A Case Study of Public Domain Images on Wikipedia
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Music Law and Business: a Comprehensive Bibliography, 1982-1991 Gail I
Hastings Communications and Entertainment Law Journal Volume 13 | Number 4 Article 5 1-1-1991 Music Law and Business: A Comprehensive Bibliography, 1982-1991 Gail I. Winson Janine S. Natter Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Gail I. Winson and Janine S. Natter, Music Law and Business: A Comprehensive Bibliography, 1982-1991, 13 Hastings Comm. & Ent. L.J. 811 (1991). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol13/iss4/5 This Special Feature is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Music Law and Business: A Comprehensive Bibliography, 1982-1991* By GAIL I. WINSON** AND JANINE S. NArrER*** Table of Contents I. Law Review and Journal Articles ......................... 818 A . A ntitrust ............................................ 818 B. Bankruptcy .......................................... 819 C. Bibliographies ....................................... 819 D . Contracts ........................................... 819 1. M anagem ent ..................................... 821 2. Personal Service ................................ -
De Angelis Omnia Sunt Communia.Pdf
In Common The architects of our lives are divided. There are those who insist that there is still no alternative to neoliberalism. Despite the many crises it has provoked, they continue to push for compe- tition in every sphere of life, to widen the wealth gap, to ignore climate change and to pursue the steady dispossession of our rights and commonwealth. Then there are those advocating change, those who seek to persuade us that capitalism can be saved from itself. They conceal capitalism behind a human face. They tell us that environmental disaster can be averted through technological solutions. They say that deeply rooted social injustices can be cured with a little more economic growth. That we’ll be safer with more police on our streets. And yet, we know that capitalism is dying, that its lies have been unmasked, that its grip on our world and our lives is maintained only through expropriations, dependency and commodified desires. In Common is a collection of works that see an end to capitalism without apocalypse. It provides us with techniques for building another world, and it narrates practices of alternatives and theories of hope. It is a glimpse into our shared present, for a future in common. In Common is published by Zed Books under the creative commons license. You are free to share this material, transform and build upon it for non-commercial purposes. Series editor: Massimo De Angelis Already published: Stavros Stavrides, Common Space: The City as Commons Omnia Sunt Communia.indd 1 01/03/2017 14:04 Omnia Sunt Communia.indd 2 01/03/2017 14:04 Omnia Sunt Communia On the Commons and the Transformation to Postcapitalism Massimo De Angelis Zed Books LONDON Omnia Sunt Communia.indd 3 01/03/2017 14:04 Omnia Sunt Communia: Principles for the Transition to Postcapitalism was first published in 2017 by Zed Books Ltd, The Foundry, 17 Oval Way, London SE11 5RR, UK. -
Copyright Basics
PCC Print Center Sylvania Campus Copyright Basics 12000 SW 49th Ave, CC116 Portland, OR 97216 A Brief Overview of Copyright Law pcc.edu/printcenter & Best Practices Phone: 971-722-4670 PCC Written, Illustrated & Produced by: PANTHER Email: [email protected] PRESS The PCC Print Center Greetings Thank you for choosing the PCC Print Center for your print, design, and communication needs. We serve the PCC community and the greater Portland area. We are committed to the PCC mission and towards being good stewards of the taxpayer’s dollars. In doing this work, we must maintain a delicate balance between protecting the rights of copyright holders, fair use practices, and ensuring the taxpayer, PCC, and the students are not impacted by mistakes that can be avoided. In this booklet we will discuss the basics of copyright, best practices, and how you can respect and protect your own and someone else’s intellectual properties. Attention!! These materials are not a comprehensive overview of copyright law. There are many factors that need to be examined to make a clear judgment; such as different US Codes, international law, litigation rulings, and active cases that create a constantly evolving legal landscape. This is a reference guide to help identify Copyright concerns, offer best practices to avoid infringing on Copyrighted materials, as well as how to protect your own Intellectual Properties. This booklet is not a replacement for legal council from a certified professional. Any serious questions should be discussed with a licensed attorney. For more resources, information, questions about PCC’s copyright policy, or to report a copyright concern. -
Music in the Public Domain Free Download
Music in the public domain free download So you've scoured the internets in search of music recordings in the Public Domain and found bupkis If only someone would have gone out and. Royalty Free Music Resource. Free song downloads for your films, movie scores, Youtube videos, class projects, elevator, on hold, commercial & personal use.Orchestra Music · Royalty Free Music for · Royalty Free Instrumental · Jazz. Dan-O is a composer that offers his original songs for free download at Public domain music, video and other content can be used in any way. To find these songs, just click on the "Public Domain" box at the bottom Are you interested in sharing your music with us under the Public Domain dedication? The Free Music Archive offers free downloads under Creative. These recordings of Public Domain Hymns include beautiful contemporary arrangements as well as "straight from the hymn book" versions. If you need hymn. Here are seven sources for free public domain music that you can use to download great, free music. Expand your music collection, for free! Musopen is a non-profit offering free access to sheet music, royalty free public domain music recordings, and other music resources. Classic recordings ripped from 78 RPM vinyl records for you to enjoy as free, legal mp3s. No signup no spam just great music. Blues, folk, jazz, classical gems. Sources of free public domain, royalty free music. Google's YouTube audio library - free downloads for use in videos (not for audio redistribution or site. Listen to songs and albums by Public Domain Royalty Free Music, including "Deck the Halls, Christmas Song Instrumental (feat. -
Arrangements and Editions of Public Domain Music: Originally in a Finite System
Case Western Reserve Law Review Volume 34 Issue 1 Article 6 1983 Arrangements and Editions of Public Domain Music: Originally in a Finite System Ronald P. Smith Follow this and additional works at: https://scholarlycommons.law.case.edu/caselrev Part of the Law Commons Recommended Citation Ronald P. Smith, Arrangements and Editions of Public Domain Music: Originally in a Finite System, 34 Case W. Rsrv. L. Rev. 104 (1983) Available at: https://scholarlycommons.law.case.edu/caselrev/vol34/iss1/6 This Note is brought to you for free and open access by the Student Journals at Case Western Reserve University School of Law Scholarly Commons. It has been accepted for inclusion in Case Western Reserve Law Review by an authorized administrator of Case Western Reserve University School of Law Scholarly Commons. ARRANGEMENTS AND EDITIONS OF PUBLIC DOMAIN MUSIC: ORIGINALITY IN A FINITE SYSTEM* Copyright law seeks toprotect originality,in the context of derivativemusic, how- ever, courts have struggled to dfne originality. Hampered by unfamiliarity with musical terminology and basic compositional techniques, courts have gropedfor standardsof easy application. But originality is not amenable to bright line stan- dards. Indeed,stark distinctions between originalityand nonoriginalityare neither feasible nor responsible. This Note critiques existingjudicial standardsfor assessing the originalityof derivative works and offers suggestionsfor a moreflexible alloca- tion of copyright protection. It identoes the conflicting goals of copyright law-protecting a composer's originality while preserving the availability ofpublic domain music andideas--anddemonstrateshow those goals may be reconciled Fi- nally, the Note explores the benefts and limitations of expert testimony in musical copyright litigation, and shows how experts, without usurping the judicialfunction, can assist courts in reaching more sophisticateddecisions. -
The Need for More Certainty of Copyright Status for Classical Music Works Published Between 1925 and 1978*1
IF IT IS BAROQUE, FIX IT: THE NEED FOR MORE CERTAINTY OF COPYRIGHT STATUS FOR CLASSICAL MUSIC WORKS PUBLISHED BETWEEN 1925 AND 1978*1 I. INTRODUCTION Classical music is all around us. Although dismal concert attendance numbers suggest otherwise, classical music still has an important place in modern culture—from elevating emotions in film soundtracks to wooing consumers through television commercials.2 Edvard Grieg’s Peer Gynt appeared in a Coca-Cola commercial aired during the Pyeongchang 2018 Olympics.3 Advertising agencies have used Pyotr Ilyich Tchaikovsky’s famous 1812 Overture to sell products ranging from breakfast cereal to a drug that treats overactive bladder.4 Independence Day celebrations around the nation also frequently feature the piece.5 Nonclassical artists surreptitiously submerge classical works into popular music. The verse of Eric Carmen’s song “All by Myself,” also covered by Celine Dion,6 originates in Sergei Rachmaninoff’s Piano Concerto no. 2 in C Minor.7 Rapper Nas used Ludwig van Beethoven’s “Für Elise” throughout his song “I Can.”8 Nas also used Frédéric Chopin’s Étude in C Minor, op. 10, no. 12 in his song “A Queens Story.”9 Lady Gaga’s hit song “Alejandro” begins with Vittorio Monti’s Czardas,10 which itself comes from a traditional Hungarian folk dance.11 Ludacris’s song “Coming 2 America” cleverly and appropriately contains Antonín Dvořák’s Symphony no. 9 in E Minor, op. * Yunica Jiang, J.D. Candidate, Temple University Beasley School of Law, 2020. I would like to thank Professor Erika Douglas for her feedback, guidance, support, and encouragement throughout this process. -
The Digital Public Domain
THE DIGITAL PUBLIC DOMAIN THE DIGITAL PUBLIC DOMAIN21March.indd 1 3/26/12 3:22 PM Melanie Dulong de Rosnay is a researcher at the CNRS Institute for Communication Sciences and associated researcher at CERSA (CNRS University Paris 2) where she is Creative Commons France legal lead. In 2011 she co-founded Communia international association on the digital public domain, which she currently chairs. She works on comparative public policies for open access and on transformation of regulation introduced by distributed architectures. Juan Carlos De Martin is a Faculty Fellow at the Berkman Center for Internet & Society at Harvard University and co-director of the NEXA Center for Internet & Society at the Turin Polytechnic (Politecnico di Torino), Italy, which he co-founded in 2006. He is a Professor of Computer Engineering, with research interests focusing on digital media processing and transmission. De Martin also serves as a member of the Scientific Board of the Institute of the Italian Encyclopedia Treccani and of the Biennale Democrazia. THE DIGITAL PUBLIC DOMAIN21March.indd 2 3/26/12 3:22 PM The Digital Public Domain: Foundations for an Open Culture Edited by Melanie Dulong de Rosnay and Juan Carlos De Martin THE DIGITAL PUBLIC DOMAIN21March.indd 3 3/26/12 3:22 PM Open Book Publishers CIC Ltd., 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com © 2012 Melanie Dulong de Rosnay and Juan Carlos De Martin The articles of this book are licensed under a Creative Commons Attribution 3.0 unported license available at http://creativecommons.org/licenses/by/3.0/ This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work. -
COMMUNIA Final Report
Deliverable D.1.11 COMMUNIA Final Report ECP‐2006‐PSI‐610001 COMMUNIA http://COMMUNIA‐project.eu/ Final Report Deliverable number/name Deliverable D1.11: Final Report Dissemination level Public Delivery date March 31, 2011 Status FINAL VERSION TO REVIEWERS Main Author Giancarlo F. Frosio This document incorporates the results of several months of discussions among COMMUNIA members. The main author and the project coordinator wish to thank everyone who contributed, and particularly Lucie Guibault, Paul Keller, Séverine Dusollier and Patrick Peiffer whose comments and analyzes have greatly enhanced this text. eContentplus This project is funded under the eContentplus prograMMe,1 a Multiannual CoMMunity prograMMe to Make digital content in Europe More accessible, usable and exploitable. 1 O.J. L 79 (March 24, 2005), at 1. 1 Deliverable D.1.11 COMMUNIA Final Report 2 Deliverable D.1.11 COMMUNIA Final Report CONTENTS CONTENTS ............................................................................................................................................................ 3 COMMUNIA FINAL REPORT .................................................................................................................................. 7 WHAT IS THE PUBLIC DOMAIN? ........................................................................................................................... 7 THE VALUE OF THE PUBLIC DOMAIN FOR EUROPE ................................................................................................. 11 PUBLIC DOMAIN CHALLENGES -
Media – History
Matej Santi, Elias Berner (eds.) Music – Media – History Music and Sound Culture | Volume 44 Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the “Telling Sounds Project” as a postdoctoral researcher, investigating the use of music and discourses about music in the media. Elias Berner studied musicology at the University of Vienna and has been resear- cher (pre-doc) for the “Telling Sounds Project” since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah. Matej Santi, Elias Berner (eds.) Music – Media – History Re-Thinking Musicology in an Age of Digital Media The authors acknowledge the financial support by the Open Access Fund of the mdw – University of Music and Performing Arts Vienna for the digital book pu- blication. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. -
Copyright Infringement of Music: Determining Whether What Sounds Alike Is Alike
Vanderbilt Journal of Entertainment & Technology Law Volume 15 Issue 2 Issue 2 - Winter 2013 Article 1 2013 Copyright Infringement of Music: Determining Whether What Sounds Alike Is Alike Margit Livingston Joseph Urbinato Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Intellectual Property Law Commons Recommended Citation Margit Livingston and Joseph Urbinato, Copyright Infringement of Music: Determining Whether What Sounds Alike Is Alike, 15 Vanderbilt Journal of Entertainment and Technology Law 227 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol15/iss2/1 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. VANDERBILT JOURNAL OF ENTERTAINMENT AND TECHNOLOGY LAW VOLUME 15 WINTER 2013 NUMBER 2 Copyright Infringement of Music: Determining Whether What Sounds Alike Is Alike Margit Livingston* and Joseph Urbinato** ABSTRACT The standard for copyright infringement is the same across different forms of expression. But musical expression poses special challenges for courts deciding infringement disputes because of its unique attributes. Tonality in Western music offers finite compositional choices that will be pleasing or satisfying to the ear. The vast storehouse of existing public domain music means that many of those choices have been exhausted. Although independent creation negates plagiarism, the inevitable similarity among musical pieces within the same genre leaves courts in a quandary as to whether defendant composers infringed earlier copyrighted works or simply found their own way to a similar melody, harmony, rhythm, or formal structure. -
Music Copyright Law in the USA
www.rbs2.com/copyrm.pdf 21 Jul 2013 Page 1 of 22 Music Copyright Law in the USA Copyright 2008-2009 by Ronald B. Standler No copyright claimed for works of the U.S. Government. No copyright claimed for quotations from any source, except for selection of such quotations. Keywords cases, composer, composers, copying, copyright, copyrights, copyrighted, infringement, law, legal, music, musical, performance, performing, phonorecords, recording, recordings, sound, statute, students, teachers, USA, work, works Table of Contents Introduction . 2 Copyright for Sheet Music . 3 need permission . 4 duration of copyright for sheet music . 5 common issues for music and text . 8 famous cases involving copyright of sheet music . 9 Sound Recordings . 11 compulsory licenses . 12 duration of copyright for sound recordings . 13 limited rights for sound recordings . 14 famous cases on sound recordings . 16 Recordings That You Make . 17 personal, noncommercial use . 17 unauthorized recording of live performance . 18 recording your own performance . 18 do not distribute copyrighted recordings . 18 Terse History of Music Copyright . 19 Bibliography . 21 www.rbs2.com/copyrm.pdf 21 Jul 2013 Page 2 of 22 Introduction Most contemporary copyright law textbooks focus on text and computer programs, and ignore the special problems of copyrighting music. In Nov/Dec 2008, I wrote this essay for music students, music teachers, composers, and law students who want a terse description of copyright law for music. This essay focuses on special problems of copyright of published sheet music, and includes a brief sketch of copyright for recordings of performances of music. I am an attorney in Massachusetts who concentrates in copyright law — among other areas of law — especially in the contexts of teaching, scholarly research, the Internet, and protecting authors. -
Fair Use and Copyright for Online Education - Libguides @ URI at University of Rhode Island
2/25/2014 Fair Use and Copyright for Online Education - LibGuides @ URI at University of Rhode Island Fair Use and Copyright for Online Education Guide Information Last Feb 25, 2014 Guide Index Updated: Copyright Guide URL: http://uri.libguides.com/fairuse Fair Use Examples: Textual Materials Description: Presents copyright concerns regarding online instruction and offers Examples: Images guidance in applying fair use when appropriate. Examples: Video Tags: copyright, fair use, online courses, online education Examples: Sound Recordings RSS: Subscribe to Updates via RSS Fair Use Alternatives Additional Resources Copyright U.S. Constitution "The Congress shall have Power To... Promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their Respective Writings and Discoveries." — United States Constitution, Article I, Section 8, Clause 8 Title 17 U.S.C. Copyright law is found in Title 17 of the United States Code. United States Copyright Office In addition to the full text of the Copyright Law of the United States, a great deal of additional information on copyright can be found on the website of the United States Copyright Office. See, for example, Circular 1, Copyright Basics. Introduction This is a guide to applying the concept of fair use when seeking to use thirdparty copyrighted materials in online education. In cases where fair use does not apply, alternatives are suggested, for example using materials that are open access, that have open licenses, or that are in the public domain. It is also possible to purchase a license to use a work.