Multi Med04 Ke


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Multi Med04 Ke

  1. 1. Licensing Content for PRIMO : Practice as Research in Music Online Katharine Ellis, Institute of Musical Research
  2. 2. <ul><li>The Institute of Musical Research, School of Advanced Study, University of London </li></ul><ul><li>HEFCE-funded as the national facilitator for research of all kinds in music </li></ul><ul><li>Committed to open access, collaborative ventures, innovation in research infrastructures </li></ul>
  3. 3. <ul><li>The PRIMO Project </li></ul><ul><li>A JISC-funded project run by the Institute of Musical Research and the University of London Computer Centre </li></ul><ul><li>Why ask musicians to describe their research in words if they could demonstrate it better? </li></ul><ul><li>How can we publish their work free to the widest audience? </li></ul>
  4. 4. <ul><li>PRIMO </li></ul><ul><li>a peer-reviewed repository with full-length videos of music rehearsals, workshops and demonstrations </li></ul><ul><li>an open-access site with downloadable files licensed for non-commercial/research use </li></ul><ul><li>a new forum for musical thinking </li></ul><ul><li> </li></ul>
  5. 5. <ul><li>Challenges </li></ul><ul><li>Intellectual Property Rights </li></ul><ul><li>Licensing </li></ul><ul><li>Background: Research Councils UK directives for open access </li></ul>
  6. 6. Intellectual Property Rights <ul><li>Whose rights need to be protected? </li></ul><ul><li>Researcher and performer licences </li></ul><ul><li>Creative Commons </li></ul>
  7. 7. Licensing Third-Party Rights in Music (Prelude I) <ul><li>Be clear about what you as a broadcaster of online material can/must be responsible for </li></ul><ul><li>Be clear to researchers and users about where their own responsibility lies </li></ul><ul><li>In the interests of permanent access, do not accept responsibility for IP permissions that are time-limited </li></ul><ul><li>Be aware that a video of a presentation invoking educational use exemptions ceases to benefit from those exemptions the moment it leaves the classroom </li></ul><ul><li>Use your metadata systems to record the dates on which nested copyrights in a repository item will expire </li></ul>
  8. 8. Licensing Third-Party Rights in Music (Prelude II) <ul><li>Know your UK copyright timelines: </li></ul><ul><li>Original artistic works (70 years after the death of the </li></ul><ul><li>author, composer, photographer, artist) </li></ul><ul><li>Films (70 years after the death of the last of </li></ul><ul><li>the following to die: principal director, author of </li></ul><ul><li>screenplay, author of dialogue, or composer of </li></ul><ul><li>music specially created for and used in the film); </li></ul><ul><li>Sound recordings, re-masterings, broadcasts (50 </li></ul><ul><li>years after the date of the recording, or re- </li></ul><ul><li>mastering, or broadcast) </li></ul><ul><li>Typographical arrangement of music (25 years from the date of the edition) </li></ul>
  9. 9. Licensing Third-Party Rights in Music I <ul><li>How many third-party IPR items are nested in a single video? </li></ul><ul><li>Musical text? (Composition and typography?) </li></ul><ul><li>Film? </li></ul><ul><li>Recorded musical performance? </li></ul><ul><li>Images? (e.g. CD cover) </li></ul><ul><li>Stage music? </li></ul><ul><li>Can one licence cover all these rights? </li></ul>
  10. 10. Licensing Third-Party Rights in Music II <ul><li>PRS for Music </li></ul><ul><li>Limited Online Exploitation Licence: what it covers </li></ul><ul><li>Online broadcast to UK users, for limited downloading, of performances involving complete musical works which are still in copyright </li></ul>
  11. 11. Licensing Third-Party Rights in Music III <ul><li>Limited Online Exploitation Licence: what it does not cover: </li></ul><ul><li>Any rights antedating the presentation / performance which is to be posted </li></ul><ul><li>Any in-copyright stage music </li></ul><ul><li>Any in-copyright music to which new images have been added </li></ul><ul><li>Any recording rights or performing rights for in-copyright recorded / broadcast music </li></ul>
  12. 12. Licensing Third-Party Rights in Music IV <ul><li>Limited Online Exploitation Licence: what it does not cover: </li></ul><ul><li>International usage </li></ul><ul><li>Any non-musical rights (images etc) </li></ul>
  13. 13. <ul><li>Dealing with the Results… </li></ul><ul><li>PRIMO </li></ul><ul><li> </li></ul>
  14. 14. Licensing Third-Party Rights in Music V <ul><li>Limited Online Exploitation Licence: solving the ‘UK users’ problem: </li></ul><ul><li>Make users aware of their responsibilities before they open a ‘restricted’ file </li></ul><ul><li>Prevent ‘deep linking’ by instituting a registration system that demands email details before a restricted file is released </li></ul><ul><li>Invite PRS for Music members to waive the restrictions on their own work if they so wish </li></ul>
  15. 15. Personnel <ul><li>Steering Committee </li></ul><ul><li>Richard Davis (University of London Computer Centre), Amanda Glauert (Royal Academy of Music), Keith Howard (School of Oriental and African Studies), Tim Hughes (University of Surrey), Peter Johnson (Birmingham Conservatoire) </li></ul><ul><li>Advisory Group </li></ul><ul><li>Daisy Abbott (Arts and Humanities Data Service), Paul Archbold (Kingston University), Celia Duffy (Royal Scottish Academy of Music and Drama), David Owen Norris (University of Southampton), Tony Whyton (Salford University) </li></ul><ul><li>IPR advice </li></ul><ul><li>Johanna Gibson (Queen Mary Intellectual Property Research Institute) </li></ul>
  16. 16. PRIMO: Partners