A unique book about copyright in music written for artists, composers and people who are professionally involved in protecting their rights.
The relationship between copyright and music is sometimes referred to as a "marriage of convenience" because this relationship has never been well-chosen or as happy as it would have been. In his book Music in Copyright Grzegorz Mania, PhD Habil. – lawyer and pianist – explains the intricate paragraphs of the codes in an accessible way. Thanks to clear summaries and extensive practical threads, the book acquires a universal character – it is accessible not only for lawyers, but also composers, performers and all those who distribute music.
The in-depth analysis is not just about the rules themselves. In the first chapter, the author describes the phenomenon of music and its relationship with law in essayistic style. Music in copyright also raises issues regarding the problems of protection of micro-fragments of music, plagiarism and musical borrowings (arrangements, styling, variations, quotation, parody, pastiche, sampling and many other strategies).
Thanks to this unique book, you can learn, among other things, that:
- one of the extremely harmful beliefs is to determine the minimum number of notes, measures or seconds necessary to obtain protection: there are no quantitative criteria in the law that would allow to decide how many notes can be the same, how many notes can be borrowed and how many measures or seconds are protected ;
- it is not true to believe that someone else's work can be distributed, provided that it is done in your own arrangement;
- music is not created in a bubble, no work is free from influences, inspirations, not only social and cultural, but also musical baggage;
- plagiarism is a matter of the ear, not the eye. Music does not exist until the performance and its reception, so analyzing the text alone is not enough to determine the plagiarism.