Copyright and Intellectual Property

This is a select bibliography of books and articles that I have come across that have helped me to get a handle on some of the issues that are involved in the intersection of copyright and traditional music. This is a resource for everybody. If you come across a reference on your travels that you think should be here, please tell me (ude.is|tannaccm#ude.is|tannaccm). It is in no way comprehensive, although I eventually hope to put up a reference for everything I have found useful.


Anthony McCann's Music and Copyright Ph.D. dissertation (http://www.beyondthecommons.com).

1964. "Conference on Character and State of Studies in Folklore." Journal of American Folklore 59(234):524-527.

1974. "P.A. Report." The Bookseller (March 30):1762-1763.

1985. "Regional Committee of Experts on Means of Implementation in the Arab States of Model Provisions on Intellectual Aspects of Protection of Expressions of Folklore." Copyright Bulletin XIX(2):15-21.

1985. "Group of Experts on the International Protection of Expressions of Folklore by Intellectual Property." Copyright Bulletin XIX(2):22-33.

1985. "Text of the Draft Treaty for the Protection of Expressions of Folklore Against Illicit Exploitation and Other Prejudicial Actions." Copyright Bulletin XIX(2):34-38.

1985. "Second Committee of Governmental Experts on the Safeguarding of Folklore." Copyright Bulletin XIX(2):39-49.

1985. "National Seminar on Copyright (Brazzaville, Congo, 4-8 March 1985)." Copyright Bulletin XIX(2):50.

1990."The Prince & Paupers: Who gets how much out of what in the performing rights lottery of musical life?" The Music Magazine 1:50.

1991. Copyright and Neighbouring Rights in the European Community. Strasbourg: Commission of the European Communities.

1993. The Mini-encyclopedia of Public Domain Songs. New York: BZ/Rights Stuff.

J. Attali. 1985. Noise: The Political Economy of Music. Minneapolis and London: University of Minnesota Press.

J. L. Avery. 1991. "The Struggle Over Performing Rights to Music: BMI and ASCAP vs. Cable Television." Comm/Ent 14(1):47.

L. Bannon. 1996. "Birds sing, but campers can't - unless they pay up." Wall Street Journal, August 21 http://www.law.umkc.edu/faculty/projects/ftrials/communications/ASCAP.html

D. Baskerville. 1995. Music Business Handbook and Career guide. Thousand Oaks: Sage Publications.

L. E. Berk. 1970. Legal Protection for the Creative Musician. Boston: Berklee Press.

S. M. Besen and S. N. Kirby. 1989. "Compensating Creators of Intellectual Property: Collectives That Collect." Santa Monica: The RAND Corporation.

K. Blaukopf. 1990. "Legal Policies for the Safeguarding of Traditional Music: Are they Utopian?" The World of Music XXXII(1):125-133.

G. D. Boos. 1977. "The Wreck of the Old "97": a Study in Copyright Protection of Folksongs for Lawyers, Folklorists and Songwriters." Seattle Folklore Society Journal 9(1):3-18.

M. Breen. 1993. "Making it Visible: The 1990 Public Inquiry into Australian Music Copyrights." In Music and Copyright. S. Frith, ed. Pp. 99-124. Edinburgh: Edinburgh University Press.

M. Buitenhuis. 1997. "Copyright, Copywrong." Sing Out! 42(2):3-4.

S. Carter. 1960. "A Reel of Recording Tape." Sing Out! 10(4):36.

R. Caves. 2000. Economics of the Creative Industries. Cambridge: Harvard University Press.

M. Chanan. 1994. Musica Practica: The Social Practice of Western Music from Gregorian Chant to Postmodernism. London: Verso.

J. Cohen and M. Seeger, eds. 1964. New Lost City Ramblers Song Book. New York: Oak Publications.

J. Collins. 1993. "The Problem of Oral Copyright: The Case of Ghana." In Music and Copyright. S. Frith, ed. 146-158. Edinburgh Law and Society Series. Edinburgh: Edinburgh University Press.

J. H. Collins. 1997. "When in Doubt, Do Without: Licensing Public Performances by Nonprofit Camping or Volunteer Service Organizations under Federal Copyright Law." Washington University Law Quarterly 75(3):1277ff. http://law.wustl.edu/WULQ/75-3/753-5.html

O. W. Coon. 1971. "Some Problems With Musical Public-Domain Materials under United States Copyright Law as Illustrated Mainly by the Recent Folk-Song Revival." In Copyright Law Symposium: Number Nineteen (Nathan Burkan Memorial Competition) Sponsored by the American Society of Composers Authors and Publishers. 189-218. New York: Columbia University Press.

M. Cooney. 1995. "On "Author's Royalties"."The Friendship Letter, p. 5.

J. Coover. 1985. Music Publishing, Copyright and Piracy in Victorian England. London and New York: Mansell Publishing.

D. Crawford. 1977. "Gospel Songs in Court: From Rural Music to Rural Industry." Journal of Popular Culture 11(3):551-567.

C. Cutler. 1996. "Plunderphonics." In Sounding Off!: Music as Subversion/Resistance/Revolution. R. Sakolsky and F. Wei-han Ho, eds. 67-85. New York: Autonomedia.

G. Davies and M. E. Hung. 1993. Music and Video Private Copying: An International Survey of the Problem and the Law. London: Sweet and Maxwell.

C. Ehrlich. 1989. Harmonious Alliance: A History of the Performing Right Society. Oxford: Oxford University Press.

C. Elliker. 1999. "Toward a definition of sheet music." Notes 55(4):835-860. http://resources.blackboard.com/scholar/sa/11/research/research_frame.jsp.

F. Fabbri. 1993. "Copyright: The Dark Side of the Music Business." In Music and Copyright. S. Frith, ed. 159-163. Edinburgh Law and Society Series. Edinburgh: Edinburgh University Press.

S. Feld. 1996. "pygmy POP: A Genealogy of Schizophonic Mimesis." International Yearbook of Traditional Music XXVIII:1-35.

M. V. Felton. 1978. "The Economics of the Creative Arts: The Case of the Composer." Journal of Cultural Economics 2(1):41-62.

S. Frith. 1987. "Copyright and the Music Business." Popular Music 7(1):57-75.
—-. 1993. "Music and Morality." In Music and Copyright. S. Frith, ed. 1-21. Edinburgh Law and Society Series. Edinburgh: Edinburgh University Press.

S. Frith, ed. 1993. Music and Copyright. Edinburgh Law and Society Series. Edinburgh: Edinburgh University Press.

J. M. Gaines. 1991. Contested Culture: The Image, The Voice, and The Law. Chapel Hill: The University of North Carolina Press.

D. Glaister. 1998. "Pick 'n' mix CDs go online at cut-prices in Levi's outlets." Dublin: The Irish Times, June 19. P. 11.

J. Goodell. 1999. "World War MP3." Rolling Stone, July 8-22. Pp. 43-46.

C. Gooding. 1961. "Concerning Copyrights." Sing Out! 11(1):24.

A. Goodwin and J. Gore. 1996. "World Beat and the Cultural Imperialism Debate." In Sounding Off!: Music as Subversion/Resistance/Revolution. R. Sakolsky and F. Wei-han Ho, eds. Pp. 121-131. New York: Autonomedia.

B. Green. 1998. "Haven't I Heard This Song Before?: Subconscious Plagiarism in Pop Music and the Infringement of Copyright - Towards a Partial Defense of Cryptomnesia." Intellectual Property Journal 13(November):53-81.

K. J. Greene. 1999. "Copyright, Culture and Black Music: A Legacy of Unequal Protection." Hastings Communications and Entertainment Law Journal (COMM/ENT) 21(2):339-392.

N. Guy. 2002. "Trafficking in Taiwan Aboriginal Voices." In Handle with Care: Ownership and Control of Ethnographic Materials. S. R. Jaarsma, ed. Pp. 195-210. Pittsburgh: University of Pittsburgh Press.

J. L. Hall. 1995. "Blues and the Public Domain - No More Dues to Pay?" Journal of the Copyright Society of the USA 42(2):215-226.

M. Halloran, ed. 1996. The Musician's Business and Legal Guide. Upper Saddle River, New Jersey: Prentice-Hall/Simon and Schuster.

S. Haun. 1999. "Musical Works, Performance, and the Internet: A Discordance of Old and New Copyright Rules." The Richmond Journal of Law and Technology 4(1). http://law.richmond.edu/jolt/v6i1/haun.html

H. C. Jehoram. 1991. "The Nature of Neighboring Rights of Performing Artists, Phonogram Producers and Broadcasting Organizations." Columbia-VLA Journal of Law and the Arts 15(1):75-92.

S. Jones. 1992. Rock Formation: Music, Technology, and Mass Communication. Newbury Park, California: Sage Publications.

M. Karpeles. 1963. "Communication on Copyright - Statement on Copyright in Folk Music." Western Folklore 22(3).

C. Keil and S. Feld. 1994. Music Grooves: Essays and Dialogues. Chicago: University of Chicago Press.

K. Kimiecik. 1992. "Heritage, Folklore, Cultural Conservation, & Policy or What Ever Happened to Child Ballads? Part I." New York Folk Lore Newsletter. 6, 10.
—-. 1993. "UNESCO & the Global Conservation Culture or, I Found the Child Ballads! Part II." New York Folk Lore Newsletter. 6-7.

B. F. Klarman. 1965. "Copyright and Folk Music - A Perplexing Problem." Bulletin of the Copyright Society of U.S.A. (NY). 277-292.

B. Korman and I. F. Koenigsberg. 1986. "Performing Rights in Music and Performing Rights Societies." Journal of the Copyright Society of the USA 33(4):332-367.

D. Laing. 1988. "On Simon Frith's "Copyright and the Music Business"." Popular Music 7(3):337-338.
—-. 1993. "Copyright and the International Music Industry." In Music and Copyright. S. Frith, ed. Pp. 22-39. Edinburgh: Edinburgh University Press.

N. Lebrecht. 1996. When the Music Stops…: Managers, Maestros and the Corporate Murder of Classical Music. London: Simon and Schuster.

S. Levy. 2000. "Kids vs. Suits: Who Should Own the Music on the Web? The War Over Napster (The Noisy War Over Napster)." Newsweek. 46-53. http://www.newsweek.com.

H. L. MacQueen and A. Peacock. 1995. "Implementing Performing Rights." Journal of Cultural Economics 19(2):157-175.

K. Malm. 1981. ""Royalties" from the music business support the Swedish folk tradition." Music in Sweden (2).
—-. 1998. "Copyright and the Protection of Intellectual Property in Traditional Music: A Summary of International Efforts." Music Media Multiculture - Today and Tomorrow Report No. 3:24-29.

C. C. Mann. 1998. "Who Will Own Your Next Good Idea?" The Atlantic Monthly 282(3):57-82. http://www.theatlantic.com/issues/98sep/copy.htm.

P. Manuel. 1991. "The cassette industry and popular music in North India." Popular Music 10(2):189 - 204.

A. McCann. 1996. "Crosaire airgid don cheol." Dublin: The Irish Times, April 23. Pp. 6.
-. 1999. "Addressing the Social: Irish Traditional Music and the Copyright Debate." http://www.ul.ie/~iwmc/research/anthonymccann/Tucson.html
-. 2000. "The Giving: Copyright, Conflict and Cultural Crisis in Irish Traditional Music." The Common Property Resource Digest (51):7-8. http://www.indiana.edu/~iascp/E-CPR/cpr51.pdf
-. 2000a. "Traditional Transmission as Cultural Commons: The Conflicts and Crisis of Commodification." http://dlc.dlib.indiana.edu/documents/dir0/00/00/03/02/
-. 2001. "All That is Not Given is Lost: Irish Traditional Music, Copyright, and Common Property." Ethnomusicology 45(1):89-106.

D. McGraith. 1990. "Anti-copyright and Cassette Culture." In Sound by Artists. D. Lander and M. Lexier, eds. 73-87. Ontario, Canada: The Coach House Press and Walter Phillips Gallery.

A. Menius. 1994. "At The Microphone: Performing Rights and the Folk Community in the USA." Folk Alliance Newsletter (Winter):24-25.

S. Mills. 1996. "Indigenous Music and the Law: An Analysis of National and International Legislation." //Yearbook for Traditional Music //. 57-86.

T. Mitsui. 1993. "Copyright and Music in Japan: a forced grafting and its consequences." In Music and Copyright. S. Frith, eds. 125-145. Edinburgh Law and Society Series. Edinburgh: Edinburgh University Press.

M. Moss. 1997. "Who Owns The Songs The Whole World Sings?" Sing Out! 42(1):2.

Negativland. 1996. "Fair use." In Sounding Off!: Music as Subversion/Resistance/Revolution. R. Sakolsky and F. Wei-han Ho, eds. 91-94. New York: Autonomedia. http://www.negativland.com/fairuse.html.

M. Niedzielska. 1980. "The Intellectual Property Aspects of Folklore Protection." Copyright (November 1980):339-346.

J. Oswald. 1996. "Creatigality." In Sounding Off!: Music as Subversion/Resistance/Revolution. R. Sakolsky and F. Wei-han Ho, eds. 87-89. New York: Autonomedia.

A. Peacock and R. Weir. 1975. The Composer in the Marketplace. London: Faber Music.

R. Peer. 1984. "The Mechanical Right: A Pragmatic Perspective." Journal of the Copyright Society of the USA 31(4):409-426.

S. Perkins. 1996. "Plagiarism¨: An Interview with the Tape-beatles." In Sounding Off!: Music as Subversion/Resistance/Revolution. R. Sakolsky and F. Wei-han Ho, eds. 217-224. New York: Autonomedia.

R. Poe. 1997. "Parodies, Licensing and Copyrights, Oh My!" Sing Out! 42(1):92-93.

H. Reid. 1984. "On Copyrights, Music, & Money." http://www.woodpecker.com/writing/essays/copyrights-money.html.
-. 1993. "ASCAP & BMI - Protectors of Artists or Shadowy Thieves?" http://www.woodpecker.com/writing/essays/royalty-politics.html.
-. 1993. "About the Public Domain (P.D.)." http://www.woodpecker.com/writing/essays/publicdomain.html.

D. Richards. 1990. "The Copyright Law and the Musician." http://wiretap.area.com/Gopher/Library/Article/Rights/copyrigh.mus.

K. Ringle. 1996. "ASCAP Changes Its Tune; Never Intended to Collect Fees for Scouts' Campfire Songs, Group Says." http://www.law.umkc.edu/faculty/projects/ftrials/communications/ASCAP.html

L. Rohter. 1977. "Copyrights: Blues on the Bottom Line, or, Hey, is that Me up there on the Jukebox?" Triad 4(April):20-21.

J. Ryan. 1985. The Production of Culture in the Music Industry - the ASCAP-BMI Controversy. Lanham, Maryland: University Press of America.

R. Sakolsky and F. Wei-han Ho, eds. 1996. Sounding Off!: Music as Subversion/Resistance/Revolution. New York: Autonomedia. http://www.autonomedia.org/.

R. Samudrala. 1998. "The Free Music Philosophy." http://www.ram.org/ramblings/philosophy/fmp.html.

I. Scott. 1997. "Hand to Mouth." Folk Roots 19(5(November)):23.

M. Scherzinger. 1999. "Music, Spirit Possession and Copyright Law: Cross-cultural Comparisons and Strategic Speculations." Yearbook for Traditional Music. 31:102-125

A. Seeger. 1992. "Ethnomusicology and Music Law." Ethnomusicology 36(3):345-359.
-. 1996. "Ethnomusicologists, Archives, Professional Organizations, and the Shifting Ethics of Intellectual Property." Yearbook for Traditional Music 87-105.
-. 1997. "Traditional Music in Community Life: Aspects of Performance, Recordings and Preservation." Cultural Survical Quarterly 20(4):20-23.

P. Seeger. 1972. The Incompleat Folksinger. New York: Simon and Schuster.
—-. 1997. "Appleseeds." Sing Out! 42(1):76-77.

J. L. Shanahan. 1978. "The Consumption of Music: Integrating Aesthetics and Economics." Journal of Cultural Economics 2(2):13-26.

H. Shields. 1992. Narrative Singing in Ireland: Lays, Ballads, Come-all-yes and Other Songs. Dublin: Irish Academic Press.

S. M. Stewart and H. Sandison. 1993. International Copyright and Neighbouring Rights. London: Butterworths.

P. Théberge. 1993. "Technology, Economy and Copyright Reform in Canada." In Music and Copyright. S. Frith, ed. Pp. 40-66. Edinburgh: Edinburgh University Press.
—-. 1997. Any Sound You Can Imagine: Making Music/Consuming Technology. Hanover: Wesleyan University Press.

J. Thilman, B. Hartford, B. Haslam and D. Joyce. 1993. "Art and Music Sampling: The Death of Creativity." http://www.eff.org/IP/art_and_music_sampling.paper.

D. Thomas. 1967. Copyright and the Creative Artist: The Protection of Intellectual Property with Special Reference to Music. London: Institute of Economic Affairs.

R. Towse. 2001. Creativity, Incentive and Reward: an economic analysis of copyright and culture in the Information Age. Cheltenham: Edward Elgar Publishing.

R. Towse, ed. 2000. Copyright in the Cultural Industries. Cheltenham: Edward Elgar Publishing.

S. Turk. 1992. "Copyrights and Jazz Improvisation: Creativity Unprotected." The University of Baltimore Intellectual Property Law Journal 1(1):66-75.

M. Tyrell. 1992. Performing Rights - The Price of Pleasure. Dublin: Irish Music Rights Organisation.

L. Ulrich. 2000. "It's Our Property." Newsweek, p. 54. http://www.newsweek.com.

S. Vaidhyanathan. 2001. Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity. New York: New York University Press.

VirComm. 1998. "The Viral Communications Anti-Copyright Policy." http://www.cyborganic.com/people/vircomm/projects/anticopy/

W. Wadhams. 1990. Sound Advice: The Musician's Guide to the Record Industry. New York: Schirmer Books.

T. Wales. 1973. "Copyright and the EFDSS (Part 2)." English Dance and Song XXXV(Autumn, 3).

R. Wallis and K. Malm. 1984. Big Sounds from Small Peoples: The Music Industry in Small Countries. London: Constable.

A. L. White. 1987. "Popular Music and the Law - Who Owns the Song?" In Lost in Music: Culture, Style and the Musical Event. A. L. White, ed. 164-190. London: Routledge.

D. K. Wilgus. 1961. "All Is Not Nonsense and Hard Cash." Sing Out! 11(1):25.

WIPO. 1997. "Collective Administration of Copyright and Neighbouring Rights - 19 Excellent Principles Defined in 1990 Under the Aegis of WIPO MF 304." (WIPO/MCR/SEV/97/INF.2).

WIPO. 1997. Introduction to Intellectual Property Theory and Practice. London: Kluwer Law International.

B. Ziff and P. V. Rao, eds. 1997. Borrowed Power: Essays on Cultural Appropriation. New Brunswick, New Jersey: Rutgers University Press.