Technology, creative practice and copyright

Music and Copyright, Second Edition

Volumn , Issue , 2013, Pages 139-156

  Théberge, Paul ^a  

^a CARLETON UNIVERSITY   (Canada)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 85079314898     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4324/9780203036105-14     Document Type: Chapter

References (22)

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2. Campbell v. Acuff-Rose Music, Inc. (1994), 510 U.S. 569, 114 S.Ct. 1164.
3. Chanan, M. (1995), Repeated Takes: A Short History of Recording and its Effects on Music, London: Verso.
4. Demers, J. (2003), ‘Sampling the 1970s in hip-hop’, Popular Music 22 (1): 41-56.
5. Feld, S. (1994), ‘From schizophonia to schismogenesis: on the discourses and commodification practices of “World Music” and “World Beat”', in C. Keil and S. Feld (eds), Music Grooves, Chicago: University of Chicago Press, 257-89.
6. Fikentscher, K. (2003), '“There’s not a problem I can’t fix, ‘cause I can do it in the mix”: on the performative technology of 12-inch vinyl’, in R. Lysloff and L. Gay (eds), Music and Technoculture, Middletown: Wesleyan University Press, 290-315.
7. Frith, S. (1986), ‘Art vs technology. The strange case of popular music’, Media, Culture and Society 8(3): 263-80.
8. Grand Upright Music Ltd v. Warner Brothers Records, Inc. (1991), 780 F. Supp. 182 (S.D.N.Y.).
9. Harrison, K. (2002), ‘The Kwagiulth dancers: addressing intellectual property issues at Victoria’s first People’s Festival’, The World of Music 44 (1): 137-51.
10. Kealy, E. R. (1979), ‘From craft to art: the case of sound mixers and popular music’, Sociology of Work and Occupations 6 (1): 3-29.
11. McCaffrey, T. (1989), ‘Copyright okayed for synth patches’, Keyboard 15 (12): 24-5.
12. Mosher, J. (1989), '20th century music: the impoverishment in copyright law of a strategy of forms’, Intellectual Property Journal, 5 August: 51-70.
13. Newton v. Diamond (2002), 204 F. Supp. 2d 1244, 1256 (CD. Cal.).
14. Phillips, D. (2002), ‘Smells like teen booty’, The Guardian, 27 February.
15. Public Enemy (2002), Revolverlution, Koch Records, CD 8388.
16. Rojas, P. (2002), ‘Bootleg culture’, Salon.com, http://www.salon.com/tech/feature/2002/08/01/bootlegs/ [accessed 23 March 2003].
17. Ryan, M. (2003), ‘Mashups pair up unlikely musicians’, Chicago Tribune, 31 August: 8.
18. Schloss, J. G. (2004), Making Beats: The Art of Sample-Based Hip-Hop, Middletown: Wesleyan University Press.
19. Sloop, J. and Herman, A. (1998), ‘Negativland, outlaw judgements and the politics of cyberspace’, in T. Swiss (ed.), Mapping the Beat. Popular Music and Contemporary Theory, Maiden and Oxford: Blackwell Publishers, 291-311.
20. Straw, Will (1999), ‘Authorship’, in B. Horner and T. Swiss (eds), Key Terms in Popular Music and Culture, Maiden: Blackwell, 199-208.
21. Taylor, T. D. (2001), Strange Sounds: Music, Technology and Culture, New York: Routledge.
22. Theberge, P. (2003), '“Ethnic sounds”: the economy and discourse of World Music sampling’, in R. Lysloff and L. Gay (eds), Music and Technoculture, Middletown: Wesleyan University Press, 93-108.