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Information, Communication & Society Volume 12, 2009 - Issue 2: Copyright, and the Production of Music
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ARTICLES

AUTHORSHIP OF POPULAR MUSIC IN UK COPYRIGHT LAW

Lionel Bently C.I.PI.L., Faculty of Law, University of Cambridge, 10 West Rd, Cambridge, CB3 9DZ, UK E-mail: [email protected]Correspondence[email protected]
Pages 179-204 | Published online: 17 Apr 2009

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Read on this site (3)

Richard Osborne. (2017) Is Equitable Remuneration Equitable? Performers’ Rights in the UK. Popular Music and Society 40:5, pages 573-591.
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Adam Behr, Keith Negus & John Street. (2017) The sampling continuum: musical aesthetics and ethics in the age of digital production. Journal for Cultural Research 21:3, pages 223-240.
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Paul Harkins. (2012) Extending the Term: The Gowers Review and the Campaign to Increase the Length of Copyright in Sound Recordings. Popular Music and Society 35:5, pages 629-649.
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Articles from other publishers (8)

Zhen Troy ChenZhen Troy Chen. 2021. China’s Music Industry Unplugged. China’s Music Industry Unplugged 147 180 .
Daniela Simone. 2019. Copyright and Collective Authorship. Copyright and Collective Authorship.
Ananay Aguilar. (2017) Distributed Ownership in Music. Social & Legal Studies 27:6, pages 776-798.
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John Street, Keith Negus & Adam Behr. (2017) Copy Rights: The Politics of Copying and Creativity. Political Studies 66:1, pages 63-80.
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Jose Bellido. (2016) Forensic Technologies in Music Copyright. Social & Legal Studies 25:4, pages 441-459.
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Phillip McIntyre, Janet Fulton & Elizabeth Paton. 2016. The Creative System in Action. The Creative System in Action 200 206 .
James Griffin. (2018) Copyright in music: a role for the principles of reverse engineering. Legal Studies 30:4, pages 653-673.
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Stephen Mulhaney‐Clements. (2010) The impacts of the differences between UK and US copyright laws for sound recordings on musicians. Management Decision 48:9, pages 1388-1399.
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