Abstract Internet is one of the most important inventions of the twentieth century. Not solely a new media, internet also deeply involved multiple aspects of human life. New ways of providing information, crime, communication patterns, and even trade are just some of the examples how internet alters our lives. As a good case in point, the appearance of internet digital music had revolutionized the way we contact with music. It had threaten the tradition music market, and make up a new issue of copyright violation debates. In April, 2000, National Cheng-Kung University happened a MP3 event that is a typical argument about internet and copyright violation. There are two opposite opinions noted, one attitude recognized the event as already violating the copyright, whereas the other point of view was that it is still in the scope of reasonable application. The issue of violating music copyright by the internet has become an unavoidable international problem, and will become more and more common in the future. Therefore, it is very important to understand what kind of new copyright subjects had evolved in the internet music, and how to adequately apply the obligations of copyright to protect the benefits of both the author and the audience. This study includes six chapters. The major issue will focus on internet digital music, its copyright, the exceptions, and the violation conditions. The first chapter introduces the background information and general concept about internet and copyright. The second chapter discusses the topic of internet digital music, its specificity, and how the internet has changed the pattern of music transportation. Then, the third chapter scopes the recognition of copyright reproduction and transportation defined by the World Intellectual Property Organization (WIPO) and the United States of America, and how this definition has influenced the internet music and its utilization. The forth chapter further discusses the exception of internet music copyright protection. What is reasonable fair use and compulsory license is explored. The copyright rules in Taiwan is greatly affected by USA and international treaties, thus Berne Convention, Rome Convention, Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPS), and the law in USA are inspected and reviewed. The fifth chapter concentrates on the copyright and its violation in different cases of the internet music application programs, web stations, and hardware. Detail investigation and debate of the MP3 event in National Cheng-Kung University is also included. The last chapter summarizes the above discussion of internet copyright and provides suggestions for modifying the related laws in Taiwan.

Thesis (Ph. D.)--University of Hong Kong, 2010. / Includes bibliographical references (leaves 350-363). Also available in print.

Thesis (M.A.)--Rutgers University, 2010. / "Graduate Program in Liberal Studies." Includes bibliographical references (p. 37-38).

The formation of distinctive Internet cultures, accompanied by the increasing importance of digital mediations for popular culture consumption, has culminated in both popular and academic discussions around the idea of Internet-based music scenes or communities as a cultural phenomenon, referred to as “Internet genres” or “Internet music.” This dissertation presents a comprehensive framework for and definition of Internet music through ethnographic and textual analyses of three separate scenes: vaporwave, hyperpop, and phonk. It interrogates issues of cultural borrowing and hybridity within these Internet music scenes, and how representations of racial, gender, sexual, and national identity are negotiated by both producers and fans. It also explores how the dynamics of the online platforms through which these scenes manifest (including, but not limited to their tendency toward anonymity, low barrier to entry for producers, and blurred lines between producers/consumers) shape these scenes, including how the algorithm-driven organization of these scenes and the influence of meme cultures impact how different identities and cultures are portrayed through these musics. Ultimately, this project interrogates how social and cultural identities and differences come to be constructed and articulated in online environments, and how in a “post-Internet” age, individuals are increasingly using popular media to make sense of their relationships with digital technologies. / Media & Communication

Zugl.: Krems, Universiẗat, Masterarbeit. / Literaturverz.

MAAS / Department of Music