Towards Law and Music

Through a review of Sara Ramshaw’s, Justice as Improvisation, the essay evaluates recent scholarly directions in the interdisciplinary field of law and music. The essay considers both methodological and epistemological questions motivating this scholarship, and argues that there yet remains the opportunity to pursue with even greater specificity the meaning of music, in terms of its own vocabulary and genre. The new field of law and music is slowly but surely combining these formal considerations with an ever richer vocabulary, and a richer inter-disciplinary dialogue not just about jazz but with it. What might have been a somewhat sterile exercise in virtuosity is turning into a fully-fledged interdisciplinary claim, with its own methodology and its own epistemology, capable of illuminating not just law or music, but both in light of the other.     

非文本化音乐分析方法与音乐能力发展的关系

将音乐分析方法与音乐教育心理学结合,可以发现非文本化(音响)分析方法与音乐欣赏的音响整体感知能力、音乐的记忆能力、音乐的理解能力和音乐的创作能力发展的关系。     

在线音乐试听服务适法性问题研究

截止2007年底,“网络音乐”的使用率已超越其他网络应用,跃居第一。作为其中之一的“在线音乐试听”,其版权保护问题也日益突出。这一问题的关键在于利益平衡。当前在线音乐试听服务纷繁复杂,在深度剖析“在线音乐试听”定义的基础上,联系实际,结合国际公约相关规定,平衡各方利益,对于在线音乐试听服务的适法性展开论证。提出在严格限定“试听”概念的前提下,提供商的在线音乐试听服务只要音乐来源合法,就不构成侵权,我国也应在立法中将此种情形规定为合理使用。     

评华纳唱片有限公司录音制作者权纠纷案

一、案情简介 原告华纳唱片有限公司(WARNER MUSIC HONGKONG LIMITED)是一家成立于香港特别行政区的唱片制作公司,该公司于1999-2002年间出版了由歌手郭富城演唱《游园惊梦》、郑秀文演唱的《SAMMI完全拥有》等七张音乐专辑,上述音乐专辑封面均标明录音制作者权由原告享有。 原告诉称,2003年8月7日,原告委托人在山东省公证处工作人员的陪同下,在被告青岛某科技有限公司处购买了标明由珠海特区音像出版社等出版社出版的郑秀文《完全拥有》、《WONDER WOMAN》、《秋冬爱的故事》、郭富城《游园惊梦》、《爆裂旋风》等音乐专辑。经     

论音乐课程的开发范式与理解范式

当今教育领域,理解课程理论已经成熟,它给以开发范式为基础的学校音乐学科课程带来了新的教育评估视野。课程领域所出现的理论转型,使我们开始一种以理解课程范式为基础的音乐课程理念的思考。音乐课程开发范式中音乐的界定具备科学技术概念的含义,如乐理学习对音高、音质、音色、音的力度、音程等的物理属性的界定,它将这种音乐体系看作是“文化无涉”的具有普遍性的“科学体系”。而作为理解课程范式的起点和理论框架,将音乐作为文化的界定表明,音乐理解课程已经显示出音乐是作为一种文化表征,因此,音乐课程被理解为历史文本、政治文本、种族文本、性别文本、现象学文本等以及后结构主义、解构主义和后现代文本。     

Bootlegging in the Music Industry: A Note

This paper analyzes bootlegging of music, i.e. the unauthorized recording and distribution of previously unreleased music (e.g. a live concert). In particular, we investigate whether, and if so, how this illegal activity may hurt bands and record companies. Bootlegging is different from pirating, where legal releases are illegally copied and sold, because it adds to the product variety. It turns out that welfare implications of bootlegging are decisively different from those of pirating—bootlegged music does not crowd out legal sales.     

中国古代的乐与法

在中国古代,乐本身也是一种法,而且是一种“根本大法”。乐与中国古代另一“根本大法”礼属于并列、交叉关系。此二者一起成为中国古代治国平天下的重要工具。以乐治国是中国古代独有的最富特色的治国方略。     

Popular Music and Copyright Law in the Sixties

Copyright and its relationship with popular music is one of the most disputed issues amongst music and copyright scholars. While some have accused copyright of being blind (or deaf) to the particularities of popular music, others have defended its significance within the industry. This article contributes to this debate by tracing the networks of connections between lawyers, musicians, and clerks that emerged in a formative period in British pop music (the Sixties). It considers how their collaborative efforts and strategies to present evidence in copyright infringement trials were articulated in an attempt to influence music copyright infringement tests in Britain. By highlighting the concrete geographical and temporal contexts from which these networks emerged and their particular contingencies, the article also casts a new light on the impact of the legal profession on copyright, showing a practice‐oriented and historically situated way of observing differences between French and British copyright systems.     

论现代音乐教育的价值及其实现

现代音乐教育在培养受教育者具有健全人格,以及具有创造性人才所具备的丰富的情感、多彩的艺术想象力、高度的自信、饱满的热情以及坚韧的毅力、足够的耐心、高度的灵活性、细致的观察力、敏锐的反应能力和综合协调能力等方面,显示出独特的价值;同时,它也是开发右脑、培养形象思维和创造力发展的直接动力.在现代音乐教育活动中,人的资源以及环境、设备的资源直接或间接影响着现代音乐教育价值的实现.