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1 Episode 21: The Heiress Who Helped End School Segregation 35:10
Detecting Music Plagiarism, After the 'Blurred Lines' Case
Manage episode 151376120 series 1026455
Last week, a Los Angeles jury found that the pop stars Robin Thicke and Pharrell Williams copied Marvin Gaye's 1977 song "Got to Give it Up" in their song "Blurred Lines." The jury awarded the singer's estate $7.4 million. Gaye’s family celebrated the decision. But a lot of composers wondered if copyright is now being extended to cover not just song lyrics and melody but much else – tone, rhythm, tempo.
On this week's episode, Naomi Lewin speaks with two experts about the case's implications: Mark Swed, the classical music critic of the Los Angeles Times, and Lawrence Ferrara, a professor of music at New York University. He's also a music copyright consultant for record labels, music publishing companies and film studios, and was briefly involved in the "Blurred Lines" case.
Segment Highlights
Add Caption Here
Our guests have vastly different takes on the case's implications. For Swed, "the tradition in music, in most musical traditions, is to build one thing on another. Rhythmic patterns, bass lines, and things like this are generally thought of as common property." Besides, Renaissance composers such as Josquin des Prez frequently built "paraphrase" or "parody" masses on preexisting Gregorian chants. J.S. Bach lifted entire from Vivaldi. Debussy quoted Wagner's "Tristan" chord.
"Everything is very vague and nobody is quite sure how this is all going to work out," said Swed, who recently wrote about the case. "Music works in a different way than the courts work. The arts are often about breaking rules and the courts are about maintaining rules."
Robin Thicke (L) and T.I. perform the song 'Blurred Lines' at the The Grammy Nominations Concert Live.
(Robyn Beck/AFP/Getty Images)
Ferrara, however, believes that the rules around copyright enforcement are clear. "One can always find works with similarities," he said, but the "feel and vibe" of a composition cannot be monopolized by one composer. "Melody tends to be the meat in a copyright issue. That's what gets you at the musical expression that's ultimately the test of whether there's ultimately been an infringement."
Listen to the full segment at the top of this page and tell us what you think below: Is plagiarism a problem in music? Should copyright laws be more or less strictly enforced?
100 odcinków
Manage episode 151376120 series 1026455
Last week, a Los Angeles jury found that the pop stars Robin Thicke and Pharrell Williams copied Marvin Gaye's 1977 song "Got to Give it Up" in their song "Blurred Lines." The jury awarded the singer's estate $7.4 million. Gaye’s family celebrated the decision. But a lot of composers wondered if copyright is now being extended to cover not just song lyrics and melody but much else – tone, rhythm, tempo.
On this week's episode, Naomi Lewin speaks with two experts about the case's implications: Mark Swed, the classical music critic of the Los Angeles Times, and Lawrence Ferrara, a professor of music at New York University. He's also a music copyright consultant for record labels, music publishing companies and film studios, and was briefly involved in the "Blurred Lines" case.
Segment Highlights
Add Caption Here
Our guests have vastly different takes on the case's implications. For Swed, "the tradition in music, in most musical traditions, is to build one thing on another. Rhythmic patterns, bass lines, and things like this are generally thought of as common property." Besides, Renaissance composers such as Josquin des Prez frequently built "paraphrase" or "parody" masses on preexisting Gregorian chants. J.S. Bach lifted entire from Vivaldi. Debussy quoted Wagner's "Tristan" chord.
"Everything is very vague and nobody is quite sure how this is all going to work out," said Swed, who recently wrote about the case. "Music works in a different way than the courts work. The arts are often about breaking rules and the courts are about maintaining rules."
Robin Thicke (L) and T.I. perform the song 'Blurred Lines' at the The Grammy Nominations Concert Live.
(Robyn Beck/AFP/Getty Images)
Ferrara, however, believes that the rules around copyright enforcement are clear. "One can always find works with similarities," he said, but the "feel and vibe" of a composition cannot be monopolized by one composer. "Melody tends to be the meat in a copyright issue. That's what gets you at the musical expression that's ultimately the test of whether there's ultimately been an infringement."
Listen to the full segment at the top of this page and tell us what you think below: Is plagiarism a problem in music? Should copyright laws be more or less strictly enforced?
100 odcinków
Wszystkie odcinki
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1 Why Russia Wants to Take Rachmaninoff From Westchester 17:17
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1 Why Do Contemporary Operas Rarely Get Revivals? 9:18
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1 Contemporary Opera: Pleasing Both Connoisseurs and the Masses? 19:50
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1 As Newspapers Cut Music Critics, a Dark Time for the Arts or Dawn of a New Age? 17:01
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1 Disbelief Suspended? Met Opera Abandons 'Blackface' Makeup in 'Otello' 17:48
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1 Music Festivals Increasingly Promote Their Value to Tourism and Economy 16:30
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1 As Soloists Aim For Glamour, Is Classical Music Going the Way of Pop? 19:03
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1 Can Apple Music Find Harmony with Classical Music Fans? 16:40
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1 After Ronald Wilford, Classical Music's Super-Agent, Who Calls the Shots? 16:41
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1 How Music School Grads Can Beat a Tough Job Market 20:03
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1 Reynold Levy Delivers Frank Assessment of Lincoln Center and Its Leaders 17:36
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1 Tchaikovsky: Does His Sex Life Matter to His Music? 10:45
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1 Tubas for Girls, Harps for Boys: Shaking Gender Roles Among Instrumentalists 19:07
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1 Michael Kaiser To Ailing Arts Groups: 'Don't Play It Safe' 16:57
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