Incoming and Outgoing Shipments in 1 STEP Using Odoo 17
Copyright
1. A R I E L F L I N N
I T E C 7 4 4 5
D R . M O O R E
Sound Recording
Copyright Guidelines
2. Sound Recording Copyright: History
Copyright Act of 1790 – first federal law for copyright in the
United States
Copyright Act of 1831 – first revision of US copyright law, first time
musical works were included
Copyright Act of 1909 – third revision of US copyright law, did not
include sound recordings
Copyright Act of 1976 – fourth revision of US copyright law, first
time sound recordings were included
Sonny Bono Copyright Term Extension Act of 1998 – extended
copyright protection to the life of the author plus 70 years
3. Copyright: Definition
Copyright is a series of laws provided by the United States to
provide protection in the form of rights
Designed to protect the authors of “original works of authorship”
Protection Includes literary, dramatic, musical, artistic, and
certain other intellectual works.
Available for published and unpublished works
4. Copyright Privileges
Copyright gives the owner the the exclusive right to:
Reproduce the work
Create derivatives of the work
Distribute copies for profit
Perform the work publicly
Display the work publicly
It is illegal for anyone to violate any of the rights provided by the
copyright law to the owner of copyright
Limitations on these rights:
Fair Use
Compulsory License
5. Fair Use
“Fair Use” is a doctrine that states certain uses or purposes are
“fair game” and not considered an infringement of copyright
Four factors go into determining “fair use”:
The purpose and character of the use
The nature of the copyrighted work
The amount and substantiality of the portion used in relation to the copyrighted
work as a whole
The effect of the use upon the potential market for or value of the copyrighted work
Not always clear or easily defined
Acknowledging the source of the copyrighted material does not
substitute for obtaining permission.
6. Fair Use for Sound Recordings
A maximum of 30 seconds per musical composition may be used
Up to 10% of a copyrighted musical composition may be
reproduced, performed, and displayed
Single copy of performance by students for evaluation or
educational purposes
Single copy of sound recording of copyrighted music by teacher for
aural exercises or assessments
Obtain permission from copyright owner for uses beyond “fair use”
Does not apply to music illegally transferred from peer to peer (file
sharing sites)
Does not apply to public domain
7. Fair Use for Music Educators
School Concert Exemption:
Ensembles, teachers, students
Literary or musical work
No money can exchange hands: admission, performers, organizers, etc.
Other performance exemptions:
Face-to-Face Exemption
Distance Education Exemption
Music for Worship Exemption
Other special Fair Use policies for music educators:
Reproducing
Recording
Preparing Derivative Works
Distribution
Display
8. Public Domain
Public Domain (PD):
The complete absence of a low that protects ownership of property
You can arrange, reproduce, perform, record, publish, and sell commercially
Royalty free
Only considered PD if it there is proof of pubic domain from a legitimate source
When is it public domain?
When copyrights expire
In the U.S., songs written before the Copyright Notice of 1922
Outside the U.S., determined by individual copyright laws of other countries
No sound recordings currently exist in the public domain
9. Musical Work vs. Sound Recording
Musical Work, Song, or Composition:
Lyrics, melody, and musical arrangement of notes that define a song or musical
composition
Example: Sheet music
Sound Recording:
The process of fixing music or sound on a medium that can reproduce and play
back the music upon demand
Example: CD, MP3, WAV file
Not limited to musical recordings
Phonorecord:
Physical object that embodies the sound recording
Example: cassette tapes, CD’s, vinyl records, etc.
Different copyright implications
10. Scenario One
Ms. Roberts wants to create an original arrangement of “Mary Had
a Little Lamb” for her Chorus to perform, record, and sell for profit.
Does this fit within copyright law?
Answer: Yes.
Yes. “Mary Had a Little Lamb” is part of the public domain; it is
therefore available for such reproduction and distribution.
11. Scenario Two
Mr. Smith wants to sell a recording of the school’s recent second
grade performance of Bugz!, written by John Jacobson and John
Higgins, published by Hal Leonard Corporation. He does not have a
license or expressed permission from the composer. Does this fit
within copyright law?
Answer: No.
Mr. Smith does not own the copyright or for this musical, so he
cannot gain a profit from its performance.
12. Scenario Three
Mrs. Brown wants to make a sound recording of her 5th grade
Chorus during rehearsal so that her students may listen to it and
reflect on their performance. Does this fit within copyright law?
Answer: Yes.
This would be considered “fair use” of the sound recording and
would not be a copyright infringement.
13. References
Borden, Laurence A. (Sep. 25, 2005). Copying and Sharing
Recorded Music: The Dos and Don’ts of Copyright Law.
Stereophile.com. Retrieved October 13, 2013, from
http://www.stereophile.com/reference/905copy/
Haven Sound, Inc. (2013). Copyright and Public Domain. Pdinfo.com.
Retrieved October 8, 2013, fromhttp://www.pdinfo.com/Copyright
-Law/Copyright-and-Public-Domain.php
NAfME (2013). United States Copyright Law: A Guide for Music Educators
(Part 1). NAfME.org. Retrieved October 13, 2013 from
musiced.nafme.org/resources/copyright-center/united-states-
copyright-law-a-guide-for-music-educators/united-states-
copyright-law-a-guide-for-music-educators-part-1#intro
14. References
U.S. Copyright Office. A Brief Introduction and History. Copyright.gov.
Retrieved October 9, 2013, from
http://www.copyright.gov/circs/circ1a.html
U.S. Copyright Office (May 2012). Copyright Basics. Copyright.gov.
Retrieved October 9, 2013, 2013 from
http://www.copyright.gov/circs/circ01.pdf
U.S. Copyright Office (Aug. 2012). Copyright Registration for Sound
Recordings. Copyright.gov. Retrieved October 9, 2013, from
http://www.copyright.gov/circs/circ56.pdf
U.S. Copyright Office (Jun 2012). Fair Use. Copyright.gov. Retrieved
October 6, 2013, from http://www.copyright.gov/fls/fl102.html
Xavier University Library. Fair Use Guidelines for Print and Recorded
Music. Xavier.edu/library. Retrieved October 6, 2013, from
http://www.xavier.edu/library/help/fair_use_music.pdf
Editor's Notes
Copyright Act of 1870 – Second revision of US copyright law, no change for musical works or other music-related materials
Sound recordings were not included in the Copyright Act of 1909 because it was still such a new technology at the time
Before the Copyright Act of 1976, there was an act that extended limited copyright protection to sound recordings published on or after that date
The Copyright Act of 1976 saw the inclusion of a new category, “Sound Recordings”. This category now includes (and provides federal copyright protection for) sound recordings such as CD’s, WAV files, records, and other musical recordings made after February 15, 1972.
There have since been several other addendums to US copyright law regarding music and sound recordings
The Sonny Bono Copyright Term Extension Act – copyright protection extended copyright to the life of the author plus 70 years. This law extended copyright protection by 20 years, from 50 to 70 years.
Copyrights give the owner the authority to distribute copies for profit: “to the public by sale or other transfer of ownership, or by rental, lease or lending” (US Copyright Office, 2012).
The above privileges are based upon the medium being copyrighted. For example, copyright owners may perform the work publicly
The above privileges are stated as of the Copyright Act of 1972.
Sections 107 through 122 of the 1976 Copyright Act establish limitations on these rights.
Fair Use doctrine will be discussed in the next slide,
“Compulsory License”: certain limited uses of copyrighted works are permitted upon payment of specified royalties and compliance with statutory conditions
The doctrine of fair use has developed through a substantial number of court decisions over the years and has been codified in section 107 of the copyright law.
Example of fair use: it would be difficult for a scholar to comment on a book if she were unable to quote a relevant passage.
The purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
The less proportion of a whole work you use, the more likely it will be considered “fair use”
Federal court is the ultimate judge of “fair use” or not
Up to 10% of a copyrighted sound recording may be reproduced, performed, and displayed as part of a multimedia program produced by an educator or students.
A single copy of recordings of performances by students may be made for evaluation, student portfolio, or rehearsal purposes and may be retained by the educational institution, individual teacher, or student.
A single copy of a sound recording (such as a CD or cassette) of copyrighted music may be made from sound recordings owned by an educational institution or an individual teacher for the purpose of constructing aural exercises or examinations and may be retained by the educational institution or individual teacher.
Any illegally obtained copyrighted music (downloaded from peer to peer networks, file sharing sites) may not be used for in class instruction, multimedia presentations or projects.
Although performance is one of the copyright owner’s exclusive rights, the special needs of music educators, and others, are recognized in the fair-use limitations on these. The relevant portions of the law are reproduced in Appendix A, and music educators should take special notice of the very limited nature of these exemptions.
School concert exemption: nobody can gain any direct or indirect commercial advantage; no fee or compensation can be paid to the performers, promoters or organizers; and no admission charge can be levied.
Complete information concerning licensing of public performances of copyrighted non-dramatic musical works may be obtained from ASCAP, BMI and SESAC; together, these three organizations work for composers and publishers to handle the performance licenses for the vast majority of musical works.
While many “musical works” may be considered part of the public domain, there is no sound recording that exists within the public domain. For example, “A-Tisket, A-Tasket” is considered a “musical work,” and exists in the public domain, but Ella Fitzgerald’s recording of the song is considered a “sound recording” and has copyright protections.
For example, the musical score (printed music) of Beethoven’s Symphony Number 5 is considered a “musical work,” but the Munich Philharmonic recording of Beethoven 5 is considered a “sound recording”
Sound recordings may include recordings of music, drama, or lectures.