The Authorship of a Musical Work and the Position of a Music Arranger (Avtorstvo glasbenega dela in položaj glasbenega aranžerja)
The creation of the final form of a piece of popular music usually involves several people: the composer, the lyricist, the music arranger, performers, sound engineers, etc. The article explores under what conditions the contributions of these persons constitute co-authorship of a piece of music and...
Ausführliche Beschreibung
Gespeichert in:
| Autor*in: |
Matija Damjan [verfasserIn] |
|---|
| Format: |
E-Artikel |
|---|---|
| Sprache: |
Englisch ; Slowenisch |
| Erschienen: |
2015 |
|---|
| Schlagwörter: |
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| Übergeordnetes Werk: |
In: Zbornik Znanstvenih Razprav - University of Ljubljana, Faculty of Law, 2017, 75(2015), Seite 7-34 |
|---|---|
| Übergeordnetes Werk: |
volume:75 ; year:2015 ; pages:7-34 |
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DOAJ036709182 |
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The creation of the final form of a piece of popular music usually involves several people: the composer, the lyricist, the music arranger, performers, sound engineers, etc. The article explores under what conditions the contributions of these persons constitute co-authorship of a piece of music and discusses in which phase a musical work can be considered finished. The copyright status of a music arranger is discussed in particular, whose work is usually defined in theory as adaptation of existing musical works, whereas in the practice of Slovenian popular music, arrangers often act as co-authors of new original music. The last part of the article examines the rules on the duration of rights in musical works produced in co-authorship and discusses in what way the ownership and the duration of copyrights in musical works is affected by Directive 2011/77/EU, which sets out unified rules on the duration of rights in musical compositions with words. |
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The creation of the final form of a piece of popular music usually involves several people: the composer, the lyricist, the music arranger, performers, sound engineers, etc. The article explores under what conditions the contributions of these persons constitute co-authorship of a piece of music and discusses in which phase a musical work can be considered finished. The copyright status of a music arranger is discussed in particular, whose work is usually defined in theory as adaptation of existing musical works, whereas in the practice of Slovenian popular music, arrangers often act as co-authors of new original music. The last part of the article examines the rules on the duration of rights in musical works produced in co-authorship and discusses in what way the ownership and the duration of copyrights in musical works is affected by Directive 2011/77/EU, which sets out unified rules on the duration of rights in musical compositions with words. |
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The creation of the final form of a piece of popular music usually involves several people: the composer, the lyricist, the music arranger, performers, sound engineers, etc. The article explores under what conditions the contributions of these persons constitute co-authorship of a piece of music and discusses in which phase a musical work can be considered finished. The copyright status of a music arranger is discussed in particular, whose work is usually defined in theory as adaptation of existing musical works, whereas in the practice of Slovenian popular music, arrangers often act as co-authors of new original music. The last part of the article examines the rules on the duration of rights in musical works produced in co-authorship and discusses in what way the ownership and the duration of copyrights in musical works is affected by Directive 2011/77/EU, which sets out unified rules on the duration of rights in musical compositions with words. |
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<?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>01000caa a22002652 4500</leader><controlfield tag="001">DOAJ036709182</controlfield><controlfield tag="003">DE-627</controlfield><controlfield tag="005">20230503063937.0</controlfield><controlfield tag="007">cr uuu---uuuuu</controlfield><controlfield tag="008">230227s2015 xx |||||o 00| ||eng c</controlfield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-627)DOAJ036709182</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)DOAJ28a71c1f750b4bf8aedd8651d0ebe45b</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-627</subfield><subfield code="b">ger</subfield><subfield code="c">DE-627</subfield><subfield code="e">rakwb</subfield></datafield><datafield tag="041" ind1=" " ind2=" "><subfield code="a">eng</subfield><subfield code="a">slv</subfield></datafield><datafield tag="100" ind1="0" ind2=" "><subfield code="a">Matija Damjan</subfield><subfield code="e">verfasserin</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="4"><subfield code="a">The Authorship of a Musical Work and the Position of a Music Arranger (Avtorstvo glasbenega dela in položaj glasbenega aranžerja)</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="c">2015</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">Text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">Computermedien</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">Online-Ressource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">The creation of the final form of a piece of popular music usually involves several people: the composer, the lyricist, the music arranger, performers, sound engineers, etc. The article explores under what conditions the contributions of these persons constitute co-authorship of a piece of music and discusses in which phase a musical work can be considered finished. The copyright status of a music arranger is discussed in particular, whose work is usually defined in theory as adaptation of existing musical works, whereas in the practice of Slovenian popular music, arrangers often act as co-authors of new original music. The last part of the article examines the rules on the duration of rights in musical works produced in co-authorship and discusses in what way the ownership and the duration of copyrights in musical works is affected by Directive 2011/77/EU, which sets out unified rules on the duration of rights in musical compositions with words.</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">copyright law</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">music</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">arrangement</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">original work</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">derivative work</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">co-authorship</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">combined work</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">duration of rights</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">musical composition with words.</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">Law</subfield></datafield><datafield tag="653" ind1=" " ind2="0"><subfield code="a">K</subfield></datafield><datafield tag="773" ind1="0" ind2="8"><subfield code="i">In</subfield><subfield code="t">Zbornik Znanstvenih Razprav</subfield><subfield code="d">University of Ljubljana, Faculty of Law, 2017</subfield><subfield code="g">75(2015), Seite 7-34</subfield><subfield code="w">(DE-627)DOAJ000117560</subfield><subfield code="x">18543839</subfield><subfield code="7">nnns</subfield></datafield><datafield tag="773" ind1="1" ind2="8"><subfield code="g">volume:75</subfield><subfield code="g">year:2015</subfield><subfield code="g">pages:7-34</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doaj.org/article/28a71c1f750b4bf8aedd8651d0ebe45b</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">http://www.pf.uni-lj.si/media/zzr_2015_damjan.pdf</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="u">https://doaj.org/toc/1854-3839</subfield><subfield code="y">Journal toc</subfield><subfield code="z">kostenfrei</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_USEFLAG_A</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">SYSFLAG_A</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">GBV_DOAJ</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">SSG-OLC-PHA</subfield></datafield><datafield tag="951" ind1=" " ind2=" "><subfield code="a">AR</subfield></datafield><datafield tag="952" ind1=" " ind2=" "><subfield code="d">75</subfield><subfield code="j">2015</subfield><subfield code="h">7-34</subfield></datafield></record></collection>
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