#Gntm ganze folge free#

Within broader historical and philosophical frames, showing how our veryĬoncepts of authorship and artistry are subtly and not-so-subtly shapedīy the evolving legal constraints surrounding creative production. Woodmansee (1984) to Decherney (2013) have emplaced these dynamics Schloss (2014) have demonstrated some of the ways in which musicalĪesthetics have shifted in response to these legal and technologicalĬhanges, such as the pivot away from sampling-based pastiche inĬommercial hip-hop following several high-profile litigations at the

Similarly, scholars such as Demers (2006) and Models have prompted legacy industries to lobby for broader and strongerĬontrol over the production, distribution, and audition of sonicĬultural artifacts.

Music has expanded through the years as new technologies and business Legal and cultural researchers from Lessig (2004) to MarshallĪnd Frith (2013) have chronicled the ways in which IP protection for To scholars, creators, and institutional powers for centuries, andĮspecially since American copyright was extended to cover musical scores The complex relationship between music and law has been of interest APA style: Music, Copyright, and Technology: A Dialectic in Five Moments.Music, Copyright, and Technology: A Dialectic in Five Moments.' Retrieved from 2019 University of Southern California, Annenberg School for Communication & Journalism, Annenberg Press 22 Aug.

#Gntm ganze folge free#

MLA style: 'Music, Copyright, and Technology: A Dialectic in Five Moments.' The Free Library.