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Books on the topic 'Music piracy'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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1

Music piracy and crime theory. New York: LFB Scholarly Pub. LLC, 2006.

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2

Pop song piracy: Disobedient music distribution since 1929. Chicago: University of Chicago Press, 2011.

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3

Collis, Christopher Thomas. The effects of online piracy on the music industry. Birmingham: University of Central England in Birmingham, 2003.

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4

Fujii, Tetsuo. Boku wa Bītoruzu. Tōkyō: Kōdansha, 2011.

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5

Fujii, Tetsuo. Boku wa Bītoruzu. Tōkyō: Kōdansha, 2011.

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6

Fujii, Tetsuo. Boku wa Bītoruzu. Tōkyō: Kōdansha, 2010.

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7

Fujii, Tetsuo. Boku wa bitoruzu. Tokyo: Kodansha, 2012.

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8

Kaiji, Kawaguchi, ed. Boku wa Bītoruzu. Tōkyō: Kōdansha, 2011.

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9

Fujii, Tetsuo. Boku wa Bītoruzu. Tōkyō: Kōdansha, 2011.

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10

Fujii, Tetsuo. Boku wa Bītoruzu. Tōkyō: Kōdansha, 2010.

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11

Fujii, Tetsuo. Boku wa Bītoruzu. Tōkyō: Kōdansha, 2012.

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12

Fujii, Tetsuo. Boku wa Bītoruzu. Tōkyō: Kōdansha, 2011.

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13

Fujii, Tetsuo. Boku wa bitoruzu. Tokyo: Kodansha, 2012.

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14

Rob, Rafael. Piracy on the high C's: Music downloading, sales displacement, and social welfare in a sample of college students. Cambridge, MA: National Bureau of Economic Research, 2004.

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15

Rob, Rafael. Piracy on the high C's: Music downloading, sales displacement, and social welfare in a sample of college students. Cambridge, Mass: National Bureau of Economic Research, 2004.

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16

Pop idols and pirates: Mechanisms of consumption and the global circulation of popular music. Aldershot, Hampshire, England Burlington, VT: Ashgate, 2008.

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17

United States. Congress. House. Committee on International Relations. Subcommittee on International Economic Policy and Trade. Intellectual property rights: The music and film industry : hearing before the Subcommittee on International Economic Policy and Trade of the Committee on International Relations, House of Representatives, One Hundred Fifth Congress, second session, May 21, 1998. Washington: U.S. G.P.O., 1998.

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18

Pirate music. Hexham, Northumberland [England]: Bloodaxe Books, 2014.

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19

Politika-- vershina shou-biznesa. Moskva: AST, 2001.

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20

Trade, United States Congress House Committee on International Relations Subcommittee on International Economic Policy and. Costs of Internet piracy for the music and software industries: Hearing before the Subcommittee on International Economic Policy and Trade of the Committee on International Relations, House of Representatives, One Hundred Sixth Congress, second session, July 19, 2000. Washington: U.S. G.P.O., 2001.

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21

Promises to keep: Technology, law, and the future of entertainment. Stanford, California: Stanford Law and Politics, 2004.

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22

Jon, Sprigman Christopher, ed. The knockoff economy: How imitation spurs innovation. Oxford [UK]: Oxford University Press, USA, 2012.

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23

United States. Congress. Senate. Committee on the Judiciary. Protecting innovation and art while preventing piracy: Hearing before the Committee on the Judiciary, United States Senate, One Hundred Eighth Congress, second session, July 22, 2004. Washington: U.S. G.P.O., 2006.

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24

United States. Congress. Senate. Committee on the Judiciary. Music and radio in the 21st century: Assuring fair rates and rules across platforms : hearing before the Committee on the Judiciary, United States Senate, One Hundred Tenth Congress, second session, July 29, 2008. Washington: U.S. G.P.O., 2008.

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25

United States. Congress. House. Committee on the Judiciary. Subcommittee on Courts, Intellectual Property, and the Internet. Innovation in America: Hearings before the Subcommittee on Courts, Intellectual Property, and the Internet of the Committee on the Judiciary, House of Representatives, One Hundred Thirteenth Congress, first session, July 25 and August 1, 2013. Washington: U.S. Government Printing Office, 2014.

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26

El pirata: Historias de la música criolla. Lima, Perú: Grupo Editorial Mesa Redonda, 2011.

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27

Selling the sixties: The pirates and pop music radio. London: Routledge, 1992.

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28

Umi. The Radio Caroline story: From the inside. Santa Cruz, Calif: Umi Foundation, 2002.

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29

Lodge, Tom. The ship that rocked the world: How Radio Caroline defied the establishment, launched the British invasion and made the planet safe for rock and roll. Baltimore: Bartleby Press, 2010.

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30

Lodge, Tom. The ship that rocked the world: The Radio Caroline story : from the inside. 2nd ed. Santa Cruz, Calif: Umi Foundation, 2003.

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31

The ship that rocked the world: How Radio Caroline defied the establishment, launched the British invasion and made the planet safe for rock and roll. Baltimore: Bartleby Press, 2010.

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32

Lodge, Tom. The ship that rocked the world: How Radio Caroline defied the establishment, launched the British invasion and made the planet safe for rock and roll. Baltimore: Bartleby Press, 2010.

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33

Mednarodni Interdisciplinarni Simpozij "Tartini "maestro" narodov in kulturno življenje v obalnih mestih današnje Slovenije med 16. in 18. stoletjem." Tartini "maestro" narodov in kulturno življenje v obalnih mestih današnje Slovenije med 16. in 18. stoletjem: Zbornik referatov z mednarodnega simpozija 7. in 8. aprila 2001 v Piranu. Ljubljana: Zal. ZRC, 2002.

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34

Conway, Steve. Shiprocked. Dublin: Liberties, 2009.

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35

Shiprocked. Dublin: Liberties, 2009.

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36

Seaworthy, Oscar. Port side pirates. Cambridge, MA: Barefoot Books, 2007.

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37

International Federation for the Phonographic Industry., ed. Music piracy: The problem and the response. [London]bIFPI, 1998.

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38

Eve, Martin Paul. Warez: The Infrastructure and Aesthetics of Piracy. punctum books, 2021. http://dx.doi.org/10.53288/0339.1.00.

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When most people think of piracy, they think of Bittorrent and The Pirate Bay. These public manifestations of piracy, though, conceal an elite worldwide, underground, organized network of pirate groups who specialize in obtaining media – music, videos, games, and software – before their official sale date and then racing against one another to release the material for free. Warez: The Infrastructure and Aesthetics of Piracy is the first scholarly research book about this underground subculture, which began life in the pre-internet era Bulletin Board Systems and moved to internet File Transfer Protocol servers (“topsites”) in the mid- to late-1990s. The “Scene,” as it is known, is highly illegal in almost every aspect of its operations. The term “Warez” itself refers to pirated media, a derivative of “software.” Taking a deep dive in the documentary evidence produced by the Scene itself, Warez describes the operations and infrastructures an underground culture with its own norms and rules of participation, its own forms of sociality, and its own artistic forms. Even though forms of digital piracy are often framed within ideological terms of equal access to knowledge and culture, Eve uncovers in the Warez Scene a culture of competitive ranking and one-upmanship that is at odds with the often communalist interpretations of piracy. Broad in scope and novel in its approach, Warez is indispensible reading for anyone interested in recent developments in digital culture, access to knowledge and culture, and the infrastructures that support our digital age.
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39

Linda, Aksomitis, ed. Downloading music. Detroit: Greenhaven Press, 2007.

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40

This is not a remix: Piracy, authenticity and popular music. Bloomsbury Publishing Plc, 2017.

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41

Congress, United States, United States House of Representatives, and Committee on International Relations. Costs of Internet piracy for the music and software industries. CreateSpace Independent Publishing Platform, 2018.

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42

Holt, Thomas J., and Steven Caldwell Brown. Digital Piracy: A Global, Multidisciplinary Account. Taylor & Francis Group, 2018.

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43

Downloading Music 2007 (Issues That Concern You). Greenhaven Press, 2007.

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44

Democracy Of Sound Music Piracy And The Remaking Of American Copyright In The Twentieth Century. Oxford University Press, USA, 2013.

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45

Cummings, Alex Sayf. Democracy of Sound: Music Piracy and the Remaking of American Copyright in the Twentieth Century. Oxford University Press, Incorporated, 2017.

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46

Cummings, Alex Sayf. Democracy of Sound: Music Piracy and the Remaking of American Copyright in the Twentieth Century. Oxford University Press, Incorporated, 2013.

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47

The Piracy Crusade: How the Music Industry's War on Sharing Destroys Markets and Erodes Civil Liberties. University of Massachusetts Press, 2013.

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48

106-2 Hearing: Costs of Internet Piracy For The Music and Software Industries, July 19, 2000. [S.l: s.n., 2001.

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49

Coover, James. Music Publishing, Copyright, and Piracy in Victorian England: A Twenty-Five Year Chronicle, 1881-1906, from the Pages of the Musical Opinion & Music. Mansell, 1985.

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50

III, William W. Fisher. Promises to Keep: Technology, Law, and the Future of Entertainment. Stanford Law and Politics, 2004.

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