Nardi, C. (2012) Library music: technology, copyright and authorship. In: Moreno Fernández, S., El-Shawan Castelo-Branco, S., Roxo, P. and Iglesias, I. (eds.) Current Issues in Music Research: Copyright, Power and Transnational Music Processes. Lisboa: Colibri. pp. 73-83.
| Item Type: | Book Section |
|---|---|
| Abstract: | The increasing rationalisation of the culture industry, together with recent developments in studio equipment and network technology, have apparently contributed to an expansion of the use of music libraries in media production. A feature of library music is that musicians operate on a work-for-hire basis, which stipulates that, as the actual creator relinquishes any rights to the music, the hiring company becomes the legal author. Because of this, the regulation of library music disrupts the concept at the heart of an author’s right, reinstating a system of commissions while fixing the value of a musical piece once and for all on the basis of its use-value in the market. Drawing on the Marxian theory of alienation, I examine how the reorganisation of copyright in library music affects the roles of the actors and institutions involved in the process of music production, paying attention especially to the implications for authorship and the allocation of economic benefits. |
| Uncontrolled Keywords: | Library music, stock music, digitalisation, copyright, alienation |
| Subjects: |
Z Bibliography. Library Science. Information Resources > Z551 Copyright M Music and Books on Music > ML Literature on music > ML3790 Music trade M Music and Books on Music > ML Literature on music > ML3797 Musical research |
| Creators: | Nardi, Carlo |
| Editors: | Moreno Fernández, Susana, El-Shawan Castelo-Branco, Salwa, Roxo, Pedro and Iglesias, Iván |
| Publisher: | Colibri |
| Date: | 2012 |
| Date Type: | Publication |
| Page Range: | pp. 73-83 |
| Title of Book: | Current Issues in Music Research: Copyright, Power and Transnational Music Processes |
| Place of Publication: | Lisboa |
| Number of Pages: | 232 |
| Language: | English |
| ISBN: | 9789896892432 |
| Status: | Published / Disseminated |
| Refereed: | Yes |
| References: | Arthur, Christopher. 1986. Dialectics of Labour. Marx and his Relation to Hegel. Oxford: Basil Blackwell. Collins, Karen. 2002. ‘The Future is Happening Already’. Industrial Music, Dystopia and the Aesthetic of the Machine. PhD thesis, University of Liverpool. Curran Bernard, Sheila, and Kenn Rabin. 2008. Archival Storytelling. Oxford and Burlington, MA: Focal Press. Fabbri, Franco. 2003. “Taboo listening.” Paper presented at the conference Background listening and music composition, Barcelona, 28 February 2003. Foucault, Michel. 1969. “Qu'est-ce qu'un auteur?” Bulletin de la societe francaise de philosophie LXIII(3): 73-104. Goodwin, Andrew. 1992. “Rationalization and Democratization in the New Technologies of Popular Music,” in Popular Music and Communication, ed. James Lull. Newbury Park, CA: SAGE. 75-100. Johnson, Bruce, and Martin Cloonan. 2008. Dark Side of the Tune: Popular Music and Violence. Aldershot: Ashgate. Kassabian, Anahid. 1999. “Popular,” in Key Terms in Popular Music and Culture, eds. Bruce Horner; Thomas Swiss. Oxford: Blackwell. 113-123. Kassabian, Anahid. 2002. “Ubiquitous Listening,” in Popular Music Studies, eds. David Hesmondhalgh; Keith Negus. Oxford: Oxford University Press. 131-142. Lanza, Joseph. 1994 (20042). Elevator Music. A surreal History of Muzak, Easy-Listening, and Other Moodsong. Ann Arbor: The University of Michigan Press. Marconi, Luca. 2001. “Muzak, jingle, videoclips,” in Enciclopedia della musica, Vol. 1, eds. Jean-Jacques Nattiez et al.. Torino: Einaudi. 675-700. Marx, Karl. 1844 (1932). Ökonomisch-philosophische Manuskripte aus dem Jahre 1844. Moskau: Progress. Marx, Karl. 1858 (1939-41). Grundrisse der Kritik der politischen Ökonomie. Moskau: Verlag für Fremdsprachige Literatur. Marx, Karl. 1867. Das Kapital. Kritik der politischen Ökonomie. Hamburg: Meissner. Mészáros, István. 1970. Marx’s Theory of Alienation. New York: Harper Torch. Sterne, Jonathan. 1997. “Sounds Like the Mall of America: Programmed Music and the Architectonics of Commercial Space”. Ethnomusicology 41(1): 22-50. Tagg, Philip. 1982. “Nature as a Musical Mood Category.” IASPM Norden’s Working Paper Series. Göteborg: Institute of Musicology, University of Göteborg. Tagg, Philip. 1983. “Understanding Musical ‘Time Sense’ - Concepts, Sketches and Consequences,” in Tvärspel - Trettoien Artiklar om Musik, Various. Göteborg: Skrifter från Musikve-tenskapliga Institutionen. 21-43. Tagg, Philip, and Bob Clarida. 2003. Ten Little Title Tunes. Towards a Musicology of the Mass Media. New York & Montreal: The Mass Media Music Scholars’ Press. Théberge, Paul. 1989 “The ‘Sound’ of Music: Technological Rationalization and Production of Popular Music.” New Formations 8 (Summer): 99-111. Théberge, Paul. 1997. Any Sound You Can Imagine. Hanover & London: Wesleyan University Press of New England. Théberge, Paul. 2003. “‘Ethnic Sounds’: The Economy and Discourse of World Music Sampling,” in Music and Technoculture, eds. René Lysloff; Leslie Gay. Middletown, CT: Wesleyan University Press. 93-108. Weber, Max. 1921. Die Rationalen und soziologischen Grundlagen der Musik. München: Drei Masken Verlag. |
| URI: | http://nectar.northampton.ac.uk/id/eprint/4506 |
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