O debate sobre a regulamentação do mercado livreiro inglês, no final do século 17 e ao longo do século 18, criou um direito de publicação exclusivo ao autor por meio do Estatuto da Rainha Ana de 1710. A finalidade dessa lei era romper com o monopólio da Stationers´ Company, exercido desde o século 16. A presente pesquisa pretende demonstrar que não houve uma ruptura com esse monopólio, pois a lei criou um copyright dentro da noção de privilégio que não contemplou de forma equilibrada os interesses do editor, do autor e do público. Os argumentos de common law do autor e do direito limitado, conferido pelo Ato de Ana, contribuíram para a instituição da propriedade literária moderna. A finalidade dessa pesquisa é proporcionar uma perspectiva histórica acerca das origens do sistema de propriedade intelectual moderno, muito tratado sob as visões jurídica e econômica, cujas raízes estão no antigo sistema de privilégio. / The debate on the regulation of the English book market, in the end of the 17th century and all along the 18th century, created the author\'s exclusive publishing right, due to the Statute of Anne, in 1710. The target of this law was to break the Stationers Company monopoly, exercised since the 16th century. This research intends to evidence that there was no disruption with that monopoly, because the law created a conception of copyright in the notion of privilege that didn\'t include, in a balanced way, the interests of the publisher, the author and the public. The plea of the authors common law, and the limited right, given by the Statute of Anne, contributed to the institution of the modern literary property. The finality of this research is to provide a historical perspective on the origins of the modern intellectual system of property, frequently addressed under the legal and economic perspectives, whose roots are in the old privilege system.

O debate sobre a regulamentação do mercado livreiro inglês, no final do século 17 e ao longo do século 18, criou um direito de publicação exclusivo ao autor por meio do Estatuto da Rainha Ana de 1710. A finalidade dessa lei era romper com o monopólio da Stationers´ Company, exercido desde o século 16. A presente pesquisa pretende demonstrar que não houve uma ruptura com esse monopólio, pois a lei criou um copyright dentro da noção de privilégio que não contemplou de forma equilibrada os interesses do editor, do autor e do público. Os argumentos de common law do autor e do direito limitado, conferido pelo Ato de Ana, contribuíram para a instituição da propriedade literária moderna. A finalidade dessa pesquisa é proporcionar uma perspectiva histórica acerca das origens do sistema de propriedade intelectual moderno, muito tratado sob as visões jurídica e econômica, cujas raízes estão no antigo sistema de privilégio. / The debate on the regulation of the English book market, in the end of the 17th century and all along the 18th century, created the author\'s exclusive publishing right, due to the Statute of Anne, in 1710. The target of this law was to break the Stationers Company monopoly, exercised since the 16th century. This research intends to evidence that there was no disruption with that monopoly, because the law created a conception of copyright in the notion of privilege that didn\'t include, in a balanced way, the interests of the publisher, the author and the public. The plea of the authors common law, and the limited right, given by the Statute of Anne, contributed to the institution of the modern literary property. The finality of this research is to provide a historical perspective on the origins of the modern intellectual system of property, frequently addressed under the legal and economic perspectives, whose roots are in the old privilege system.

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.