The provision of online music streaming services and the management of copyright in the light of the Directive 2014/26/EU and its implementation in the Czech Republic and Denmark Abstract This thesis presents an insight into the management of copyright in musical works, with particular focus on their use in provision of online streaming services, together with the discernment of the individual aspects of such management in the context of changes brought about by the Directive 2014/26/EU and its implementation in the Czech Republic and Denmark. The aim of this thesis is to primarily describe the various models of copyright management and their importance for both the users of works and the right holders in the contemporary era of digital uses, and at the same time to analyse the individual legislative interventions into these models, confront them and infer possible de lege ferenda implications. The introductory part of the thesis also describes the streaming technology itself, especially with regard to its copyright aspects, whose grasp is essential for a proper description of the different modes of protection and application of copyright. The thesis is divided into eight chapters. The first chapter describes the historical development of copyright protection of works in the digital environment. The...

Der Aufsatz diskutiert Normdaten zu musikalischen Werken in der GND und erörtert Möglichkeiten ihrer (Nach-)Nutzung in bibliothekarischen und musikwissenschaftlichen Kontexten. Herausforderungen sowohl des theoretischen Konzepts als der praktischen Umsetzung werden benannt und das Potenzial der in den Normdaten enthaltenen Informationen wird aufgezeigt. / The paper discusses conceptual matters and implementation practices for authority information for musical works in the German authority file (GND). Options of re-use of the authority data in libraries as well as in musicological contexts are introduced. Challenges of theoretical concepts as well as practical realization are shown and potentials of information included in authority files are demonstrated.

This work is concerned with an analysis of the copyright protection of musical works. Musical works form part of the categories of works protected under copyright law. It would be easy to dismiss musical works as not warranting a serious study, as would for example, be warranted for “industrial property” rights such as patents and geographical indicators, or more “serious” copyrights such as architectural works and computer software. Such a perspective would however, not be cognisant of the significant contribution that the music industry, as part of the broader cultural and creative industries makes to the global economy. It has, for example, been shown that in 2013, the global cultural and creative industries contributed some US$2,250b, employing some 29,5 million people, with the music industry being one of the top three employers and with its revenues exceeding those of radio.1 A single successful musician can earn in excess of US$100m per annum,2 making the industry ripe for litigious claims. For this reason therefore a consideration of the legal rules that apply to the protection of musical works is crucial. There is currently no clear exposition and systematic analysis of the legal principles applicable to the field of music copyright and no work devoted to the in-depth delineation of the rights and sub-rights relating to musical copyright protection. This study seeks to address this research and knowledge gap by providing a historical and contextual analysis of the protection of musical works. The aim is to provide a complete picture of the milieu of music copyright protection to enable the reader to feel empowered in dealing with the subject-matter. This the writer does by mapping the historical development of music copyright protection in particular from eighteenth century England when the first copyright legislation was enacted, until the enactment of the British Copyright Act of 1911, which signalled the emergence of the “common law” copyright system. The writer then shows how this enactment shaped the development of modern music copyright law, and concludes by presenting a contextual consideration of the current South African law of music copyright and highlighting the challenges it is faced with. / Mercantile Law / LL. D.

The introduction of a regulatory framework in the area of collective management of rights in Nigeria must have been intended to strengthen the creative industry. Unfortunately, it has thrown this industry and in particular the music and film industries into a battle of a regulated against a non-regulated collective administration sector for upward of twenty (20) years. My choice of research on this topic could be attributed to the interest I developed while administering the collective administration desk at the Nigerian Copyright Commission. Serving on that desk afforded the opportunity to see the frustration of right owners who were being deprived the fruit of their labor, as the societies meant to collect and distribute royalties on their behalf were enmeshed in litigations and in the process, rarely paid any royalties to authors. Within this context, this research seeks to explore whether there is any merit in the continued existence of the current regulatory framework for collective management in Nigeria, and what the best operational framework for collective administration in Nigeria would be. A methodological approach entailing literature review of books, articles, journals, legislation, cases, reports of committees and interviews with experts was adopted, with critical analysis carried out on particularly the Nigerian Copyright Act, the Nigerian Copyright (collective management organisation) regulation, the South African Copyright Act, the South African Performers’ Protection Act, the South African Collecting Societies Regulation, as well as judicial decisions challenging certain provisions in the Nigerian legislation. It is hoped that this research will spur a desire for the need for supervisory and regulatory agencies of government to seek the national interest above all others in taking and making decisions that affect the collective administration of copyright and related rights. / Mercantile law / LL.M. (Intellectual Property)

This diploma thesis called "The analysis of selected choral compositions by Jakub Jan Ryba" deals primarily with his religious works. The introductory chapter briefly describes Ryba's journey to music and the activity of a composer and the text is also based on Ryba's own biography published in 2005 titled My Life and Music. The thesis concerns an extant autographic list of his works dated to 1801 and an autographic fragment of an incipit catalogue of compositions dated from 1774 to 1796 including an incipit of Czech Christmas Mass "Hey, Master!" dated back to 1795. Both lists were compared with two electronic music databases: the catalogue of the department of music history, National Museum - the Czech Museum of Music and the musical incipit catalogue of the National Library of the Czech Republic. The electronic databases were further compared with the thematic catalogue which is a part of the monography titled Jakub Jan Ryba published in 1963. The object of interest was also the quantity of autographs and transcripts and the prints of the works by Jakub Jan Ryba which have been issued from the beginning of the 19th century till present. Regarding the results of the research, it was proved that only a part of Ryba's work has survived up till now since Ryba himself presents 1083 compositions, both...

Die Edition »Denkmäler der Tonkunst in Dresden« wird in loser Folge Werke – Messen, Oratorien, Kantaten, Lieder, Opern, Singspiele, Sinfonien, Konzerte, Kammermusik, Klavier- und Orgelmusik u. v. a. – aus der Fülle der musikalischen Überlieferung der Dresdner Musikkultur von der Spätrenaissance bis zur Frühromantik in neuen Werkausgaben der allgemeinen Musizierpraxis zugänglich machen. Vollständigkeit ist ebenso wenig beabsichtigt wie in Konkurrenz zu bereits begonnenen Werkausgaben wie z. B. von Johann Adolf Hasse oder Jan Dismas Zelenka zu treten. Vielmehr werden z. T. bereits in der musikalischen Praxis erprobte, aber noch nicht edierte Kompositionen veröffentlicht, des Weiteren Werke, die im Besonderen die typische Dresdner Hof- und Festkultur widerspiegeln. In der Edition finden außerdem Komponisten Berücksichtigung, die in Dresden wirkten, deren Werke jedoch außerhalb Dresdens überliefert sind. Außerdem werden Werke ausgewählt, die von Komponisten anderer Orte speziell für die Hofkapelle geschrieben wurden sowie Kompositionen aus dem Bestand der Notenbibliothek der ehemaligen Fürstenschule Grimma sowie anderer Provenienzen (Oels, Zittau, Herrnhut u. a.). Schließlich werden auch Aufführungsmaterialien der städtischen Musikpflege in Dresden herangezogen. Die Ausgaben können kostenlos vom Dokumentations- und Publikationsserver Qucosa der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB Dresden) heruntergeladen werden. Korrekturen und Ergänzungen sind möglich, so dass Nutzer der Ausgaben gebeten werden, gegebenenfalls neue Erkenntnisse der Redaktion mitzuteilen.

La reconnaissance des émotions dans la musique est un challenge industriel et académique. À l’heure de l’explosion des contenus multimédias, il nous importe de concevoir des ensembles structurés de termes, concepts et métadonnées facilitant l’organisation et l’accès aux connaissances. Notre problématique est la suivante : est-Il possible d'avoir une connaissance a priori de l'émotion en vue de son élicitation ? Autrement dit, dans quelles mesures est-Il possible d'inscrire les émotions ressenties à l'écoute d'une oeuvre musicale dans un régime de métadonnées et de bâtir une structure formelle algorithmique permettant d'isoler le mécanisme déclencheur des émotions ? Est-Il possible de connaître l'émotion que l'on ressentira à l'écoute d'une chanson, avant de l'écouter ? Suite à l'écoute, son élicitation est-Elle possible ? Est-Il possible de formaliser une émotion dans le but de la sauvegarder et de la partager ? Nous proposons un aperçu de l'existant et du contexte applicatif ainsi qu'une réflexion sur les enjeux épistémologiques intrinsèques et liés à l'indexation même de l'émotion : à travers lune démarche psychologique, physiologique et philosophique, nous proposerons un cadre conceptuel de cinq démonstrations faisant état de l'impossible mesure de l'émotion, en vue de son élicitation. Une fois dit à travers notre cadre théorique qu'il est formellement impossible d'indexer les émotions, il nous incombe de comprendre la mécanique d'indexation cependant proposée par les industriels et académiques. Nous proposons, via l'analyse d'enquêtes quantitatives et qualitatives, la production d'un algorithme effectuant des préconisationsd'écoute d’œuvres musicales. / Emotion recognition in music is an industrial and academic challenge. In the age of multimedia content explosion, we mean to design structured sets of terms, concepts and metadata facilitating access to organized knowledge. Here is our research question : can we have an a priori knowledge of emotion that could be elicited afterwards ? In other words, to what extent can we record emotions felt while listening to music, so as to turn them into metadata ? Can we create an algorithm enabling us to detect how emotions are released ? Are we likely to guess ad then elicit the emotion an individual will feel before listening to a particular song ? Can we formalize emotions to save, record and share them ? We are giving an overview of existing research, and tackling intrinsic epistemological issues related to emotion existing, recording and sharing out. Through a psychological, physiological ad philosophical approach, we are setting a theoretical framework, composed of five demonstrations which assert we cannot measure emotions in order to elicit them. Then, a practical approach will help us to understand the indexing process proposed in academic and industrial research environments. Through the analysis of quantitative and qualitative surveys, we are defining the production of an algorithm, enabling us to recommend musical works considering emotion.

The introduction of a regulatory framework in the area of collective management of rights in Nigeria must have been intended to strengthen the creative industry. Unfortunately, it has thrown this industry and in particular the music and film industries into a battle of a regulated against a non-regulated collective administration sector for upward of twenty (20) years. My choice of research on this topic could be attributed to the interest I developed while administering the collective administration desk at the Nigerian Copyright Commission. Serving on that desk afforded the opportunity to see the frustration of right owners who were being deprived the fruit of their labor, as the societies meant to collect and distribute royalties on their behalf were enmeshed in litigations and in the process, rarely paid any royalties to authors. Within this context, this research seeks to explore whether there is any merit in the continued existence of the current regulatory framework for collective management in Nigeria, and what the best operational framework for collective administration in Nigeria would be. A methodological approach entailing literature review of books, articles, journals, legislation, cases, reports of committees and interviews with experts was adopted, with critical analysis carried out on particularly the Nigerian Copyright Act, the Nigerian Copyright (collective management organisation) regulation, the South African Copyright Act, the South African Performers’ Protection Act, the South African Collecting Societies Regulation, as well as judicial decisions challenging certain provisions in the Nigerian legislation. It is hoped that this research will spur a desire for the need for supervisory and regulatory agencies of government to seek the national interest above all others in taking and making decisions that affect the collective administration of copyright and related rights. / Mercantile law / LL.M. (Intellectual Property)