and the post-digital music industry intersect, offering a timely exploration of the current landscape and insights into the future shape of the interface between music business and music law.
Recenzijos
For anyone considering a career in music whether as songwriter, performer or working on the business side this book takes the reader through the myriad of legal issues and areas that one is likely to encounter today. The Present and Future of Music Law brings together both academic views and those of the legal practitioners who are currently working at the coalface of our industry providing clear legal perspective and examining the complexities and challenges that are inherent in the modern music industry. * Nigel Elderton, PRS Chairman and European President, Peermusic * This is a much-needed, illuminating book for both aspiring musicians and seasoned practitioners. Written by a refreshingly gender-equal selection of experienced music industry professionals, it illustrates in an accessible and engaging manner the important role law plays in the business of music, shaping a broad range of aspects such as artist management, live events and branding agreements. * Ananay Aguilar, Affiliated Researcher, Centre for Intellectual Property and Information Law, University of Cambridge, and co-editor of Remixing Music Studies: Essays in Honour of Nicholas Cook (2020) * This book will no doubt be very helpful to anyone working in the music industry. Understanding the topics covered in this book has never been more important, particularly for music makers. I wish we had had such a book when my career started. * Graham Massey, record producer, remixer, musician, artist and founding member of 808 State *
Daugiau informacijos
An edited collection addressing the current and emerging challenges and opportunities at the intersection between the music industry, law, and legal practice.
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| Special thanks must go to |
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| Editors and Foreword |
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| Foreword: Music law: Music and the law Peter Hook |
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| Reflection on the Foreword Tony Rigg |
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| Introduction: Music law: Unravelling complexities Tony Rigg and The perspective of a legal practitioner |
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1 | (26) |
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Part One Tensions between the rights of copyright owners and the freedom to create |
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1 Copyright, royalties and industrial decline |
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27 | (19) |
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2 Sampling practice: The threat of copyright management to its future (and past) |
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46 | (18) |
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3 Emerging frontiers: Platform regulation of mashups in and beyond an EU context |
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64 | (18) |
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4 Music copyright, creators and fans: Enemies or friends in the digital domain? |
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82 | (18) |
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5 Piracy: Past, present and future: How the recording industry can disrupt, mitigate and innovate in troubled waters |
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100 | (27) |
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Part Two Responding to the needs of the music business |
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6 Mediation and arbitration: An alternative forum for transnational dispute resolution in the music industries |
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127 | (21) |
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148 | (25) |
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8 The derivative work right and the creative epistemologies of the other: Working towards a legal framework for remix |
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173 | (17) |
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9 The US compulsory licence: A lesson in technological development and legislation shaping the music market |
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190 | (19) |
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Part Three The developing commercial landscape |
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10 Blockchain: Hero or hindrance for the music industry from a legal perspective |
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209 | (20) |
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11 Greening the live music industry |
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229 | (18) |
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12 Branding and endorsement: The growing importance of branding and the developing legal framework |
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247 | (16) |
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13 The artist/manager relationship |
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263 | (14) |
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| Index |
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Ann Harrison is a Consultant at SSB Solicitors Limited, a leading boutique law firm that specializes in music law, wider entertainment law, sponsorship and branding. She is a highly experienced lawyer who is well known across the UK music industry and regarded as expert in all aspects of music business contracts, copyright, protection of IP rights, et al. Ann is author of Music: The Business (8th Edition, 2021), the key textbook on all music business further education courses in the UK. She is a guest Lecturer at many UK higher education institutions and recipient of an Honorary Doctorate for services to music and education from the University of Central Lancashire, UK. Ann is recognised as a Leading Practitioner in the Chambers and Partners 2021 Legal Services Guide.
Tony Rigg is a Music Industry Advisor, Practitioner, Business Consultant, and Educator affiliated with the University of Central Lancashire, UK, where he leads the Master of Arts Programme in Music Industry Management. He has occupied senior management roles in market-leading organizations including Operations Director for Ministry of Sound, overseen the management of more than one hundred music venues and delivered thousands of music events. As an artist/ producer he has a chart pedigree with tracks featured on chart-topping and gold-selling albums. Notable publications include Popular Music in the Post-digital Age: Politics, Economy, Culture and Technology (2018), The Future of Live Music (2020) and The Evolution of Electronic Dance Music (2021), which he co-edited with Ewa Mazierska and Les Gillon and The Present and Future of Music Law (2021), which he co-edited with Ann Harrison.
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