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Democracy of Sound - Music Piracy and the Remaking of American Copyright in the Twentieth Century (Paperback)
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Discovery Miles 9 870
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Democracy of Sound - Music Piracy and the Remaking of American Copyright in the Twentieth Century (Paperback)
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It was a time when music fans copied and traded recordings without
permission. An outraged music industry pushed Congress to pass
anti-piracy legislation. Yes, that time is now; it was also the era
of Napster in the 1990s, of cassette tapes in the 1970s, of
reel-to-reel tapes in the 1950s, even the phonograph epoch of the
1930s. Piracy, it turns out, is as old as recorded music itself. In
Democracy of Sound, Alex Sayf Cummings uncovers the little-known
history of music piracy and its sweeping effects on the definition
of copyright in the United States. When copyright emerged, only
visual material such as books and maps were thought to deserve
protection; even musical compositions were not included until 1831.
Once a performance could be captured on a wax cylinder or vinyl
disc, profound questions arose over the meaning of intellectual
property. Is only a written composition defined as a piece of art?
If a singer performs a different interpretation of a song, is it a
new and distinct work? Such questions have only grown more pressing
with the rise of sampling and other forms of musical pastiche.
Indeed, music has become the prime battleground between piracy and
copyright. It is compact, making it easy to copy. And it is highly
social, shared or traded through social networks-often networks
that arise around music itself. But such networks also pose a
counter-argument: as channels for copying and sharing sounds, they
were instrumental in nourishing hip-hop and other new forms of
music central to American culture today. Piracy is not always a bad
thing. An insightful and often entertaining look at the history of
music piracy, Democracy of Sound offers invaluable background to
one of the hot-button issues involving creativity and the law.
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