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Journal articles on the topic 'Music – Law and legislation'

Author: Grafiati

Published: 1 July 2021

Last updated: 29 July 2025

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1

Manning, Dwight, and Marilia Kamil. "New legislation in Brazilian music education: Studying the law and its implementation." International Journal of Music Education 35, no. 1 (2016): 79–92. http://dx.doi.org/10.1177/0255761415619422.

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In 2008, Brazilian legislators approved a law that added music on a mandatory basis to the basic national school curriculum. Despite the possibilities afforded by this legislation, music educators affirm that many questions remain due to its ambiguity. Given the 2012 deadline for the implementation of this law, there is a need to understand how it was enacted across diverse settings. This study considers the implementation from the perspective of music teachers. Thus, in this interview study, we seek to understand the status of music education throughout the country according to the perspectiv

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2

Polishchuk, Artem. "Consideration of intellectual property law in the context of European Union practice." Law. Human. Environment 15, no. 1 (2024): 70–84. http://dx.doi.org/10.31548/law/1.2024.70.

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The development of effective legislation on intellectual property in the context of shaping a digital society is an important issue for ensuring the stable development of innovation and protecting creators’ rights. The aim of the work is to analyse the constitutional and international principles of legislative regulation in the field of intellectual property law in the European Union to improve its legal regulation in Ukraine. The scientific basis was the application of the dialectical method as a way to delve deeper into the issues of intellectual property law, as well as the use of methods s

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3

Mills, Sherylle. "Indigenous Music and the Law: An Analysis of National and International Legislation." Yearbook for Traditional Music 28 (1996): 57. http://dx.doi.org/10.2307/767807.

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4

Alex, Richsyon Nunumete. "Musik, Aspek Hukun dan Etika Bisnis." Dewaruci 9, no. 1 (2022): 47–59. https://doi.org/10.5281/zenodo.6984255.

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<em>This study aims to present how the music is protected by the state through legislation in law or business ethics in music entertainment. Legally music can be used as media for the commission of a crime, both in terms of the employment contract, pornography, licensing, taxation, intellectual property rights. The study used a qualitative approach. Data was collected through in-depth interviews, and literature. The study results show how the state cares so much to its citizens, ranging from the right to life, until the wealth is intangible intellectual property. The law was designed in detail

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5

Parkhomenko, Iryna. "THE FUNCTIONING OF THE MUSIC INDUSTRY IN CONTEMPORARY UKRAINE: FROM CONCERT TO COPYRIGHT." UKRAINIAN CULTURAL STUDIES, no. 1(12) (2023): 88–93. http://dx.doi.org/10.17721/ucs.2023.1(12).19.

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The relevance of the research lies in the need to determine the fundamental principles of the functioning of the music industry in contemporary Ukraine, as reflected in its policies and legislation, as Ukrainian artists continue to actively create music products despite the ongoing armed conflict. Artists in Ukraine require transparent mechanisms for generating their own income, based on a coordinated system of legislation. The article explores the fundamental principles of the functioning of the music industry in contemporary Ukraine, as reflected in Ukraine's cultural policy and legislation,

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Anamela, Tawila, Chisomo Kalifungwa, Chaponga Nguluwe, and Mildred Chuunga Muhyila. "A Comparative Analysis of Copyright Laws Governing Music Streaming in Zambia, Kenya, and the United States." Journal of Modern Law and Policy 4, no. 3 (2024): 90–108. http://dx.doi.org/10.47941/jmlp.2302.

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Purpose: To evaluate the adequacy of Zambia's domestic copyright law in protecting digital songs and their creators within the context of modern music streaming platforms. Methodology: A qualitative desk research approach was employed, analyzing existing Zambian copyright legislation and comparing it to relevant laws in Kenya and the United States. Findings: The study found that Zambia's copyright law is ill-equipped to protect digital songs and their creators in the digital age. The law does not explicitly address digital music streaming, leaving artists and copyright owners vulnerable to exp

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Saragih, Edi Tuahta Putra, Muhammad Citra Ramadhan, and Isnaini Isnaini. "The Law Enforcement Weakness of Songs and Musics Copyright Crimes." Jambura Law Review 3, no. 1 (2021): 139–54. http://dx.doi.org/10.33756/jlr.v3i1.7710.

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This research aimed to: (a) obtain the forms of copyright infringement of songs and/or music (with or without lyrics); (b) understand the role of the police, in this case the Police Precinct, in the law enforcement; (c) identify the factors that influenced the law enforcement. The research method used the normative-empirical legal research, with the initial stages of specifying norms in order to get the proper picture, and then specifying empirical events in order to get the real picture. The research results showed several matters: 1) The forms of copyright infringement of songs and/or music

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8

Röschenthaler, Ute. "Streaming platforms and the music industry crisis in Cameroon." Journal of Legal Anthropology 7, no. 2 (2023): 42–67. http://dx.doi.org/10.3167/jla.2023.070203.

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Abstract Cameroon's music sector has been reinvigorated by a new generation of musicians and by locally created and international streaming platforms. Arguing that these streaming platforms have the potential to mitigate the music industry piracy crisis of the 1990s and 2000s, this article examines the recent developments on the Cameroonian music market, the positions of the various stakeholders in the music business, the twenty-first-century copyright legislation concerning music in Cameroon and users’ and musicians’ perception of the platforms. It shows how the crisis arose due to the access

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9

Attamimi, Zeehan Fuad, Amalina Ahmad Tajudin, and Fadhil Umar. "The Role of Music Aggregator Distribution Toward Music Performers in View of the Three Pillars of the Copyright System." Journal of Law and Legal Reform 5, no. 1 (2024): 361–82. http://dx.doi.org/10.15294/jllr.vol5i1.2201.

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One of the works of art that is closely related to human life and economic value is music. The existence of music and songs include the scope of intellectual property copyright section. Copyright arises automatically to get protection and has economic value for its creator. Music actors, in this case the creator, can publish the results of their creativity more quickly to the general public through Music Aggregator. This becomes a commercial digital service provider in the form of a digital streaming plaform by distributing music that can be accessed anywhere and by anyone. This approach seeks

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10

Polak, Fiona, and Athol Leach. "DEVELOPING GUIDELINES FOR SOUTH AFRICAN MUSIC LIBRARIANS." Mousaion: South African Journal of Information Studies 32, no. 3 (2016): 69–92. http://dx.doi.org/10.25159/0027-2639/1677.

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Music librarians must have knowledge of the copyright laws which govern the transferring of music from the old analogue form to the new digital formats. These laws were a particular concern of the South African Music Archive Project (SAMAP) which aimed to create an online resource for indigenous South African music particularly that of musicians suppressed during the apartheid years. Polakâ€™s (2009) study was an offshoot of SAMAP. This article draws on her study and identifies the specific problems encountered by music librarians with regard to digital copyright law pertaining to music. The g

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Iskandar, Syah, and Edi Saputra. "Live Musik, Syariat Islam dan Asas Freies Ermessen: Menyikapi Surat Edaran Bupati Bireuen." Legitimasi: Jurnal Hukum Pidana dan Politik Hukum 12, no. 2 (2023): 155. http://dx.doi.org/10.22373/legitimasi.v12i2.20188.

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The prohibition order on live music in the the Regent of Bireuen's Letter of Interdiction No. 451/199/2023 was pro-contracted in the community; some people supported the Islamic Shariah, and some others rejected it on the grounds of the lack of consistency of the instructions in the edaran. The Edaraan has been identified as allowing live music to beined with conditions that are difficult to realize. This has caused confusion in the public's understanding of the Regent of Bireuen's orders. The objective of the research is to analyze the existence of the implementation of the Regent of Bireuen'

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Naim, Faghlaifi. "Kriteria Pembatasan Hak Cipta Lagu Dalam Praktik Covering Melalui Youtube." JIPRO : Journal of Intellectual Property 2, no. 1 (2019): 22–35. http://dx.doi.org/10.20885/jipro.vol2.iss1.art3.

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This study aims to find out the Criteria for Song Copyright Restriction in Covering Practices through Youtube. The formulation of the problem proposed is namely : What is The Criteria for Song Copyright Restriction in Covering Practices through Youtube. This study included a normative research typology. This normative legal research is doctrinal legal research. also referred to as library research or document study. It is called doctrinal law research because this research is carried out or aimed only at written regulations or other legal materials. It is called doctrinal law research because

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13

Peno, Vesna. "Church music in the light of national legislation in the principality of Serbia and the Kingdom of Serbia." Muzikologija, no. 12 (2012): 9–36. http://dx.doi.org/10.2298/muz120215001p.

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Officially, the Serbian Orthodox Church enjoyed a legally guaranteed status throughout the 19th century and Orthodox faith was considered to be prevalent both in the Principality of Serbia and in the Kingdom of Serbia. Nevertheless, after gaining its autonomy within the Constantinople Patriarchate in 1831 (under whose forced jurisdiction it had been since 1766), Knez Milos?s attitude and a number of state provisions led to the unsparing diminishing of the Church authority together with frequent subversions of the Church Canon law. Introduction of the constitutional and legislative framework fo

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14

Petraglia, Marcelo Silveira, and Erika de Andrade Silva. "WALDORF SCHOOLS MUSIC EDUCATION APPROACH AS INSPIRATION FOR WORK IN OTHER CONTEXTS." ERAS | European Review of Artistic Studies 4, no. 3 (2013): 1–15. http://dx.doi.org/10.37334/eras.v4i3.134.

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Brazil has, since 2008, been the seat of heated debates on putting music back into public and private schools. Recent legislation (Law 11.769) declared music a required subject in all Brazilian schools from preschool through high school. Much has been discussed, however, as to the professionals who will take on this challenge, the methodology and content involved as well as the role of music in the schools. Here, I present some personal observations and reflections based on experiences during my career as a music educator in a Waldorf school as well as a professor in Music Education programs a

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15

Natalia, Fenny, and Gatot P. Soemartono. "ANALYSIS OF LEGAL PROTECTION FOR CONSUMER LOSSES DUE TO BUSINESS PERFORMER'S BREACH OF CONCERT ORGANIZER." Awang Long Law Review 6, no. 2 (2024): 498–507. http://dx.doi.org/10.56301/awl.v6i2.1214.

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Currently, the music industry has become one of the most popular forms of entertainment among various segments of society. In this context, music concerts have become a significant source of revenue for promoters. However, it is not uncommon for promoters to neglect their responsibilities as business operators, resulting in losses for consumers who have purchased concert tickets. This research aims to examine the legal protection available to consumers who suffer losses due to the breach of contract by concert organizers. The research method used is a normative legal approach, analyzing legal

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16

Rocconi, Eleonora. "The Music of the Laws and the Laws of Music." Greek and Roman Musical Studies 4, no. 1 (2016): 71–89. http://dx.doi.org/10.1163/22129758-12341268.

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In the Laws, Plato constantly uses analogies and interchanges between musical and legislative terminology, establishing an etymological connection between special categories of musical compositions (the nomoi) and the inviolability of their regulations. This usage was widely echoed in later sources, providing musical and literary critics with a law-based terminology which enabled them to describe and interpret musical phenomena as markers for political changes, leading to a distorted image of old-time mousikē.

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17

Ladd, Marco. "Synchronization as Musical Labor in Italian Silent Cinemas." Journal of the American Musicological Society 75, no. 2 (2022): 273–317. http://dx.doi.org/10.1525/jams.2022.75.2.273.

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Abstract This article examines a series of lawsuits that consumed Italy’s legal establishment between approximately 1924 and 1933. Resulting from a protracted labor dispute between instrumental musicians who worked in cinemas and the exhibitors who employed them, the lawsuits turned on a question of employment law: whether musicians ought to be considered full-time employees—entitled to various benefits and protections against unfair termination—or more precariously situated freelancers whom exhibitors could hire and fire at will. As a consequence of the vagaries of existing Italian labor law

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SLOMINSKI, TES. "Policing Space and Defying the Mainstream: Gender and the Creation of a Traditional Music Public Sphere in Twentieth-Century Ireland." Yearbook for Traditional Music 51 (November 2019): 247–68. http://dx.doi.org/10.1017/ytm.2019.11.

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Whether in Ireland or elsewhere, most people first encounter Irish traditional music in public spaces such as pub sessions or concerts, or through the recorded traces of music-making produced for a listening public.1 For those who become more involved in the scene as players, dancers, or avid listeners, festivals, schools, non-profit organisations, archives, and other instruments of the public sphere of Irish traditional music shape perceptions of the genre’s style, history, and participants. But while public and semi-public music-making has been a vital part of the transnational Irish traditi

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19

Sunarto, Atika, and Bohal Sijabat. "Juridical Reviews of Users of Song Copyright Works are Associated with Government Regulation Number 56 of 2021 Regarding the Management of Song or Music Copyright Royalties." International Journal of Research and Review 9, no. 4 (2022): 405–11. http://dx.doi.org/10.52403/ijrr.20220450.

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Intellectual property rights (IPR) are rights that arise because of the results of someone's intellectual creativity, provided that they must be in real form, creativity, so that they cannot be just ideas or concepts, which do not have certain physical dimensions. one of the areas of intellectual property rights that get protection is the copyright of the Republic of Indonesia Law No. 28 of 2014 (UUHC 2014) article 1 paragraph (1) concerning copyright is the exclusive right of the creator that arises automatically based on declarative principles after the creation is realized in a tangible for

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UTAMA, ARYA, TITIN TITAWATI, and ALINE FEBRYANI LOILEWEN. "PERLINDUNGAN HUKUM TERHADAP HAK CIPTA LAGU DAN MUSIK MENURUT UNDANG-UNDANG NOMOR 28 TAHUN 2004." GANEC SWARA 13, no. 1 (2019): 78. http://dx.doi.org/10.35327/gara.v13i1.65.

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The rapid development of information technology has a positive and negative impact on the enforcement of Copyright law. The positive impact is in line with technological advances, especially the internet, so it's easy to buy original songs or music through online shopping facilities. While the negative impact is the increasing number of links downloading songs or illegal music in cyberspace, as well as the easier the piracy of voice recording works in the real world. The research method used in this study is a library research method that is normative juridical, namely research that refers to

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Rodger, Gillian. "Legislating Amusements: Class Politics and Theater Law in New York City." American Music 20, no. 4 (2002): 381. http://dx.doi.org/10.2307/1350151.

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Farmaki, Despoina. "Copyright protection of video games: a comparative study." Interactive Entertainment Law Review 5, no. 2 (2022): 107–21. http://dx.doi.org/10.4337/ielr.2022.02.04.

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Abstract The legal nature of video games in terms of copyright is hard to determine. Video games are highly interactive multimedia that are made up of individual elements that are the ‘product’ of creative effort and expertise. Video games are also complex multimedia works that combine video, music, art and characters. There is a debate on which work is qualified to be copyright protected: is it the video game as a whole or the individual elements of it? To question further, under which category of protected works should they be classified? This article will shed light on the above considerati

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Kosiachenko, K. E. "FEATURES OF INHERITANCE BY LAW: ANALYSIS OF LEGISLATION." Actual problems of native jurisprudence, no. 2 (2022): 33–36. http://dx.doi.org/10.32782/392274.

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Shamilli, G. B. "Musicking and Islamic Law as a Problem of Methodology." Art & Culture Studies, no. 3 (October 2021): 256–83. http://dx.doi.org/10.51678/2226-0072-2021-3-256-283.

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The issue of music and Islamic law is considered in the aspect of the methodology due to the proper Arabic language picture of the world and mechanisms of theoretical thinking classical Arab-Muslim culture. The author clarifies that the procedure of inference in Islamic law did not concern music or musicians, but the actions of a person playing/listening music. On the grounds that legal power was epistemic, concentrated in the hands of private lawyers, there was no single center in Arab-Muslim culture from which the legislative decision regarding musicking/listening would extend to the entire

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Grings, Bernardo. "OVERVIEW AND PERCEPTIONS ABOUT THE TEACHING OF CONDUCTING IN THE TRAINING OF MUSIC TEACHERS IN THE SOUTHERN REGION OF BRAZIL." ARACÊ 7, no. 7 (2025): 39697–707. https://doi.org/10.56238/arev7n7-264.

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The training of music teachers is a field of increasing relevance in Brazil, driven by the legislation that reinserted music as a mandatory curricular component in basic education (Law 11.769/2008). In this scenario, musical activities together, which have deep historical roots and multiple social, aesthetic and educational purposes, assume a central role. Conducting, as a practice of leadership and conduction of musical groups, becomes an essential knowledge for the teacher who will work in these contexts. This article aims to present an overview of the presence of conducting teaching in musi

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Lekunze, Anoumbuandem Benvolio. "Copyright Protection and File Sharing in the Music Industry: A Legal Perspective." International Journal of Research and Innovation in Social Science IX, no. V (2025): 5340–53. https://doi.org/10.47772/ijriss.2025.905000412.

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The music industry experiences huge financial losses every year because of digital music downloads and sharing. Many musicians are facing difficulties to sell their albums and have resorted to other means to deal with their work. Because of this, it is important to embark on a research that explores how copyrights can be protected in the music industry in relation to file sharing. The problems identified are difficulties by governments to control indiscriminate file sharing, difficulties to monitor the content that is shared and the inadequacy of law to protect authors rights in file sharing r

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Search, Patricia. "Electronic Art and the Law: Intellectual Property Rights in Cyberspace." Leonardo 32, no. 3 (1999): 191–95. http://dx.doi.org/10.1162/002409499553226.

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The dematerialization of art that began in the 1960s has reached new heights with the use of electronic media. We are at an important crossroads in defining intellectual property rights that will have a direct impact on the way we create and disseminate electronic art in the future. This paper examines the historical evolution of the definition of “author” in copyright law. The paper shows how current copyright legislation and recent court decisions do not address the plasticity of the medium and the new forms of authorship that are defined by the artistic use of techniques such as virtual rea

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Manaf Isayev, Elvin. "Proqram təminatının istifadəçisi komputer tərəfindən yaradılan əsərin müəllifi kimi". ANCIENT LAND 12, № 6 (2022): 19–22. http://dx.doi.org/10.36719/2706-6185/12/19-22.

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Today’s rapid development in technology creates new areas of discussion. These discussions include an extensive range of fields, one of which is the legal sphere, legislation, and legislative approach. Almost every field of law is affected and triggered to be adjusted by technological improvements, namely civil, criminal, administrative, intellectual property law, and others. In the modern era of technology, a computer is able to compose poetry, music, and even chat, which is becoming more and more challenging to separate them from man-made works. Most importantly, the originality and quality

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Zanfirova, T. A. "THE MAIN REFORMATION TENDENCY OF LABOUR LEGISLATION: LAW MARTIAL INFLUENCE." Actual problems of native jurisprudence, no. 3 (2022): 62–67. http://dx.doi.org/10.32782/392297.

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Juardi, Adi, and Nurwati Nurwati. "EFFECTIVENESS OF COLLECTIVE MANAGEMENT ORGANIZATION IN COLLECTIVE ROYALTIES OF MUSIC AND COPYRIGHT WORK ON KARAOKE BUSINESS ACHIEVEMENT BASED ON LAW NUMBER 28 YEAR 2014 ON COPYRIGHT." DE'RECHTSSTAAT 4, no. 2 (2019): 129. http://dx.doi.org/10.30997/jhd.v4i2.1521.

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He effectiveness of Collective Management Organization (CMO) in charge royalties on business karaoke questionable, this relates to the birth of Act No. 28 year 2014 about copyright which regulate in particular the CMO. Because there are still many karaoke business which still has not fulfilled the obligation to pay royalties of works of copyright music and their songs (karaoke company) exploitation for commercial business interests. This research aims to: (1) know the role of business in addressing CMO karaoke that doesn't pay royalties, (2) know the effectiveness of CMO administering royaltie

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Manaf Isayev, Elvin. "Proqram təminatının tərtibatçısı komputer tərəfindən yaradılan əsərin müəllifi kimi". SCIENTIFIC RESEARCH 10, № 6 (2022): 39–42. http://dx.doi.org/10.36719/2789-6919/10/39-42.

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The rapid advancement of technology in today's world has given rise to new areas of debate. These debates cover a wide range of topics, including the legal sphere, legislation, and legislative methodology. Almost every subject of law, including civil, criminal, administrative, intellectual property, and others, is affected and compelled to adopt as a result of technological advancements. In today's technological age, a machine may produce poetry, music, and even chat, making it more difficult to distinguish them from man-made works. The topic of authorship over results generated by a computer,

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Kakungulu-Mayambala, Ronald, Rukundo Solomon, and Victor Philip Makmot. "An Examination of the Legislative Limitations of Artistic Freedom of Expression in Uganda." African Journal of Legal Studies 12, no. 1 (2019): 47–80. http://dx.doi.org/10.1163/17087384-12340043.

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Abstract Artistic freedom of expression is guaranteed under the 1995 Constitution of the Republic of Uganda and other international instruments. This paper examines its application in all forms of art including paintings, music, poetry, novels, and plays. The paper examines the different legislation used in the restriction of artistic freedom of expression. It argues that these restrictions are contrary to the guarantees of freedom of expression provided in the Constitution and in various regional and international instruments. Part I of this paper gives a historical background to artistic fre

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Ramdani, Gilang, Mochammad Andre Pratama, Avicenna Maulana N.T, Endang Sutrisno, and Annisa Angraini Daulay. "Legal Review of Song Copyright Protection for the Realization of Legal Certainty." Journal of Legal and Cultural Analytics 4, no. 2 (2025): 1029–40. https://doi.org/10.55927/jlca.v4i2.14604.

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Digital technology has made it easier to access music and digital platforms. Still, this development has made it easier to infringe on song copyright, preventing the protection of Song Copyright from running optimally. This research examines the relationship between legal provisions on Copyright and the legal protection afforded to song creation under Law No. 28 of 2014 respecting Copyright. This study employs normative juridical research methods utilizing legal and comparative approaches. The results of the study found that although Copyright protection has regulated various rights of copyrig

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Juardi, Adi, Martin Roestamy, and Nurwati. "ANALISIS HUKUM TERHADAP HAK EKONOMI PENCIPTA KARYA MUSIK DAN LAGU YANG DI COVER VERSION PADA PLATFORM DIGITAL." JURNAL ILMIAH LIVING LAW 15, no. 2 (2023): 129–40. http://dx.doi.org/10.30997/jill.v15i02.9551.

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The most basic problem is that there is no regulation regarding royalty rates for performance rights on digital platforms, while the royalty rates used so far depend on each platform to the CMO. Many cover version musicians commercialize their work without the permission of the original creator, resulting in copyright infringement. The research used is empirical juridical using legislation and interview approaches. The conclusion is that due to the large potential for copyright infringement on the cover version, it must first obtain permission from the creator, Article 9 (2). Departing from th

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Aprianti, Duwi. "IMPLEMENTASI PENARIKAN ROYALTI BAGI PELAKU USAHA KOMERSIAL KARAOKE BERDASARKAN UNDANG-UNDANG NOMOR 28 TAHUN 2014 TENTANG HAK CIPTA." Jurnal Magister Hukum Udayana (Udayana Master Law Journal) 6, no. 4 (2017): 489. http://dx.doi.org/10.24843/jmhu.2017.v06.i04.p07.

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Withdrawal Royalties are the utilization of the economic rights of a work related to the receipt by the creator or the copyright holder. Copyright is a creation created by the creator in a tangible form by not reducing restrictions in accordance with the provisions of legislation. Copyright applies in all areas of life one of which is the art of music. Songs that have been registered must get Royalties if they are to be used for commercial purposes, the only other who often violates is a commercial karaoke business in royalty payments. The method used in this study is the empirical law whose p

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Akintoye, Olariyike Damola. "Challenges of Protecting Music Intellectual Property in the Digital New Age in Nigeria." East African Journal of Law and Ethics 6, no. 1 (2023): 15–29. http://dx.doi.org/10.37284/eajle.6.1.1189.

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This article examines the challenges the Music Industry faces in the area of protection of its intellectual property. The protection of a country’s intellectual property should be the priority of all responsible governments. In Nigeria, the Copyright Act 2004 (Cap C28 Laws of the Federal Republic of Nigeria (LFN) used to be the principal legislation for the protection of innovative works. However, on March 17, 2023, the Nigerian President, Major General Muhammadu Buhari (retd.) signed the Copyright Bill into law. The House of Assembly passed the Bill for an Act to Repeal the Copyright Act 2004

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Sudini, Luh Putu. "ROYALTY OF INDONESIAN SONGS COPYRIGHTS AT YAYASAN KARYA CIPTA INDONESIA ISSUED BY LAW NUMBER 19 OF 2002 ON COPYRIGHTS." NOTARIIL: Jurnal Kenotariatan 3, no. 1 (2018): 25. http://dx.doi.org/10.22225/jn.3.1.650.25-37.

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This article aims at describing the role of Yayasan Karya Cipta Indonesia (YKCI) in copyright protection in Indonesia and the mechanism of royalty payment on Indonesian songs to the YKCI. The approach used in this study is normative approach as this study is conducted on secondary, primary, and tertiary legal materials, such as books, legal journals, and expert (secondary data) research results; its main legislation is Law no. 19 of 2002 on Copyright (primary data); English and Indonesia dictionaries and tertiary law which is the result of library research, supported by legal materials in the

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paine, garth. "endangered sounds: a sound project." Organised Sound 10, no. 2 (2005): 149–62. http://dx.doi.org/10.1017/s1355771805000804.

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endangered sounds is a project that focuses on the exploration of sound marks (trade-marked sounds). the initial stage of this project was funded by arts victoria, and comprised legal searches that resulted in the listings of sound marks registered in australasia and the united states of america. this list was published on the internet with a call for volunteers to collect samples of the listed sounds internationally. the volunteer was sent a specimen tube with label and cap, and asked to collect the sound by placing the specimen tube close to the source (thereby capturing the air through whic

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Wisnu Wijaya, Andi, Sri Suatmiati, and Abdul Latif Mahfuz. "Implementation of the Supervisory Function of the Ministry of Law and Human Rights of the Republic of Indonesia on the Protection of Copyright of Musical Works Based on Law Number 28 of 2014." International Journal of Social Science Research and Review 7, no. 3 (2024): 39–42. http://dx.doi.org/10.47814/ijssrr.v7i3.1893.

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This study explores the practical application of the supervisory function vested in the Ministry of Law and Human Rights of the Republic of Indonesia concerning safeguarding copyright for musical works, as delineated by Law Number 28 of 2014. The primary focus lies in assessing the effectiveness of the regulatory framework in place to protect the intellectual property rights of creators in the music industry. The research employs a multidisciplinary approach, incorporating legal analysis, policy evaluation, and case studies to gauge the implementation of Law Number 28 of 2014. It investigates

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Munday, Roderick. "FISHER v BELL REVISITED: MISJUDGING THE LEGISLATIVE CRAFT." Cambridge Law Journal 72, no. 1 (2013): 50–64. http://dx.doi.org/10.1017/s000819731300007x.

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As students of the Law of Contract learn to their bemusement, in Fisher v Bell,1 although caught by a member of the constabulary in the most compromising circumstances, the owner of Bell's Music Shop, situate in the handsome Victorian shopping Arcade in the bustling Broadmead area of Bristol, was unsuccessfully prosecuted for offering for sale a flick knife contrary to s.1(1) of the Restriction of Offensive Weapons Act 1959. The statute penalised “any person who manufactures, sells or hires or offers for sale or hire, or lends or gives to any other person” a flick knife. Mr Bell had done all i

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Junaidi, Ahmad Khusnan, and Dwi Fidhayanti. "The Validity of Song Modifications Made by Unknown Identities (Anonymous) Under the Copyright Law." Dialogia Iuridica 17, no. 1 (2025): 111–29. https://doi.org/10.28932/di.v17i1.11404.

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The rapid development of digital technology makes it easier for someone to disseminate music content illegally which causes harm to the creators or music copyright holders as a whole. This study aims to explain and analyze the validity of exclusive rights obtained by anonymous works that modify or rearrange other people's works. The research method used is normative juridical with a Legislative Approach and Conceptual Approach. Primary and secondary legal materials collected through literature study are then analyzed descriptively. The research findings show that the exclusive rights obtained

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LÓPEZ-MELGAREJO, Alba-maría, Norberto LÓPEZ-NÚÑEZ, and Juan Carlos MONTOYA-RUBİO. "Music Education in Early Childhood Education: Influence of the General Education Law on current regulations." Participatory Educational Research 11, no. 2 (2024): 24–36. http://dx.doi.org/10.17275/per.24.17.11.2.

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This study aims to analyze the evolution of the Musical Curriculum for the second cycle of Early Childhood Education in Spain from a historical perspective. Methodologically, a review and analysis of the legislative documents on Early Childhood Education from the end of the 19th century to the present has been carried out. To this end, a comprehensive review of the main legislative contributions in this context is carried out. The results reveal that since the 1980s to the present, there has been a trend toward a greater number of curricular elements in relation to the area of Music and, in ad

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Grin, E. S., and V. A. Alekseeva. "Organizer of Creation of a Complex Object of Intellectual Property Rights: Problems of Theory and Practice." Actual Problems of Russian Law, no. 7 (July 1, 2018): 123–28. http://dx.doi.org/10.17803/1994-1471.2018.92.7.123-128.

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In the Russian Federation, a person who organized the creation of a complex object is not the author of such an object. Traditionally, civil law distinguishes a triumvirate of authors of a complex object on the example of one of its type - an audiovisual work. A production director, scriptwriter and composer who created music specially for this work are recognized as authors. However, the foreign legislation of some states has a different approach to this issue. In the article, on the example of such a participant as a producer, the author considers the problem of determining his legal status,

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Marina, Liza, Fahririn Fahririn, and M. Ridwan. "PERLINDUNGAN HUKUM HAK PENCIPTA LAGU DAN MUSIK YANG DIKOMERSIALISASI DI PLATFORM DIGITAL YOUTUBE TANPA IZIN." Jurnal Hukum Mimbar Justitia 9, no. 1 (2023): 22. http://dx.doi.org/10.35194/jhmj.v9i1.3507.

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Repeating songs or covering songs uploaded on a digital platform is done in practice, but among them there is covering the songs and music commercially without the permission of the Creator and the Related Rights Owner. This research is carried out using normative legal methods through legislative approaches. The study discusses the application of the economic rights protection of Creators and Related Rights Holders on songs reproduced commercially without permission on the uploaded digital platforms of yuotube and the role of LMKN in protecting the copyrights of songs and music uploaded on th

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Pilving, Ivo. "Parallele Anwendbarkeit von Grundrechtecharta der EU und nationalen Grundrechten." Juridica International 28 (September 30, 2018): 9–16. http://dx.doi.org/10.12697/ji.2018.28.02.

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Pursuant to its Article 51 (1), the EU Charter of Fundamental Rights covers the implementation of EU law. Since 2014, the Estonian Supreme Court has applied the assumption that the Charter, in principle, does not preclude parallel applicability of national-level fundamental rights in areas subject to EU law, although the primacy, unity, and effectiveness of EU law must not be compromised thereby. The Member State's margin of appreciation should not be considered a precondition for the relevance of national fundamental rights. Even mandatory norms of EU law, which inevitably require certain nat

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Pilving, Ivo. "Parallele Anwendbarkeit von Grundrechtecharta der EU und nationalen Grundrechten." Juridica International 28 (November 13, 2019): 9–16. http://dx.doi.org/10.12697/ji.2019.28.02.

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Pursuant to its Article 51 (1), the EU Charter of Fundamental Rights covers the implementation of EU law. Since 2014, the Estonian Supreme Court has applied the assumption that the Charter, in principle, does not preclude parallel applicability of national-level fundamental rights in areas subject to EU law, although the primacy, unity, and effectiveness of EU law must not be compromised thereby. The Member State's margin of appreciation should not be considered a precondition for the relevance of national fundamental rights. Even mandatory norms of EU law, which inevitably require certain nat

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Wang, Ping. "On Ownership of Copyright of Generated Works under Generative Artificial Intelligence." Revista de Direito Internacional e Globalização Econômica 4, no. 4-Ext (2025): 190–202. https://doi.org/10.23925/2526-6284/2024.v4n4.71575.

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As artificial intelligence continues to revolutionize technological landscapes through breakthrough innovations, AI-generated content (e.g., text, images, music) has sparked disputes over intellectual property ownership. The traditional legal framework is centered on "human creation." Whether machines can become the subject of copyright has challenged traditional laws, such as Copyright Law, Patent Law, and ethical norms. This article examines the significant issues surrounding the ownership of works created by artificial intelligence: first, from the judgment of the United States, China, and

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Nihayati, Wafa, Vita Dwi Sakundiana, and Lulu Syakirah Alatas. "Perlindungan Hukum terhadap Lagu yang Dilaporkan Melanggar Hak Cipta di Situs Youtube." SCIENTIFIC JOURNAL OF REFLECTION : Economic, Accounting, Management and Business 8, no. 2 (2025): 679–88. https://doi.org/10.37481/sjr.v8i2.1131.

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Currently, many YouTube users upload song-related videos, such as lyric videos or cover versions of songs, which involve re-performing songs owned by others. A common issue that arises is that these users often upload such song videos on YouTube without obtaining permission from the original songwriter, and in many cases, the videos are uploaded for commercial purposes. The purpose of this research is to understand the legal protection of songs reported for copyright infringement on YouTube. The research method used is normative juridical, which focuses on viewing law as a normative discipline

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Kurniawati, Dina. "The Perspectives of Legal Progressivism Concerning Song Royalty Payments." Syiah Kuala Law Journal 6, no. 3 (2022): 270–83. http://dx.doi.org/10.24815/sklj.v6i3.27337.

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The Royalty is actually an economic right that must be accepted by the creator as a form of respect and reward for a work. In this case, the existence of rules regarding the payment of royalties is important in ensuring legal certainty. Even so, the economic right to pay royalties must also take into account social realities. This is especially the case when cafés are subject to royalty payments for music and songs. Of course, the lack of clarity about the meaning of café makes every coffee shop also have to pay royalties. This research is a normative legal research with legal issues of legal

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Shabshaevich, Elena M. "From the History of the Publication of the Opera The Woman with the Dagger: Vladimir Rebikov — Boris Jurgenson — Arthur Schnitzler." Contemporary Musicology 8, no. 3 (2024): 50–67. http://dx.doi.org/10.56620/2587-9731-2024-3-050-067.

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The article elucidates the history of the publication of Vladimir Ivanovich Rebikov’s opera The Woman with the Dagger in the Moscow-based publishing house P. Jurgenson, spanning the years 1910–1912. The context is disclosed of the creation of the work occurring at the beginning of the late period of the composer’s creativity, and a short characterization is given of the opera’s dramatic source — a play with the same title by outstanding Austrian dramaturgist and writer of the modern period of the early 20th century. The vicissitudes of the signing of the contract between the composer and the d

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