The document discusses the history and major aspects of music copyright law in the United States. It covers what is copyrightable, the exclusive rights granted to copyright holders, exceptions like fair use, duration of copyright, ownership and transfer of copyright, and penalties for infringement and piracy. Key points include that both the musical work itself and sound recordings can be copyrighted, fair use allows some non-commercial uses, and copyright duration is currently the life of the author plus 70 years.
Legal issues within the music industry. Music Education Share. #TNM The New Movement Inc. Share's vital information with indie artists. www.thenewmovement.com Contact Us 1-888-
Music Publishing & Copyright Administration In The Internet AgeDae Bogan
The following presentation is from my lecture, "Music Publishing & Copyright Administration In The Internet Age" at the Independent Music Conference on October 25th, 2014 at SAE Institute in Los Angeles.
Conference Description: This workshop will cover basic music publishing and copyright administration from the perspective of a DIY independent artist. You will learn about self-publishing in the Internet age and takeaway resources for music placement, music licensing, and royalty collection around the world. Attendees should leave with an understanding of synchronization rights, mechanical rights, and performance rights in the United States.
During Music Biz 2015 in Nashville, Jacqueline Charlesworth, General Counsel and Associate Register of Copyrights at the U.S. Copyright Office, discussed important legislation surrounding
copyrights, including proposed changes to the U.S. Copyright Act and the recently reintroduced Songwriter Equity Act.
Legal issues within the music industry. Music Education Share. #TNM The New Movement Inc. Share's vital information with indie artists. www.thenewmovement.com Contact Us 1-888-
Music Publishing & Copyright Administration In The Internet AgeDae Bogan
The following presentation is from my lecture, "Music Publishing & Copyright Administration In The Internet Age" at the Independent Music Conference on October 25th, 2014 at SAE Institute in Los Angeles.
Conference Description: This workshop will cover basic music publishing and copyright administration from the perspective of a DIY independent artist. You will learn about self-publishing in the Internet age and takeaway resources for music placement, music licensing, and royalty collection around the world. Attendees should leave with an understanding of synchronization rights, mechanical rights, and performance rights in the United States.
During Music Biz 2015 in Nashville, Jacqueline Charlesworth, General Counsel and Associate Register of Copyrights at the U.S. Copyright Office, discussed important legislation surrounding
copyrights, including proposed changes to the U.S. Copyright Act and the recently reintroduced Songwriter Equity Act.
This presentation is intended to provide an introduction for non-specialists or new-comers to the subject of copyright and related rights. It explains in layman's terms the fundamentals underpinning copyright law and practice.
It describes the different types of rights which copyright and related rights law protects, as well as the limitations on those rights.
Business and contracts in the recording and music publishing industryThis account is closed
Want to learn more about business and contracts in the recording and music publishing industry? In this presentation originally delivered as part of the Media and Copyright Issues Panel at the 2014 IPIC McGill Copyright Master Class, leading entertainment lawyer Susan Abramovitch provides a helpful overview of the business, including:
-Rights of the artist/songwriter
-Artist recording agreements – from term and territory to budget and royalties
-License agreements
-Pressing and distribution agreements
-Publishing agreements
-Income splits
-Income from compositions
-360 deals
Royalty Claim - [Preview] The State of Unclaimed Royalties and Music Licenses...Dae Bogan
This presentation was given by Royalty Claim's Founder and Chief Researcher, Dae Bogan, at the Music Industry Research Associations first inaugural MIRA Conference at the UCLA Luskin Conference Center on August 11th, 2017.
Reference source is "A HAND BOOK OF COPYRIGHT LAW"
There is an acute lack of awareness on various issues relating to copyright and related rights amongst stakeholders, enforcement agencies, professional users like the scientific and academic communities and members of the public. The questions put forth by the representatives of these sections of society vary from those relating to the very fundamentals of intellectual property rights to those which relate to practical applications.
Copyright Basics: Understanding the Difference Between a Sound Recording and ...Hugh Hession
Frequently, there is confusion between the fact that there are two copyrights in a recorded song. One is the composition, the song or the PA copyright. The other, is the sound recording, or the SR.
Ever wonder how to go about getting the approval to record your favorite cover song? Making it in Music's Hugh Hession gives you everything you need to know in this presentation.The Step by Step Guide on How to Get Permission to Record a Cover Song.
This presentation is intended to provide an introduction for non-specialists or new-comers to the subject of copyright and related rights. It explains in layman's terms the fundamentals underpinning copyright law and practice.
It describes the different types of rights which copyright and related rights law protects, as well as the limitations on those rights.
Business and contracts in the recording and music publishing industryThis account is closed
Want to learn more about business and contracts in the recording and music publishing industry? In this presentation originally delivered as part of the Media and Copyright Issues Panel at the 2014 IPIC McGill Copyright Master Class, leading entertainment lawyer Susan Abramovitch provides a helpful overview of the business, including:
-Rights of the artist/songwriter
-Artist recording agreements – from term and territory to budget and royalties
-License agreements
-Pressing and distribution agreements
-Publishing agreements
-Income splits
-Income from compositions
-360 deals
Royalty Claim - [Preview] The State of Unclaimed Royalties and Music Licenses...Dae Bogan
This presentation was given by Royalty Claim's Founder and Chief Researcher, Dae Bogan, at the Music Industry Research Associations first inaugural MIRA Conference at the UCLA Luskin Conference Center on August 11th, 2017.
Reference source is "A HAND BOOK OF COPYRIGHT LAW"
There is an acute lack of awareness on various issues relating to copyright and related rights amongst stakeholders, enforcement agencies, professional users like the scientific and academic communities and members of the public. The questions put forth by the representatives of these sections of society vary from those relating to the very fundamentals of intellectual property rights to those which relate to practical applications.
Copyright Basics: Understanding the Difference Between a Sound Recording and ...Hugh Hession
Frequently, there is confusion between the fact that there are two copyrights in a recorded song. One is the composition, the song or the PA copyright. The other, is the sound recording, or the SR.
Ever wonder how to go about getting the approval to record your favorite cover song? Making it in Music's Hugh Hession gives you everything you need to know in this presentation.The Step by Step Guide on How to Get Permission to Record a Cover Song.
An Introduction to Copyright for Music Writers - Vick Bain (BASCA)Digital Catapult
Vick Bain, CEO of BASCA, gave a presentation about music copyright at the Digital Catapult Centre's Understanding UK Copyright Law: A Workshop for Music Writers & Composers.
The music business is undergoing big changes and music consumption is only part of the story. To see the big picture, we must recognize what’s driving change — the fan. This session, presented during Music Biz 2015 in Nashville On May 12, offered an overview of the state of music — past, present and future and highlighted changes in the industry. Nielsen Music's David Bakula, took a rich view of fans, including insights across specific genres, consumer segments, talent analytics, case studies and cross-channel consumption to understand how they are
engaging with music.
How The Love of Music has changed our Business WorldThorsten Faltings
Over the last decade, there was a Giant Refresh in the Business World:
- Many destroyed value chains,
- Business Innovation everywhere,
- Various new markets with new leaders,
- Empowered & emancipated Consumers.
This is the story about how the love of music laid the Foundation for many Innovations in the past 12 years, turning the Business World upside down.
How does having 30 million songs in our pocket affect how we listen to music? In this data-driven and demo-laden talk we’ll explore the behavior of today’s music listener. We’ll look at how today’s easy and ubiquitous access to nearly all of recorded music is changing how a listener organizes, discovers and experiences music. By exploring big music data being collected by organizations such as Spotify and The Echo Nest we can get a deeper and more nuanced view of how today’s listener really interacts with their music.
Music revenues are declining for more than ten years. But we are not listening less music. Digital revolution, piracy, streaming and mostly customers behaviors are affecting heavily the monetization of the entire industry. Define a new business model is key to grow.
12 Brand Logos With Hidden and Interesting MessagesPawan Kumar
Some famous brands' logos have an interesting story and hidden message. But it's very hard to find the hidden message in the logos.
Here we are revealing 12 famous brands' hidden messages, which you may not know yet.
All businesses should consider their legal obligations when using music in any form – from public performances (such as at weddings) to background sounds during work meetings! Taking proper precautions can protect your business interests and ensure that you’re getting the most out of your music library.
Pulmonary Thromboembolism - etilogy, types, medical- Surgical and nursing man...VarunMahajani
Disruption of blood supply to lung alveoli due to blockage of one or more pulmonary blood vessels is called as Pulmonary thromboembolism. In this presentation we will discuss its causes, types and its management in depth.
These lecture slides, by Dr Sidra Arshad, offer a quick overview of physiological basis of a normal electrocardiogram.
Learning objectives:
1. Define an electrocardiogram (ECG) and electrocardiography
2. Describe how dipoles generated by the heart produce the waveforms of the ECG
3. Describe the components of a normal electrocardiogram of a typical bipolar leads (limb II)
4. Differentiate between intervals and segments
5. Enlist some common indications for obtaining an ECG
Study Resources:
1. Chapter 11, Guyton and Hall Textbook of Medical Physiology, 14th edition
2. Chapter 9, Human Physiology - From Cells to Systems, Lauralee Sherwood, 9th edition
3. Chapter 29, Ganong’s Review of Medical Physiology, 26th edition
4. Electrocardiogram, StatPearls - https://www.ncbi.nlm.nih.gov/books/NBK549803/
5. ECG in Medical Practice by ABM Abdullah, 4th edition
6. ECG Basics, http://www.nataliescasebook.com/tag/e-c-g-basics
Lung Cancer: Artificial Intelligence, Synergetics, Complex System Analysis, S...Oleg Kshivets
RESULTS: Overall life span (LS) was 2252.1±1742.5 days and cumulative 5-year survival (5YS) reached 73.2%, 10 years – 64.8%, 20 years – 42.5%. 513 LCP lived more than 5 years (LS=3124.6±1525.6 days), 148 LCP – more than 10 years (LS=5054.4±1504.1 days).199 LCP died because of LC (LS=562.7±374.5 days). 5YS of LCP after bi/lobectomies was significantly superior in comparison with LCP after pneumonectomies (78.1% vs.63.7%, P=0.00001 by log-rank test). AT significantly improved 5YS (66.3% vs. 34.8%) (P=0.00000 by log-rank test) only for LCP with N1-2. Cox modeling displayed that 5YS of LCP significantly depended on: phase transition (PT) early-invasive LC in terms of synergetics, PT N0—N12, cell ratio factors (ratio between cancer cells- CC and blood cells subpopulations), G1-3, histology, glucose, AT, blood cell circuit, prothrombin index, heparin tolerance, recalcification time (P=0.000-0.038). Neural networks, genetic algorithm selection and bootstrap simulation revealed relationships between 5YS and PT early-invasive LC (rank=1), PT N0—N12 (rank=2), thrombocytes/CC (3), erythrocytes/CC (4), eosinophils/CC (5), healthy cells/CC (6), lymphocytes/CC (7), segmented neutrophils/CC (8), stick neutrophils/CC (9), monocytes/CC (10); leucocytes/CC (11). Correct prediction of 5YS was 100% by neural networks computing (area under ROC curve=1.0; error=0.0).
CONCLUSIONS: 5YS of LCP after radical procedures significantly depended on: 1) PT early-invasive cancer; 2) PT N0--N12; 3) cell ratio factors; 4) blood cell circuit; 5) biochemical factors; 6) hemostasis system; 7) AT; 8) LC characteristics; 9) LC cell dynamics; 10) surgery type: lobectomy/pneumonectomy; 11) anthropometric data. Optimal diagnosis and treatment strategies for LC are: 1) screening and early detection of LC; 2) availability of experienced thoracic surgeons because of complexity of radical procedures; 3) aggressive en block surgery and adequate lymph node dissection for completeness; 4) precise prediction; 5) adjuvant chemoimmunoradiotherapy for LCP with unfavorable prognosis.
Ethanol (CH3CH2OH), or beverage alcohol, is a two-carbon alcohol
that is rapidly distributed in the body and brain. Ethanol alters many
neurochemical systems and has rewarding and addictive properties. It
is the oldest recreational drug and likely contributes to more morbidity,
mortality, and public health costs than all illicit drugs combined. The
5th edition of the Diagnostic and Statistical Manual of Mental Disorders
(DSM-5) integrates alcohol abuse and alcohol dependence into a single
disorder called alcohol use disorder (AUD), with mild, moderate,
and severe subclassifications (American Psychiatric Association, 2013).
In the DSM-5, all types of substance abuse and dependence have been
combined into a single substance use disorder (SUD) on a continuum
from mild to severe. A diagnosis of AUD requires that at least two of
the 11 DSM-5 behaviors be present within a 12-month period (mild
AUD: 2–3 criteria; moderate AUD: 4–5 criteria; severe AUD: 6–11 criteria).
The four main behavioral effects of AUD are impaired control over
drinking, negative social consequences, risky use, and altered physiological
effects (tolerance, withdrawal). This chapter presents an overview
of the prevalence and harmful consequences of AUD in the U.S.,
the systemic nature of the disease, neurocircuitry and stages of AUD,
comorbidities, fetal alcohol spectrum disorders, genetic risk factors, and
pharmacotherapies for AUD.
- Video recording of this lecture in English language: https://youtu.be/lK81BzxMqdo
- Video recording of this lecture in Arabic language: https://youtu.be/Ve4P0COk9OI
- Link to download the book free: https://nephrotube.blogspot.com/p/nephrotube-nephrology-books.html
- Link to NephroTube website: www.NephroTube.com
- Link to NephroTube social media accounts: https://nephrotube.blogspot.com/p/join-nephrotube-on-social-media.html
Explore natural remedies for syphilis treatment in Singapore. Discover alternative therapies, herbal remedies, and lifestyle changes that may complement conventional treatments. Learn about holistic approaches to managing syphilis symptoms and supporting overall health.
Ozempic: Preoperative Management of Patients on GLP-1 Receptor Agonists Saeid Safari
Preoperative Management of Patients on GLP-1 Receptor Agonists like Ozempic and Semiglutide
ASA GUIDELINE
NYSORA Guideline
2 Case Reports of Gastric Ultrasound
Title: Sense of Taste
Presenter: Dr. Faiza, Assistant Professor of Physiology
Qualifications:
MBBS (Best Graduate, AIMC Lahore)
FCPS Physiology
ICMT, CHPE, DHPE (STMU)
MPH (GC University, Faisalabad)
MBA (Virtual University of Pakistan)
Learning Objectives:
Describe the structure and function of taste buds.
Describe the relationship between the taste threshold and taste index of common substances.
Explain the chemical basis and signal transduction of taste perception for each type of primary taste sensation.
Recognize different abnormalities of taste perception and their causes.
Key Topics:
Significance of Taste Sensation:
Differentiation between pleasant and harmful food
Influence on behavior
Selection of food based on metabolic needs
Receptors of Taste:
Taste buds on the tongue
Influence of sense of smell, texture of food, and pain stimulation (e.g., by pepper)
Primary and Secondary Taste Sensations:
Primary taste sensations: Sweet, Sour, Salty, Bitter, Umami
Chemical basis and signal transduction mechanisms for each taste
Taste Threshold and Index:
Taste threshold values for Sweet (sucrose), Salty (NaCl), Sour (HCl), and Bitter (Quinine)
Taste index relationship: Inversely proportional to taste threshold
Taste Blindness:
Inability to taste certain substances, particularly thiourea compounds
Example: Phenylthiocarbamide
Structure and Function of Taste Buds:
Composition: Epithelial cells, Sustentacular/Supporting cells, Taste cells, Basal cells
Features: Taste pores, Taste hairs/microvilli, and Taste nerve fibers
Location of Taste Buds:
Found in papillae of the tongue (Fungiform, Circumvallate, Foliate)
Also present on the palate, tonsillar pillars, epiglottis, and proximal esophagus
Mechanism of Taste Stimulation:
Interaction of taste substances with receptors on microvilli
Signal transduction pathways for Umami, Sweet, Bitter, Sour, and Salty tastes
Taste Sensitivity and Adaptation:
Decrease in sensitivity with age
Rapid adaptation of taste sensation
Role of Saliva in Taste:
Dissolution of tastants to reach receptors
Washing away the stimulus
Taste Preferences and Aversions:
Mechanisms behind taste preference and aversion
Influence of receptors and neural pathways
Impact of Sensory Nerve Damage:
Degeneration of taste buds if the sensory nerve fiber is cut
Abnormalities of Taste Detection:
Conditions: Ageusia, Hypogeusia, Dysgeusia (parageusia)
Causes: Nerve damage, neurological disorders, infections, poor oral hygiene, adverse drug effects, deficiencies, aging, tobacco use, altered neurotransmitter levels
Neurotransmitters and Taste Threshold:
Effects of serotonin (5-HT) and norepinephrine (NE) on taste sensitivity
Supertasters:
25% of the population with heightened sensitivity to taste, especially bitterness
Increased number of fungiform papillae
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Copyright
1. Music Copyright
History:
1790 Constitution Article I, Section 8
…to promote progress of science and useful
arts…limited time….exclusive rights
Major Revision 1909
Most recent 1976, became effective 1/1/1978
2. What is Copyrightable?
Original Works of Authorship
What constitutes “Original” “Authorship”
Not Ideas, but the “Fixation” of an
Expression of the Idea
3. What is Copyrightable?
Literary Works
Musical Works, including Words
Dramatic Works, including Music
Pantomimes & Choreography
Pictorial, Graphic, & Sculptural Works
Motion Pictures & Audio Visual
4. What is Copyrightable? cont.
Sound Recordings
Not under the 1909 Law, but protected by
other state statutes
Architectural Works
5. What is Copyrightable? cont.
Name of Band is Not
Band Name is a Trade Mark/Service Mark
issue
Original art of the Band Name Is
6. When is A Work Copyrighted
When it is “Fixed in any tangible medium
of expression” . . . written, recorded, etc.
Proving the date of fixation is the problem.
7. Exclusive Rights
Reproduce (Duplicate)(Mechanical Royalties)
Derivative Works
Distribute Copies
Perform Publicly (Performance Royalties)
Display Publicly
Digital Performance Transmission of Sound
Recording (Congress considering extending to
all)
8. Exclusive Rights cont.
Sound Recordings do not have right of
Performance Except Digital Transmission
What does this mean?
9. “Fair Use” (p. 93)
Certain Uses are Allowable
Used For: Criticism, Comment, News
Reporting, Teaching, Scholarship,
Research
No Strict Definitions
10. Two Musical Copyrights
Form PA (Performing Arts): the work of
art (song: music & lyrics); songwriter
owns rights
Form SR (Sound Recording): the
“fixation” of sound, not the underlying
song; performers, producer, record label
owns rights (depending on contract)
11. Fair Use
“Fair Use” is a “Legal Defense” to
Infringement
1. Purpose or Character of the use
2. Nature of the Copyrighted Work
3. Amount & Substantiality
4. Effect on the Potential Market
12. Fair Use
Non Infringing Performances
Remember these must meet the test
1. Performance or Display, Face-to-face
teaching, non-profit ed.
2. BUT, copying various chapter to make
your own textbook effects the textbook
market
13. Fair Use
Non Infringing Performances
2. Performance, display, transmission (non-
dramatic) if.
a. Regular part systematic instruction
b. Directly related to teaching content
c. Transmission reception is in classrooms
14. Fair Use
Non Infringing Performances
3. Performance (non-dramatic) religious
service.
BUT, copying songs from book effects the
print music market
15. Fair Use
Non Infringing Performances
4 Performance (non-dramatic) without
commercial advantage (payment for
performance)
a. No direct or indirect admission or
b. Proceeds (after production costs) not
used for financial gain
16. Fair Use
Non Infringing Performances
5. Performance (food/beverage musak or
TV)
a. Less than 3750 sq ft
b. If more than 3750
c. • less then 6 speakers, less than 4 per
room
d. • less than 4 TVs, 1 per room
17. Fair Use Chart For Teachers
http://www.mediafestival.org/copyrightchart.
18. FAIR USE CASE
Campbell v. Acuff-Rose Music, Inc (1994)
Pretty Woman/Oh, Pretty Woman
District Court held as Fair Use
Court of Appeals, commercial nature
disqualified it
Supreme Court: found the more
transformative the better, purpose &
character created a new work
19. Duration of Copyright (p.100)
1909 law, two 28-year terms equals 56 years
Published or registered prior to 1923 are “Public
Domain”
1976 Law, effective 1/1/1978, with the 1998
Sonny Bono Copyright Term Extension Act
Duration Currently: Life plus 70
20. Duration of Copyright cont.
“Work Made For Hire,” anon. or psuedo.
Shortest of:
95 yrs from Pub. or
120 yrs from Creation
Published between 1923-1978 overlap
the new law. Granted 95 yrs.
Copyright Chart
21. Ownership
The “Bundle of Rights” can have multiple
owners. WARNING; always have a formal
agreement.
Ownership of the copyright is DISTINCT
from ownership of a physical object
(master tape)
“First Sale Doctrine” establishes rental
industry
22. Transfer Assignment
Any of the 6 rights can be transferred or
assigned
Written agreement
File with Copyright Office
23. Termination of Transfer
Any Transfer made after 1/1/78 can be
recaptured
1. A 5-year window between end of year
35-40
2. Right of Publication: 35 yrs from pub.
OR 40 yrs from execution
24. Termination of Transfer cont.
3. File “Intent to Terminate” not less than 2
yrs before or more than 10 yrs before
4. Contract language does not effect this
5. 1923-78, 5-yr window at the end of 75
yrs
6. “Work Made for Hire” cannot be
recaptured
25. Work Made for Hire (95)
Employer is considered the author
(owner)
Criteria
1. “Work prepared by an employee within
the scope of employment”
2. Work Specifically ordered or
commissioned” AND . . . .
26. Work Made for Hire cont.
AND must sign agreement stating “Work
Made for Hire”
Employee means SS benefits and
withholding taxes
27. Arrangements
Arrangement is a “derivative work” no
ownership
“Request Permission to Arrange” form
For Recording a Mechanical License
replaces the above form
Except Public Domain, may receive
royalties
28. Sound Recording
The “Fixation” of the sounds (Form SR)is
different from the “Musical Work” (Form
PA)
Rights: Reproduce, Derivative, Distribute,
Perform by Digital Audio Transmission;
no performance rights for other
transmissions.
29. Sound Recording
The owner of the SR copyright can only
duplicate the exact fixation of sounds, not
another version.
It is Legal to make a new recording that
imitates another without violating the SR
Copyright
30. Question
What are the implications of only
Performance Rights for Digital
Transmission?
31. Quick View of Licenses
Mechanical - to duplicate
Performance - to play in public, live or
recorded
Synchronization - putting music to
pictures
Transcription - music for syndicated
programs & background music
Master Use – to license a recording (SR)
32. Compulsory/Mechanical
License
Owners have control of the first recording
After, they are “Compelled” to grant a
license for recordings (not Transcriptions)
Notify copyright holder of intent within 30
days (before or after), before distributing.
Can’t find owner, notify Copyright Office
34. Mechanical Royalties
Paid for each Phonorecord when “made
and distributed”
Distributed Means “voluntarily &
permanently parted with its possession”
Sale is not required, i.e., free goods
Returned items are not “permanently
parted”
35. Negotiated Mechanical License
Alternative is to Negotiate for lower rate
Record Labels Want to Pay Lower Rate
on “Controlled Compositions”
37. Formalities cont
“All Rights Reserved” adds protection in
foreign countries under Pan-American
Convention
38. Formalities cont.
Omission
1909-1978 invalidated copyright
1/1/78 - 3/1/89 does not invalidate IF
• missing on small number
• registration made within 5 yrs AND
reasonable effort made
• owner requested no notice in writing
39. Formalities cont.
2. Deposit of Copies
Within 3 months deposit LOC 2 copies of
“Best Edition”
1909-1977 required sheet music
1978 - a recording
42. Infringement (p.107)
Using Copyright Material Without
Permission or License
Remedies: Injunction, Impoundment,
Destruction, Damages (Actual Damage or
Statutory Damages)
Unregistered Works: No Statutory
Damages or Lawyers Fees
43. Piracy (p.108)
Manufacture and Sale of Phonorecords
without permission or License
1982 Piracy & Counterfeit Act
Max $250,000 & Jail
44. Audio Home Recording Act
1992
Allowing home duplication
Royalty payment & “Serial Copy
Management System”
Dual CD Recorders use SCMS
“Audio” or “Music” CDs include a Royalty
divided between featured and non
featured players
45. Trade Names Trademarks
Naming Band
• DBA or Fictitious Name Form
• Check with Unions, ASCAP, BMI, SESAC
• Library: Index to the Trademark Register
46. Band Names
Written Agreement:
Who Owns Name,
How is Ownership Shared,
How Does it End
What Happens when People Leave the
Group