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Avtorska pravica in elektronska plesna glasba: primeri Slovenije, Hrvaške in Srbije
Januška, Tim (Author), Tomc, Gregor (Mentor) More about this mentor... This link opens in a new window

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Abstract
Avtorsko pravo si neuspešno prizadeva dohajati naglo digitalizacijo, ki je v zadnjih desetletjih dodobra spremenila glasbeno industrijo. Pretežno zastarele smernice avtorske pravice zavirajo ustvarjalnost, namesto da bi jo v dobi vedno večje demokratizacije glasbe še dodatno spodbujale in pri tem ščitile umetnike. Ta problematika je še posebej razvidna v žanru elektronske plesne glasbe, ki se od začetka 90. let spopada s strogimi ukrepi, ki si prizadevajo zajeziti tej zvrsti inherentno neavtorizirano vzorčenje. Pohlep glasbenih založb je izpostavljen kot eden izmed poglavitnih razlogov za vedno več omejitev za ustvarjalce. S kvalitativno metodo sem raziskoval vplive avtorske pravice na ustvarjalnost DJ-jev in producentov iz Slovenije, Hrvaške in Srbije. Prišel sem do sklepa, da avtorska pravica le deloma zavira ustvarjalnosti umetnikov vzorčenja, vendar se ti zatekajo k vedno bolj inovativnim pristopom in se izogibajo uporabi vzorcev komercialno prepoznavnih umetnikov. Poleg tega sem prišel do ugotovitve, da imajo umetniki vzorčenja pomisleke glede potencialnih alternativ oziroma dopolnitev obstoječi zakonodaji, kot so Creative Commons, ali pa z njimi niso podrobno seznanjeni.

Language:Slovenian
Keywords:Avtorska pravica, vzorčenje, elektronska plesna glasba, poštena raba, Creative Commons.
Work type:Master's thesis/paper (mb22)
Organization:FDV - Faculty of Social Sciences
Year:2019
COBISS.SI-ID:36337757 Link is opened in a new window
Views:60
Downloads:24
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Secondary language

Language:English
Title:Copyright and Electronic Dance Music: Examples of Slovenia, Croatia and Serbia
Abstract:
Copyright law has unsuccessfully been striving to keep up with the rapid digitization that has changed the music industry in recent decades. Predominantly obsolete copyright guidelines inhibit creativity, rather than encourage and protect artists in an era of increasing democratization of music. This problem is especially evident in the genre of electronic dance music, which has been dealing with stringent measures that try to suppress unauthorized sampling that is inherent to it since the beginning of the 1990s. The greed of record labels has been highlighted as one of the main reasons behind the ever-increasing limitations for creators. Using the qualitative method, I investigated the effects of copyright on the creativity of DJs and producers from Slovenia, Croatia and Serbia. I came to the conclusion that copyright only partly hampers the creativity of sampling artists, yet they do resort to increasingly innovative approaches and avoid using samples of commercially recognizable artists. I also came to the conclusion that sampling artists have concerns regarding the proposed alternatives or amendments to the existing legislation, such as Creative Commons, or are not acquainted in detail.

Keywords:Copyright, sampling, electronic dance music, fair use, Creative Commons.

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