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1
Manning, Dwight, und Marilia Kamil. „New legislation in Brazilian music education: Studying the law and its implementation“. International Journal of Music Education 35, Nr. 1 (08.07.2016): 79–92. http://dx.doi.org/10.1177/0255761415619422.
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In 2008, Brazilian legislators approved a law that added music on a mandatory basis to the basic national school curriculum. Despite the possibilities afforded by this legislation, music educators affirm that many questions remain due to its ambiguity. Given the 2012 deadline for the implementation of this law, there is a need to understand how it was enacted across diverse settings. This study considers the implementation from the perspective of music teachers. Thus, in this interview study, we seek to understand the status of music education throughout the country according to the perspectives of music educators from private and public schools. Such perspectives are situated within reviews of educational history, legislation, policy, and research. Findings point toward the need to (a) address a shortage of music teachers; (b) better define the preparation of professional music educators; and (c) identify pedagogies which are likely to have the greatest impact in implementing this new law.
2
Mills, Sherylle. „Indigenous Music and the Law: An Analysis of National and International Legislation“. Yearbook for Traditional Music 28 (1996): 57. http://dx.doi.org/10.2307/767807.
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Saragih, Edi Tuahta Putra, Muhammad Citra Ramadhan und Isnaini Isnaini. „The Law Enforcement Weakness of Songs and Musics Copyright Crimes“. Jambura Law Review 3, Nr. 1 (28.01.2021): 139–54. http://dx.doi.org/10.33756/jlr.v3i1.7710.
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This research aimed to: (a) obtain the forms of copyright infringement of songs and/or music (with or without lyrics); (b) understand the role of the police, in this case the Police Precinct, in the law enforcement; (c) identify the factors that influenced the law enforcement. The research method used the normative-empirical legal research, with the initial stages of specifying norms in order to get the proper picture, and then specifying empirical events in order to get the real picture. The research results showed several matters: 1) The forms of copyright infringement of songs and/or music (with or without lyrics) found included: the distribution of the works or the copies, the performances of the works, and the announcements of the works; 2) Police Precinct did notultimately carry out their role as a law enforcer for the copyright infringement of songs and/or music (with or without lyrics); and 3) The factors that influenced the law enforcement on the copyright infringement of songs and/or music (with or without lyrics), namely: legislation factor, in the matter of complaint offenses; law enforcement factor, in terms of the capacity of members; less supportive factor of facilities and infrastructure; legal awareness factor, in the problem of the lack of legal counseling; and cultural factor, related to the differences in norms in the copyright law between those in society and those in regulations.
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Polak, Fiona, und Athol Leach. „DEVELOPING GUIDELINES FOR SOUTH AFRICAN MUSIC LIBRARIANS“. Mousaion: South African Journal of Information Studies 32, Nr. 3 (30.09.2016): 69–92. http://dx.doi.org/10.25159/0027-2639/1677.
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Music librarians must have knowledge of the copyright laws which govern the transferring of music from the old analogue form to the new digital formats. These laws were a particular concern of the South African Music Archive Project (SAMAP) which aimed to create an online resource for indigenous South African music particularly that of musicians suppressed during the apartheid years. Polak’s (2009) study was an offshoot of SAMAP. This article draws on her study and identifies the specific problems encountered by music librarians with regard to digital copyright law pertaining to music. The guiding theoretical framework is based on the Berne Convention (2014) and the World Intellectual Property Organization (WIPO) Copyright Treaty (1996) which provide the overarching international framework for guiding copyright. The literature review focuses on the international and national legislation; copyright in original recordings; duration of copyright; fair use, the public domain and information commons; copyright and fair dealing; and the South African Copyright Act (No. 98 of 1978). A survey conducted by e-mail identified problem areas experienced by the music librarians regarding the digital music copyright laws in South Africa. Two sets of guidelines for South African music librarians were formulated using their responses and the literature reviewed, and recommendations are made.
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Peno, Vesna. „Church music in the light of national legislation in the principality of Serbia and the Kingdom of Serbia“. Muzikologija, Nr. 12 (2012): 9–36. http://dx.doi.org/10.2298/muz120215001p.
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Officially, the Serbian Orthodox Church enjoyed a legally guaranteed status throughout the 19th century and Orthodox faith was considered to be prevalent both in the Principality of Serbia and in the Kingdom of Serbia. Nevertheless, after gaining its autonomy within the Constantinople Patriarchate in 1831 (under whose forced jurisdiction it had been since 1766), Knez Milos?s attitude and a number of state provisions led to the unsparing diminishing of the Church authority together with frequent subversions of the Church Canon law. Introduction of the constitutional and legislative framework for the activities of the Serbian church, the enforcement of institutionalized mechanisms of control, and above all, direct interference of the State authorities in the elections of Church hierarchs and their activities, marked relations of the Church and the State in the 19th century. ?Might makes right? rule was always on the State side. Investigations so far have least examined those provisions of the Government concerning general and theological education, in which church music also found its place. Presentation and analysis of the facts about the beginnings of organized music education go in favor of the existing findings on concurrencies and discrepancies in two cultural policies - that of the State and the one of the Church. Attitudes of the Sovereign and the Government towards the educational process, so vital during the decades of the State formation, are also indicative for affirmation of chanting practice and music art in general, as are (non-) conflicting interests between the prelates and distinguished public figures on one, and those in charge at the ministries on the other side. This paper presents all relevant government legislations regulating religious and music education at regular and theological schools. Attempts of the Church dignitaries and learned Serbian musicians to raise the level of music culture with the help of the State authorities are particularly emphasized. The emphasis was especially on the promotion of polyphonic church music and endeavors to print notated church chanting books. All relevant direct and indirect contributors to the expansion of church music are mentioned, among them especially music teachers at the Theological high school in Belgrade. Eventually, the paper points to those legal regulations which imposed on teachers certain duties related to everyday church services and reactions of the teachers to those regulations.
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Rocconi, Eleonora. „The Music of the Laws and the Laws of Music“. Greek and Roman Musical Studies 4, Nr. 1 (24.02.2016): 71–89. http://dx.doi.org/10.1163/22129758-12341268.
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In the Laws, Plato constantly uses analogies and interchanges between musical and legislative terminology, establishing an etymological connection between special categories of musical compositions (the nomoi) and the inviolability of their regulations. This usage was widely echoed in later sources, providing musical and literary critics with a law-based terminology which enabled them to describe and interpret musical phenomena as markers for political changes, leading to a distorted image of old-time mousikē.
7
Rodger, Gillian. „Legislating Amusements: Class Politics and Theater Law in New York City“. American Music 20, Nr. 4 (2002): 381. http://dx.doi.org/10.2307/1350151.
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SLOMINSKI, TES. „Policing Space and Defying the Mainstream: Gender and the Creation of a Traditional Music Public Sphere in Twentieth-Century Ireland“. Yearbook for Traditional Music 51 (November 2019): 247–68. http://dx.doi.org/10.1017/ytm.2019.11.
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Whether in Ireland or elsewhere, most people first encounter Irish traditional music in public spaces such as pub sessions or concerts, or through the recorded traces of music-making produced for a listening public.1 For those who become more involved in the scene as players, dancers, or avid listeners, festivals, schools, non-profit organisations, archives, and other instruments of the public sphere of Irish traditional music shape perceptions of the genre’s style, history, and participants. But while public and semi-public music-making has been a vital part of the transnational Irish traditional music scene for at least a century, the genre’s self-understanding still relies on its associations with a domestic, private past. In this article, I locate the roots of this contradiction in the historiographical problems presented by the 1935 Public Dance Halls Act—a piece of legislation that has had profound effects on musical practice and discourse in Ireland.2 I examine the ways this law and the frequent retrospective overemphasis of its effects have contributed to the idealisation of Irish traditional music as rooted in a domestic, rural, and lower-class past. Combined with social and governmental restrictions on the activities of women during most of the twentieth century, this alignment of domesticity with imagined “authenticity” has shaped the reception of women’s public Irish traditional musical performance in the twentieth and twenty-first centuries.
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Search, Patricia. „Electronic Art and the Law: Intellectual Property Rights in Cyberspace“. Leonardo 32, Nr. 3 (Juni 1999): 191–95. http://dx.doi.org/10.1162/002409499553226.
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The dematerialization of art that began in the 1960s has reached new heights with the use of electronic media. We are at an important crossroads in defining intellectual property rights that will have a direct impact on the way we create and disseminate electronic art in the future. This paper examines the historical evolution of the definition of “author” in copyright law. The paper shows how current copyright legislation and recent court decisions do not address the plasticity of the medium and the new forms of authorship that are defined by the artistic use of techniques such as virtual reality, artificial intelligence, hypermedia links and collaborative networking.
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UTAMA, ARYA, TITIN TITAWATI und ALINE FEBRYANI LOILEWEN. „PERLINDUNGAN HUKUM TERHADAP HAK CIPTA LAGU DAN MUSIK MENURUT UNDANG-UNDANG NOMOR 28 TAHUN 2004“. GANEC SWARA 13, Nr. 1 (13.03.2019): 78. http://dx.doi.org/10.35327/gara.v13i1.65.
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The rapid development of information technology has a positive and negative impact on the enforcement of Copyright law. The positive impact is in line with technological advances, especially the internet, so it's easy to buy original songs or music through online shopping facilities. While the negative impact is the increasing number of links downloading songs or illegal music in cyberspace, as well as the easier the piracy of voice recording works in the real world. The research method used in this study is a library research method that is normative juridical, namely research that refers to legal norms that exist in legislation, literature, expert opinions, papers, etc. In this case the copyright registration of the song and music is not an evidence if there is a copyright dispute over the song and music on the internet media, if there is prior publication carried out by one of the parties to the dispute then someone who can prove the authenticity of his creation will be the copyright holder of the disputed song or music. In Article 35 paragraph (4) the Copyright Act explains that the provisions on registration of work are not an obligation to obtain a Copyright, because Copyright protection arises automatically, (Automatic Protection) since the creation is manifested in a tangible form, without having to go through registration procedure
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Kakungulu-Mayambala, Ronald, Rukundo Solomon und Victor Philip Makmot. „An Examination of the Legislative Limitations of Artistic Freedom of Expression in Uganda“. African Journal of Legal Studies 12, Nr. 1 (18.12.2019): 47–80. http://dx.doi.org/10.1163/17087384-12340043.
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Abstract Artistic freedom of expression is guaranteed under the 1995 Constitution of the Republic of Uganda and other international instruments. This paper examines its application in all forms of art including paintings, music, poetry, novels, and plays. The paper examines the different legislation used in the restriction of artistic freedom of expression. It argues that these restrictions are contrary to the guarantees of freedom of expression provided in the Constitution and in various regional and international instruments. Part I of this paper gives a historical background to artistic freedom of expression noting how it has been suppressed since colonial times. Part II examines international protection of artistic freedom of expression while Part III analyses the protection of artistic freedom of expression in Uganda as guaranteed by the Constitution. Part IV analyses the legislation limiting artistic freedom of expression and highlights how these are incompatible with international and local human rights standards. Part V puts forward the case for artistic freedom of expression. Finally, Part VI provides the conclusion.
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Juardi, Adi, und Nurwati Nurwati. „EFFECTIVENESS OF COLLECTIVE MANAGEMENT ORGANIZATION IN COLLECTIVE ROYALTIES OF MUSIC AND COPYRIGHT WORK ON KARAOKE BUSINESS ACHIEVEMENT BASED ON LAW NUMBER 28 YEAR 2014 ON COPYRIGHT“. DE'RECHTSSTAAT 4, Nr. 2 (10.01.2019): 129. http://dx.doi.org/10.30997/jhd.v4i2.1521.
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He effectiveness of Collective Management Organization (CMO) in charge royalties on business karaoke questionable, this relates to the birth of Act No. 28 year 2014 about copyright which regulate in particular the CMO. Because there are still many karaoke business which still has not fulfilled the obligation to pay royalties of works of copyright music and their songs (karaoke company) exploitation for commercial business interests. This research aims to: (1) know the role of business in addressing CMO karaoke that doesn't pay royalties, (2) know the effectiveness of CMO administering royalties on the karaoke business person under law No. 28 Year 2014, (3) knowing the efforts in improving polling CMO royalty on the karaoke business. This type of research is the Juridical Sociological (Empirical) approach to legislation as well as interviews. The results of this study showed that the effectiveness of the CMO administering royalties have not been effective because it is based on the theory of legal effectiveness Soerjono Soekanto. Efforts in improving the collection of royalties already attempted CMO. The conclusions of this research that is not yet effective because CMO factor law enforcement community and culture that Indonesia is still not law abiding. Her advice is a strict law enforcement and awareness of the law business karaoke should be improved so that effective in running in CMO.
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Munday, Roderick. „FISHER v BELL REVISITED: MISJUDGING THE LEGISLATIVE CRAFT“. Cambridge Law Journal 72, Nr. 1 (März 2013): 50–64. http://dx.doi.org/10.1017/s000819731300007x.
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As students of the Law of Contract learn to their bemusement, in Fisher v Bell,1 although caught by a member of the constabulary in the most compromising circumstances, the owner of Bell's Music Shop, situate in the handsome Victorian shopping Arcade in the bustling Broadmead area of Bristol, was unsuccessfully prosecuted for offering for sale a flick knife contrary to s.1(1) of the Restriction of Offensive Weapons Act 1959. The statute penalised “any person who manufactures, sells or hires or offers for sale or hire, or lends or gives to any other person” a flick knife. Mr Bell had done all in his power to make a sale. The switchblade had been displayed in his shop window with a label that read, “Ejector knife—4s”. The police officer, who spotted the display and then took the knife away to show to his superintendent, was told by the shopkeeper that he had had other policemen in the shop inquiring about the knives. When the officer returned to tell Mr Bell that he would be prosecuted, the latter simply retorted “Fair enough.”
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Sudini, Luh Putu. „ROYALTY OF INDONESIAN SONGS COPYRIGHTS AT YAYASAN KARYA CIPTA INDONESIA ISSUED BY LAW NUMBER 19 OF 2002 ON COPYRIGHTS“. NOTARIIL: Jurnal Kenotariatan 3, Nr. 1 (06.07.2018): 25. http://dx.doi.org/10.22225/jn.3.1.650.25-37.
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This article aims at describing the role of Yayasan Karya Cipta Indonesia (YKCI) in copyright protection in Indonesia and the mechanism of royalty payment on Indonesian songs to the YKCI. The approach used in this study is normative approach as this study is conducted on secondary, primary, and tertiary legal materials, such as books, legal journals, and expert (secondary data) research results; its main legislation is Law no. 19 of 2002 on Copyright (primary data); English and Indonesia dictionaries and tertiary law which is the result of library research, supported by legal materials in the form of documents from field research results. From the collected legal materials, analysis in the method of the qualitative descriptive was conducted. The results indicated that YKCI's role as an administrator body in copyright protection is to collect royalties from parties that use songs or music commercially and help dispute resolution between creators, users or record producers of songs or music creations. Furthermore, the mechanism of royalty payments to YKCI shall be initiated by the authorization of YKCI by the creator or the copyright holder of the song, so on the basis of such power of attorney, YKCI exercises the collection or withdrawal of royalties by a percentage mechanism from the dealer's selling price through a permit saving per song at a rate for recording into a cassette, CD, VCD, and other media. Law Number 19 of 2002 on Copyright should be accompanied by the willingness and ability of the apparatus in enforcing it so that what to be achieved with the Act can be obtained. In addition, it is recommended that the government immediately issue provisions on the roles, duties and functions of the Copyright Council as well as the organic rules that explain the authority of YKCI which may be the appointment of the Director-General of Intellectual Property Rights (IPR) as endorsement of a collective society in order to attract royalties. The government also needs to make a standard contract of licensing agreement between the Copyright of Songs and Music in the event of announcement. In addition, YKCI also needs to be open including to the power of attorney (Creator of the song) so that the Creator can know the frequency of their song announcement and the large royalty that must be obtained.
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Aprianti, Duwi. „IMPLEMENTASI PENARIKAN ROYALTI BAGI PELAKU USAHA KOMERSIAL KARAOKE BERDASARKAN UNDANG-UNDANG NOMOR 28 TAHUN 2014 TENTANG HAK CIPTA“. Jurnal Magister Hukum Udayana (Udayana Master Law Journal) 6, Nr. 4 (31.12.2017): 489. http://dx.doi.org/10.24843/jmhu.2017.v06.i04.p07.
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Withdrawal Royalties are the utilization of the economic rights of a work related to the receipt by the creator or the copyright holder. Copyright is a creation created by the creator in a tangible form by not reducing restrictions in accordance with the provisions of legislation. Copyright applies in all areas of life one of which is the art of music. Songs that have been registered must get Royalties if they are to be used for commercial purposes, the only other who often violates is a commercial karaoke business in royalty payments. The method used in this study is the empirical law whose purpose gives a description of the provisions in the effort to withdraw royalties for commercial business Karaoke
Penarikan Royalti adalah pemanfaatan atas hak ekonomi suatu ciptaan yang terkait diterimanya oleh pencipta atau pemegang hak cipta. Hak cipta adalah suatu ciptaan yang dibuat oleh pencipta dalam bentuk nyata dengan tidak mengurangi pembatasan sesuai dengan ketentuan peraturan perundang-undangan. Hak Cipta berlaku di segala bidang kehidupan salah satunya yaitu seni musik. Lagu yang sudah didaftarkan haruslah mendapatkan Royalti apabila akan digunakan untuk kepentingan komersial, slaah satunya yang sering melanggar adalah pelaku usaha komersial karaoke dalam pemabayaran royalti. Metode yang digunakan dalam penelitian ini adalah hukum empiris yang tujuannya memberiakan gambaran yang mengenai ketentuan dalam upaya penarikan royalti bagi pelaku usaha komersial Karaoke.
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paine, garth. „endangered sounds: a sound project“. Organised Sound 10, Nr. 2 (August 2005): 149–62. http://dx.doi.org/10.1017/s1355771805000804.
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endangered sounds is a project that focuses on the exploration of sound marks (trade-marked sounds). the initial stage of this project was funded by arts victoria, and comprised legal searches that resulted in the listings of sound marks registered in australasia and the united states of america. this list was published on the internet with a call for volunteers to collect samples of the listed sounds internationally. the volunteer was sent a specimen tube with label and cap, and asked to collect the sound by placing the specimen tube close to the source (thereby capturing the air through which the sound travelled), securing the cap and then completing the label, documenting the time, place and nature of the sound (sound mark reg. no., sound mark description, time of capture, date of capture, location, etc.). these specimen tubes were collected and displayed in chemistry racks in the exhibition in the biennale of electronic arts, perth in 2004, illustrating the frequency and diversity of the environment into which these ‘private’, protected sounds have been released. the exhibition project consisted of:(1) a web portal listing all the sound marks listed in australasia and the usa, and negotiations are underway to expand that to include the eu.(2) a collection of sound marks in specimen tubes with caps and labels gathered internationally by people who volunteered to collect samples of sound marks in their environment.(3) a number of glass vacuum desiccator vessels containing a small loudspeaker and sound reproduction chip suspended in a vacuum, reproducing sound marks in the vacuum, notionally breaking the law, but as sound does not travel in a vacuum the gallery visitor hears no sound – what then is the jurisdiction of the sound mark?(4) a card index register of lost and deceased sounds.this project questions the legitimacy of privatising and protecting sounds that are released at random in public spaces. if i own a multi-million dollar penthouse in a city, and work night shifts, i have no recourse against the loud harley davidson or australian football league (afl) siren that wakes me from my precious sleep – both sounds are privately protected, making their recording, reproduction and broadcast illegal.while there are legal mechanisms for protection against repeat offenders, and many of us are committed to a culturally conditioned moral obligation re sound dispersion, there are no legal limits – i can call the police, but the football siren is already within legal standards and still permeates the private domain of city dwellings. the noise abatement legislation is only applicable to regular breaches of the law, and takes some time to sort out, but it does not apply to singular occurrences which, although within legislated limits, still disturb. additionally, the laws are based on amplitude and do not really address the issue of propagation. the ownership of the sound is not addressed in these legislative mechanisms – it should be; if the sound is an emblem of corporate identity, we should be able to choose not to be exposed to it, in the same way that we can place a ‘no junk mail’ sign on our letter boxes. acknowledgement of the private domain is sacrosanct in other areas of legislation, in fact heavily policed, but not addressed in discussions of the acoustic environment beyond amplitude limitations.
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Imfeld, Cassandra, und Victoria Smith Ekstrand. „The Music Industry and the Legislative Development of the Digital Millennium Copyright Act's Online Service Provider Provision“. Communication Law and Policy 10, Nr. 3 (Juli 2005): 291–312. http://dx.doi.org/10.1207/s15326926clp1003_2.
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Grin, E. S., und V. A. Alekseeva. „Organizer of Creation of a Complex Object of Intellectual Property Rights: Problems of Theory and Practice“. Actual Problems of Russian Law, Nr. 7 (01.07.2018): 123–28. http://dx.doi.org/10.17803/1994-1471.2018.92.7.123-128.
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In the Russian Federation, a person who organized the creation of a complex object is not the author of such an object. Traditionally, civil law distinguishes a triumvirate of authors of a complex object on the example of one of its type - an audiovisual work. A production director, scriptwriter and composer who created music specially for this work are recognized as authors. However, the foreign legislation of some states has a different approach to this issue. In the article, on the example of such a participant as a producer, the author considers the problem of determining his legal status, since in the countries of the Anglo-American legal system a producer is considered to be the author of the movie. The article highlights that the person responsible for the organization of the process of creating such an object, in particular, the person who took the initiative and responsibility for the creation of the relevant object (not only financial contribution but also creative one), may be considered to be the author provided he makes a creative contribution to the creation of a complex object.
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Pilving, Ivo. „Parallele Anwendbarkeit von Grundrechtecharta der EU und nationalen Grundrechten“. Juridica International 28 (30.09.2018): 9–16. http://dx.doi.org/10.12697/ji.2018.28.02.
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Pursuant to its Article 51 (1), the EU Charter of Fundamental Rights covers the implementation of EU law. Since 2014, the Estonian Supreme Court has applied the assumption that the Charter, in principle, does not preclude parallel applicability of national-level fundamental rights in areas subject to EU law, although the primacy, unity, and effectiveness of EU law must not be compromised thereby. The Member State's margin of appreciation should not be considered a precondition for the relevance of national fundamental rights. Even mandatory norms of EU law, which inevitably require certain national measures (e.g., permission to use a piece of music for sampling as in CJEU case C-476/17: Pelham), do not exclude the applicability of constitutional rights (here, the composer's copyright), though these can justify their restriction. Hence, the relevant piece of EU legislation itself must be valid. The CJEU should follow the principle of constitutional plurality in dialogue with national courts when examining the validity of EU norms restricting national fundamental rights. A parallel analysis of the national constitution and Charter by the competent national court would assist the CJEU in issuing a preliminary ruling. The most favourable standard of the fundamental rights in sense of the Article 53 should not be determined on merely abstract terms. Instead, the results of parallel analysis in light of the pending case should be of decisive importance. One conclusion presented is that in cases of multipolar conflict, there remains the possibility that a even fundamental right of one person that is derived from a national constitution can sometimes justify infringement on the charter-based right of another if there is no secondary legal balance of legal positions. In addition, exceptional situations might exist wherein fundamental principles of national constitutions may be granted precedence over the effectiveness of EU law.
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Pilving, Ivo. „Parallele Anwendbarkeit von Grundrechtecharta der EU und nationalen Grundrechten“. Juridica International 28 (13.11.2019): 9–16. http://dx.doi.org/10.12697/ji.2019.28.02.
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Pursuant to its Article 51 (1), the EU Charter of Fundamental Rights covers the implementation of EU law. Since 2014, the Estonian Supreme Court has applied the assumption that the Charter, in principle, does not preclude parallel applicability of national-level fundamental rights in areas subject to EU law, although the primacy, unity, and effectiveness of EU law must not be compromised thereby. The Member State's margin of appreciation should not be considered a precondition for the relevance of national fundamental rights. Even mandatory norms of EU law, which inevitably require certain national measures (e.g., permission to use a piece of music for sampling as in CJEU case C-476/17: Pelham), do not exclude the applicability of constitutional rights (here, the composer's copyright), though these can justify their restriction. Hence, the relevant piece of EU legislation itself must be valid. The CJEU should follow the principle of constitutional plurality in dialogue with national courts when examining the validity of EU norms restricting national fundamental rights. A parallel analysis of the national constitution and Charter by the competent national court would assist the CJEU in issuing a preliminary ruling. The most favourable standard of the fundamental rights in sense of the Article 53 should not be determined on merely abstract terms. Instead, the results of parallel analysis in light of the pending case should be of decisive importance. One conclusion presented is that in cases of multipolar conflict, there remains the possibility that a even fundamental right of one person that is derived from a national constitution can sometimes justify infringement on the charter-based right of another if there is no secondary legal balance of legal positions. In addition, exceptional situations might exist wherein fundamental principles of national constitutions may be granted precedence over the effectiveness of EU law.
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Ферран, Я. А. „Copyright Issues in the Correspondence Between “P. Jurgenson" and German Music Publishing Houses (1905-1908)“. Музыкальная академия, Nr. 1(769) (29.03.2020): 148–57. http://dx.doi.org/10.34690/42.
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Статья посвящена проблеме урегулирования вопросов авторского права в издательской деятельности между российской и немецкой сторонами в 1905-1908 годах. Проанализирована корреспонденция московской музыкально-издательской фирмы «П. Юргенсон» и ряда немецких (преимущественно лейпцигских) издательств. Приведены основные законодательные акты Германии и России, регламентирующие данную отрасль права; выявлены ключевые аспекты юридических отношений в издательской сфере. Основным материалом для исследования стали немецкоязычные источники из фондов Российского национального музея музыки и Лейпцигского государственного архива, впервые вводимые в научный оборот. The article is devoted to the problem of copyright in publishing and the settlement of this question between the Russian and German sides in 1905-1908. The work includes an analysis of correspondence between the Moscow publishing house “P. Jurgenson” and many German (predominantly Leipzig) music publishing houses. It presents the main legislative acts of Germany and Russia regulating this branch of law; summarizes the key aspects of legal relations in the publishing field. The main material for the article was German-language sources and literature from the funds of German and Russian archives and libraries, first introduced into scientific use. The article is devoted to the problem of copyright in publishing and the settlement of this question between the Russian and German sides in 1905–1908. The work includes an analysis of correspondence between the Moscow publishing house “P. Jurgenson” and many German (predominantly Leipzig) music publishing houses. It presents the main legislative acts of Germany and Russia regulating this branch of law; summarizes the key aspects of legal relations in the publishing field. The main material for the article was German-language sources and literature from the funds of German and Russian archives and libraries, first introduced into scientific use.
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Stavridou, Sylvia. „Collective Management of Copyright in Greece After the Implementation of Directive 2014/26/EU“. GRUR International 69, Nr. 2 (18.01.2020): 128–35. http://dx.doi.org/10.1093/grurint/ikz021.
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Abstract The Collective Management Law (L. 4481/17) transposed Directive 2014/26/EU into national law, and also set a voluminous legal framework on collective management with intensive state intervention. This placed Greece’s collective management organisations (CMOs) in a less favourable operating condition compared with those in other Member States. The implementation procedure in Greece plunged the music market into crisis, and showed that many national CMOs were unprepared to adapt to the new burdensome administrative measures and overloaded the existing competent authority with a variety of monitoring and supervisory tasks. The challenge for legislative initiatives and supervisory mechanisms remains to strike a balance between the quest for transparency and accountability and the viability of smaller and weaker CMOs. This article aims to give a short survey of the new legal framework on collective management in relation to the current day-to-day situation and the case law.
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Mróz, Bogdan. „Online piracy: an emergent segment of the shadow economy. Empirical insight from Poland“. Journal of Financial Crime 23, Nr. 3 (04.07.2016): 637–54. http://dx.doi.org/10.1108/jfc-04-2015-0022.
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Purpose The purpose of this paper is to investigate the underlying causes, scale and scope as well as the effects of piracy as a form of the shadow economy throughout Poland, drawing on the findings of secondary studies and author’s questionnaire survey conducted in summer 2013. Design/methodology/approach An online questionnaire survey was accomplished using the computer-assisted Web interview method and real-time sampling technique, in June 2013. The survey involved 1,000 persons aged 15 years and older. Findings Polish consumers use pirated content, products and services primarily for financial reasons: 73 per cent of respondents point out to high prices of original products, while more than half (56 per cent) points at low incomes of Polish consumers. A significant percentage of respondents (over one-third) indicates the easiness of access to pirated goods and services. The most common activity among Polish internet users is to copy pirated music files (almost 40 per cent of internet users admit to that) and films (including watching the series in the network to which approximately 35 per cent of respondents confess to). These two kinds of files are also copied the most often – about 20 per cent of the respondents copy them once a month or more often. One-fourth of the respondents admit to copying pirated computer programs. The findings from the survey reveal that young Polish internet users demonstrate a rather permissive attitude towards online piracy that involves downloading music files or video and sharing them with other network users. Research limitations/implications The questionnaire survey did not cover all aspects of online purchasing behaviour of Polish internet users. The findings of the survey should be approached with some caution, given the intricate and sensitive nature of the research problématique. Practical implications Regulations regarding online purchases of goods and services are not attuned to the digital reality, which is exploited by online intermediaries. The research findings highlighted the motivational and behavioural aspects of Poles’ online consumer behaviour, thus providing useful tips to curb online piracy. Social implications The implementation of relevant regulations to ensure respect and protection for intellectual property rights on the internet in Polish as well as EU legislation has acquired a rare immediacy and may reduce the scope of online piracy and other manifestations of shadow economy in the cyberspace. Originality/value An empirical insight into the online piracy among Polish internet users providing first-hand knowledge regarding their motivation and behavioural patterns.
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Hui, Alan, und Frédéric Döhl. „Collateral Damage: Reuse in the Arts and the New Role of Quotation Provisions in Countries with Free Use Provisions After the ECJ’s Pelham, Funke Medien and Spiegel Online Judgments“. IIC - International Review of Intellectual Property and Competition Law 52, Nr. 7 (05.07.2021): 852–92. http://dx.doi.org/10.1007/s40319-021-01084-4.
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AbstractThis article examines the impact of the European Court of Justice’s Pelham decision (C-476/17) on reuse, including appropriation art, borrowing and plagiarism in the arts, especially in music. Insofar, the focus lies on countries that have operated before with broad free use provisions. Specifically, we consider the extent to which EU law permits quotation provisions to fill the gap left by free use limitations, which have been curtailed by the Pelham decision. As we explain, Pelham creates a more restrictive approach to certain unlicensed use of copyright materials in new works of artistic expression, including music appropriation. We present our research in four sections. First, we compare existing national free use and quotation provisions in four states subject to EU law regarding their respective wiggle room for unlicensed yet lawful reuse in the arts. Second, we explore how the ECJ’s interpretation of the InfoSoc quotation exception, particularly in the Pelham, Funke Medien and Spiegel Online judgments, minimises the leeway for reuse in the arts provided by these national quotation provisions, in comparison to free use provisions. (Information Society Directive, 2001/29/EC.) Third, we address possible objections to our position and explain why we believe the consequences of the ECJ decisions cannot be bypassed. (Copyright in the Digital Single Market Directive, (EU) 2019/790.) Finally, in the conclusion, we explore the consequences, including the need for legislative reform.
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Casas Figueroa, María Victoria, Miryam Escobar Valencia und Ritho Mauro Burbano Parra. „Miradas desde la Historia de la Música a la formación profesional de músicos en Colombia: resultados preliminares“. HiSTOReLo. Revista de Historia Regional y Local 6, Nr. 12 (01.07.2014): 374–413. http://dx.doi.org/10.15446/historelo.v6n12.42067.
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La formación profesional de músicos en Colombia, se caracteriza por una variada oferta de programas, los cuales siguiendo lo exigido por la legislación nacional en torno a las carreras de artes, incluyen en su currículo asignaturas de Historia de la Música, que se diferencian en: número de niveles, número de créditos, orientaciones de contenido y de enfoque. Frente a la implementación de estas asignaturas es necesario establecer la pertinencia de éstas en la construcción de calidad, en la formación de pensamiento crítico, en el conocimiento de la cultura musical, elementos para la interpretación de un estilo, investigación formativa, entre otros. Para ello se adelantó un proyecto de investigación cuyo propósito fue caracterizar las tendencias de formación en Historia de la música en programas de pregrado o Licenciatura en Música en Colombia, y establecer algunos estándares de calidad relacionados. El estudio se llevó a cabo en un periodo de 18 meses. Se tomaron, como referencia, 12 de los programas académicos de pregrado y Licenciatura en Música, reconocidos por el Ministerio de Educación Nacional seleccionados tanto en instituciones de educación pública como privada. La metodología fue de tipo descriptivo y analítico, combinando los enfoques cuantitativo y cualitativo y se desarrolló en las siguientes fases: 1) revisión teórica; 2) trabajo de campo; 3) procesamiento de información y Análisis de resultados con el uso del software Atlas-ti. A partir de la determinación de categorías de análisis se estableció un mapeo nacional, de la formación en Historia de la Música, contrastando el marco conceptual y teórico. Views from the History of Music onto the professional formation of musicians in Colombia: preliminary resultsAbstract The professional formation of musicians in Colombia is characterized by a varied offer of programs, which in keeping with that required by national legislation regarding careers in arts, include within their curriculum assignments on the History of Music, which are differentiated in: number of levels, number of credits, content orientation, and approach. Upon the implementation of these assignments, it is necessary to establish their pertinence in the construction of quality, on the formation of critical thought, on knowledge of musical culture; elements to interpret a style and for formative research, among others. For this purpose, a research project was conducted to characterize formation tendencies in music history in undergraduate or degree programs in Music in Colombia, as well as establish some related quality standards. The study was conducted during an 18-month period, taking as reference 12 of the undergraduate and degree academic programs in music recognized by the Ministerio de Educación Nacional (National Ministry of Education), selected from public and private education institutions. The study used descriptive analytic methodology, combining quantitative and qualitative approaches and it was developed in the following phases: 1) theoretical review; 2) field work; 3) data processing and analysis of results by using Atlas-ti software. From the determination of analysis categories, a national map was established of the formation in the History of Music, contrasting the conceptual and theoretical frameworks. Keywords: formation, history of music, quality of standards, university education, musicology
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Centenera Sanchez Seco, Fernando. „La prohibición de Ébano swing y Cachita en el primer franquismo (Circular 98): mucho más que la simple censura de dos temas musicales | The banning of Ébano swing and Cachita in the early years of the Franco regime (Circular 98): much more than the simple censoring of two musical numbers“. Cuadernos Electrónicos de Filosofía del Derecho, Nr. 41 (27.12.2019): 65. http://dx.doi.org/10.7203/cefd.41.15439.
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RESUMEN. Este trabajo centra la atención en la Circular 98, que prohibió los temas musicales Ébano swing y Cachita durante el primer franquismo. El estudio analiza la medida desde la perspectiva del totalitarismo, considera las causas que suscitaron la fijación de la censura en los dos temas citados, y los motivos que pudieran explicar circunstancias tales como la no proliferación de prohibiciones en el mismo sentido. También se tratan numerosas deficiencias normativas, tanto de la Circular 98 como de otras regulaciones dedicadas a la censura musical, así como la eficacia de la prohibición. Finalmente se exponen varias conclusiones.
ABSTRACT. This article focuses on the 98th Circular which banned the musical numbers Ébano swing and Cachita in the early years of the Franco regime. It analyses the measure from the perspective of totalitarianism and ponders what led the censor to prohibit both numbers and why such prohibitions did not proliferate. It also studies a number of regulatory shortcomings in the 98th Circular itself and in other legislation concerning the censorship of music, as well as assessing the efficacy of prohibition. Some conclusions bring the article to an end.
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Quadros Júnior, João Fortunato Soares de, Oswaldo Lorenzo Quiles, Mara Rachel Souza Soares de Quadros und Ana Déborah Pereira de Barros. „MÚSICA NA ESCOLA: proposta de intervenção em escolas de ensino médio em São Luís-MA“. Cadernos de Pesquisa 24, Nr. 2 (03.09.2017): 104. http://dx.doi.org/10.18764/2178-2229.v24n2p104-124.
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Resumo: Esse estudo teve como objetivo implementar um plano de ações para a inclusão da Música no ensino médio em São Luís/MA. Para tanto, buscamos elaborar uma proposta curricular adequada à legislação e aos documentos norteadores da educação, tanto em âmbito nacional como local. Além disso, o trabalho propôs também a elaboração de materiais didáticos para o ensino de Música direcionado ao ensino médio, a partir da consulta a materiais didáticos já existentes e em conformidade com o previsto nas Diretrizes Curriculares da SEDUC-MA. Dessa forma, a pesquisa empregou como método a pesquisa-ação, contando com a participação de 10 escolas públicas, contemplando aproximadamente 1000 alunos. Para coleta de dados, utilizou-se da aplicação de questionários para diagnóstico das turmas e avaliação da proposta desenvolvida, reuniões pedagógicas e relatórios dos professores. Assim, esse trabalho conseguiu obter as seguintes conclusões: 1) a proposta desenvolvida obteve a aprovação dos participantes; 2) os estudantes de ensino médio são favoráveis à inserção da Música enquanto disciplina do currículo escolar; 3) fatores como infraestrutura, água e segurança influem diretamente no desenvolvimento da educação. Dessa forma, espera-se que esse estudo possa contribuir para o surgimento de propostas similares em outras localidades do país.Palavras-chave: Música. Ensino médio. Pesquisa-ação. Adolescentes. Currículo. Brasil. MUSIC INTO SCHOOL: Proposal for intervention in high schools in São Luís-MAAbstract: This study aims to implement an action plan to include Music in high school in São Luis/MA. For this end, it was elaborated a curricular proposal according to the current legislation and documents that guides the educational system, in both local and national context. In addition, this work proposed the elaboration of material to music teaching appropriated to high school through searching of existent materials and according to the Curricular Guidelines of SEDUC – MA. Thus, this research used the action research methodology and had the participation of 10 public schools, including around 1000 students. To data collection, it was used bibliographic and documental research, questionnaires to the group diagnostics and evaluations of the developed proposal, week meetings, and teachers’ reportings. As conclusion, this work obtains the following results: 1) The developed proposal obtained the approval of the participants; 2) high school students were favorable to the insertion of Music as a discipline of the school curriculum; 3) factors such as infrastructure, water, and safety influence directly to the educational development. Thus, it is expected that this study may contribute to the emergence of similar proposals in other localities of the country.Keywords: Music. High school. Action research. Teenagers. Curriculum. Brazil.MÚSICA EN LA ESCUELA: propuesta de intervención en escuelas de enseñanza media en São Luís-MAResumen: Este estudio tuvo como objetivo implementar un plan de acciones para inclusión de la Música en la enseñanza media en São Luís/MA. Para tanto, buscamos elaborar una propuesta curricular adecuada a la legislación y a los documentos oficiales de la educación brasileña, tanto en ámbito nacional como local. Además, el trabajo propuso también la elaboración de materiales didácticos para la enseñanza de Música dirigida a la enseñanza media, a partir de la consulta a materiales ya existentes y en conformidad con lo previsto en las Directrices Curriculares de SEDUC-MA. De esa forma, la investigación empleó como método la investigación-acción y contó con la participación de 10 escuelas públicas, abarcando aproximadamente 1000 estudiantes. Para la recopilación de datos, se ha utilizado cuestionarios para diagnóstico de los participantes y evaluación de la propuesta desarrollada, encuentros pedagógicos e informes de los maestros. Así, este trabajo logró obtener las siguientes conclusiones:1) la propuesta desarrollada obtuvo la aprobación de los participantes; 2) los estudiantes de la enseñanza media son favorables a la inclusión de la Música cómo asignatura del currículo escolar; 3) factores como infraestructura, agua y seguridad influyen directamente en el desarrollo de la educación. De este modo, logramos que ese estudio pueda contribuir para el surgimiento de propuestas similares en otras localidades del país.Palabras clave: Música. Enseñanza Media. Investigación-acción. Adolescentes. Currículo. Brasil.
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Caeiro, Martín, María Dolores Callejón und Mohamed Samir Assaleh Assaleh. „La Educación Artística en los Grados de Infantil y Primaria. Un análisis desde las especialidades docentes actuales y propuestas a una especialización en artes, cultura visual, audiovisual y diseño“. eari. educación artística. revista de investigación, Nr. 9 (13.12.2018): 56. http://dx.doi.org/10.7203/eari.9.11337.
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Resumen: El arte, a lo largo de los años de escolaridad se relega legislativa y curricularmente a favor de otras áreas de aprendizaje, cuando se sabe que es el área que más conecta con la naturaleza infantil. Este artículo analiza la situación de la educación artística en la legislación actual en las etapas de infantil y primaria y ofrece una panorámica de los diseños curriculares de las universidades y de su oferta formativa. También se presentan los resultados obtenidos a partir de una encuesta realizada al profesorado de los Grados de Educación Infantil y Primaria de las diferentes universidades españolas, con cuestiones planteadas en torno a la necesidad de contar con una mayor especialización de los maestros en el área artística. A partir de este análisis y estudio, se significa la necesidad de que exista una formación específica en educación artística que complemente las áreas de educación musical y de educación física. Finalmente, se aporta la visión de los autores acerca de una especialización en artes plásticas, cultura visual, audiovisual y diseño, argumentando las razones de su implementación y desarrollo. El objeto final sería ir pasando de la especialización en los grados a una formación más experta y profunda en el contexto de los másteres y programas de doctorado para maestros.
Palabras clave: arte, educación infantil, educación primaria, mención, especialidad
Abstract: Art, over the years of schooling is relegated legislatively and curricularly in favor of other areas of learning, when it is known that it is the area that most connects with children's nature. This article analyse the situation of artistic education in the current legislation in the Early Childhood and Primary Education and offers an overview of the curricular designs of the universities and their training offer. The results obtained from a survey made to the teachers of the Degrees of Early Childhood and Primary Education of the different Spanish universities are also presented, with questions raised around the need to have a greater specialisation of the teachers in the artistic area. From this analysis and study, it means a need for specific training in artistic education that complements the areas of music education and physical education. Finally, the author's vision of a specialization in visual arts, visual and audiovisual culture and design is provided, arguing the reasons for its implementation and development. The final objective would be to go from specialization in the degrees to a more expert and deep formation in the context of masters and doctoral programmes for teachers.
Keywords: art, Early Childhood Education, Primary Education, mention, specialty
http://dx.doi.org/10.7203/eari.9.11337
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Bonner, John. „Law and legislation“. BSAVA Companion 2018, Nr. 11 (01.11.2018): 16–17. http://dx.doi.org/10.22233/20412495.1118.16.
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Williams, Brian. „Legislation“. Probation Journal 33, Nr. 1 (März 1986): 27. http://dx.doi.org/10.1177/026455058603300109.
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Williams, Brian. „Legislation“. Probation Journal 35, Nr. 1 (März 1988): 9. http://dx.doi.org/10.1177/026455058803500104.
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Doloswala, Kalika Navin, und Ann Dadich. „The accidental criminal: Using policy to curb illegal downloading“. First Monday, 29.05.2011. http://dx.doi.org/10.5210/fm.v16i6.3412.
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Illegal downloading is a multifaceted social issue. In addition to the loss of intellectual property and revenue for copyright-holders, it can implicate perpetrators into the criminal justice system. Despite legislative attempts to curb illegal downloading, lessons to date suggest these do little to reduce the activity. Drawing on psychological literature, this paper offers an innovative approach to address illegal downloading. Attribution theory argues that the activity might be moderated by increasing opportunities for engagement between the owners and users of intellectual property. Rather than using policy and legislation to restrain access to intellectual property, this theory suggests that policy that closes proximal distances and creates psychological contracts might curb these practices. Examples from the music industry are discussed as evidence that this approach can be successful in changing downloader behaviour. To date, social policy informed by attribution theory has not been tested as a way to prevent illegal downloading. The paper argues the need to examine and critically evaluate non-punitive approaches to curbing illegal downloading from a policy perspective.
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Powers, George, Vinh Nguyen und Lex Frieden. „Video Game Accessibility: A Legal Approach“. Disability Studies Quarterly 35, Nr. 1 (12.02.2015). http://dx.doi.org/10.18061/dsq.v35i1.4513.
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<p><span>Video game accessibility may not seem of significance to some, and it may sound trivial to anyone who does not play video games. This assumption is false. With the digitalization of our culture, video games are an ever increasing part of our life. They contribute to peer to peer interactions, education, music and the arts. A video game can be created by hundreds of musicians and artists, and they can have production budgets that exceed modern blockbuster films. Inaccessible video games are analogous to movie theaters without closed captioning or accessible facilities. The movement to have accessible video games is small, unorganized and misdirected. Just like the other battles to make society accessible were accomplished through legislation and law, the battle for video game accessibility must be focused toward the law and not the market.</span></p>
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Олена Чомахашвілі. „PROTECTION OF INTELLECTUAL PROPERTY FOR SOUND TREND MARKS“. Theory and Practice of Intellectual Property, Nr. 1 (28.02.2020). http://dx.doi.org/10.33731/12020.200258.
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A trade mark — denotation that is used in an order to distinguish commodities or services of one producer from commodities or services of other producer.Mainly there are two excellent properties of the registered trade mark. She must not mislead consumers in relation to a producer or place of production. By the legislation of Ukraine the set grounds for a refuse in registration of trade mark. These grounds are based, on indicated higher, properties of trade marks.Procedure of registration of trade mark in Ukraine is certain Law of Ukraine "On the guard of rights on signs for commodities and services" and by Rules of serve and consideration of requests.To voice denotations take different sounds such, as fragments of pieces of music, industrial, domestic, natural noises and their arbitrary combinations. In the world mostly as voice trademarks a call-sign register and illuminations of TV and radio stations, pronounced slogans of companies. In regard to voice trademarks on the first plan the phonetic constituent of this denotation goes out exactly.Sound denotations, as a rule, are represented as an ordinary musical record. Registration of verbal denotations is possible at the same time.Similar trademarks are often used in TV and radio adverting segment. Such voice denotations are clearly associated with a certain producer. Practically all voice trademarks passing state registration are fragments the music in a musical record, sometimes complemented by small verbal part. The terms of receipt of legal safeguard of voice trade marks are considered in the article. Practice of receipt of such rights is analyses. The examples of expediency of receipt of such guard are described. Problem aspects are educed in procedure of examining.The prognosis of probability of terms of increase of interest is done in voice trade marks. Set forth to recommendation on the improvement of some positions of normatively-legal acts in the field of rights on voice trade marks.
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Rafianti, Laina, Aam Suryamah und Jeremia Lumban Tobing. „KIPRAH LEMBAGA MANAJEMEN KOLEKTIF NASIONAL BAGI PENCIPTA DAN PELAKU MUSIK DI INDONESIA“. Justitia et Pax 32, Nr. 2 (27.10.2017). http://dx.doi.org/10.24002/jep.v32i2.1349.
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ABSTRACTRevision on Copyright Law Year 2014 established the National Collective Management Societies. The previous Law did not provide Collective Management Societies (CMO) thus, collecting royalties became problems between CMO and users. On the other side of the coin, users such as restaurant, hotel, karaoke, was unconvinient because of the collect of royalty by more than one CMO. Through this new legislation, the CMOregulation becomes more clearly but it is still having problem, such as, first, the position of National CMO in its relationship with CMO in collecting and distribute royalty. And, second, how royalty collecting meet user’s fairness.Keywords: Collective Society, Copyright, Neighboring Right.INTISARIPerubahan dalam UUHC Tahun 2014 salah satunya adalah amanat pembentukan Lembaga Manajemen Kolektif (LMK) dan Lembaga Manajemen Kolektif Nasional (LMKN). Sebelum berlakunya undang-undang ini, peran LMK sebagai lembaga dalam pengelolaan Royalti seringkali dipertanyakan. Di sisi lain, Pengguna seperti restoran, hotel, karaoke, sering dirugikan dengan adanya penarikan berkali-kali yang dilakukan oleh LMK. Melalui UUHC Tahun 2014, keberadaannya menjadi lebih tegas namun tidak luput dari masalah yang dihadapi, antara lain mengenai kedudukan LMKN sebagai pengelola Royalti Hak Cipta dan Hak Terkait lagu dan/ atau musik; dan mengenai penarikan Royalti Hak Cipta dan Hak Terkait lagu dan/ atau musik yang adil bagi pengusaha Pengguna.Kata Kunci: LMK, Hak Cipta, Hak Terkait
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Ivanova Iotova, Anelia, und Dennis Siebenaler. „LA FORMACIÓN DEL PROFESORADO DE MÚSICA EN LA UNIVERSIDAD COMPLUTENSE DE MADRID Y LA UNIVERSIDAD ESTATAL DE CALIFORNIA: UN ESTUDIO COMPARADO“. Profesorado, Revista de Currículum y Formación del Profesorado 22, Nr. 3 (01.09.2018). http://dx.doi.org/10.30827/profesorado.v22i3.8003.
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Resumen:Este artículo presenta los resultados de un estudio sobre la formación del profesorado de música en dos universidades representativas de España y EEUU: Universidad Complutense de Madrid y la Universidad Estatal de California. Se trata de mostrar el camino que recorren los estudiantes universitarios para convertirse en profesores de música. Se aluden a los profesores que imparten las enseñanzas musicales en las escuelas de educación Infantil, Primaria y Secundaria. Después de analizar varios elementos sobre la legislación en cada país y las correspondientes políticas educativas, se examinan los títulos y los planes de estudio que ambas universidades ofrecen, siguiendo el proceso formativo hasta la incorporación laboral de los estudiantes. Los resultados se presentan de forma comparativa y categorizada en cuanto a duración de los estudios, asignaturas de contenido musical, cantidad de créditos, horas lectivas y prácticas. Las conclusiones señalan diferencias entre los planteamientos de ambas universidades, que radican principalmente en las diferencias de las políticas educativas de los respectivos países. Finalmente a través de este estudio comparativo se trata de revertir en beneficios, permitiendo aplicar mejoras en cada una de las realidades estudiadas. Abstract:This paper presents the results of a study on teacher training in two representative music universities of Spain and USA: Complutense University of Madrid and California State University. It shows the way for college students to become music teachers. It refers to the teachers of music teaching in nursery, primary and secondary schools. After analyzing various elements of the legislation in each country and the corresponding education policies, the qualifications and the curricula that both universities offer are examined, following the training process through to the labour incorporation of the students. The results are presented on a comparative basis and categorized as a length of study, subjects of musical content, amount of credits, class hours and practice. The findings point to differences between the approaches of universities that lie in the differences of the educational policies of the respective countries. Finally through this comparative study it is trying to obtain benefits, allowing implementation improvements in each of the real situations studied.
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Bailey, Jane. „The Substance of Procedure: Non-Party Disclosure in the Canadian and U.S. Online Music Sharing Litigation“. Alberta Law Review, 16.10.2016. http://dx.doi.org/10.29173/alr450.
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The music recording industry is suing Internet subscribers in Canada and the United States for alleged copyright infringement in unprecedented numbers. The procedure for obtaining non-party disclosure has taken on renewed significance in this context, as the industry requests disclosure of identifying and private information from Internet Service Providers (ISPs) who provide online communicators with their Internet connections. Legislative measures adopted in the U.S. expedited the disclosure process through an administrative mechanism with low threshold requirements for issuance of a subpoena against an ISP. In Canada (and after late 2004 in the U.S.), disclosure requests proceeded under federal rules of court. Comparison of the expedited administrative and the judicially interpreted rules-based processes raises important questions about the connection between procedure and substance, and procedural justice more generally. Not only are more permissive rules for disclosure often inconsistent with protecting substantive rights, such as privacy, bin they also cannot be presumed to enhance the likelihood of achieving accurate substantive legal outcomes. If non-party disclosure rules are not contextually designed and implemented to reflect the power and resource imbalance between the plaintiff music industry and the individual defendants pursued in online music sharing litigation, the public and private interest in substantive adjudication of critical questions relating to copyright law may be foreclosed for reasons wholly unrelated to substantive legal merits.
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Bernabé, María del Mar, und Vladimir Martinez-Bello. „Evolution of racism in Spanish music textbooks: a real path towards interculturality through images?“ Journal for Multicultural Education ahead-of-print, ahead-of-print (16.08.2021). http://dx.doi.org/10.1108/jme-05-2021-0062.
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Purpose An analysis of the images in music education textbooks for primary education has shown how the images do not fully reflect the human diversity present in the classroom and, therefore, continue to perpetuate positions that can lead to racism. The purpose of this paper is the analysis of the images to carried out has demonstrated how little progress has been made in the representation of diversity and how, in the 21st century, stereotypes continue to persist in the representation of cultural diversity. Design/methodology/approach The quantitative and qualitative data collected after analysing more than 2,600 images have shown that despite the considerable increase in the use of images in music textbooks, typical clichés about what instruments are played in the world and how those who play them are represented are still present. Findings The results also show how the images reflect the migratory flows experienced in each country. All of this has led to important conclusions, among which the importance of human diversity in images for students to normalise cultural diversity from and with musical educational materials should be highlighted. Research limitations/implications The analysis of the 2,686 images showed how the use of the human figure has evolved up to the last educational reform. Firstly, the analysis of images focused on the evolution (year) of the presence of diversity (ethnicity) in the musical groupings represented (orchestra, band, choir, soloist or chamber group), as well as the evolution with respect to the type of instrument represented. Practical implications With the aim of analysing the evolution in the representation of diversity in music textbooks, the authors searched the most important publishing houses in Spain. To analyse the evolution of the visual depiction of diversity in music education textbooks in light of legislative and social changes related to race, the authors constructed several variables under the category labelled “Ethnicity”. Social implications The images analysed, especially those included under the Organic General Law on the Educational System of 4 October 1990 and the Organic Law 2/2006 on Education of 3 May, tended to pair certain instruments with people with physical characteristics associated with particular ethnic profiles. In terms of musical activities, the main results can be summarised as follows: although the completely homogenous depiction of White Europeans in musical activities has given way to modestly more diverse representation, images of composition are still dominated by this group. Originality/value The authors’ analysis has led to the following conclusions, which demonstrate the need to continue the progress seen in the past several decades. The representation of human diversity in music textbooks can be considered a reality, not only in terms of the instruments with which they are represented but also in terms of their representation in other situations depicted in these textbooks. The progressive increase of images in music textbooks reflects the culturally diverse society of the national territory. However, the increase in this representation is not as considerable as might be expected. The typified representation of instruments associated with certain physical characteristics is starting to wane.
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