Classical music, copyright and collecting societies

Book chapter


Inglis, B. 2018. Classical music, copyright and collecting societies. in: Dromey, C. and Haferkorn, J. (ed.) The Classical Music Industry Abingdon, Oxon Routledge. pp. 7-31
Chapter titleClassical music, copyright and collecting societies
AuthorsInglis, B.
Abstract

This book chapter examines the relationships between classical music, copyright and collecting societies. The fixed, original, single-authored work concept is fundamental to modern copyright law. It is also strongly linked, musically and philosophically, with the eighteenth-/nineteenth-century Austro-German canon, which itself forms the core of standard classical repertoire. This concept, then, still underpins our legal understanding of musical copyright today, including in more widely disseminated popular music repertoire where it is both less relevant and more problematic, as explored in the critiques of Toynbee (2004) and Moy (2015). Classical music publishers featured prominently in the foundation of the UK's Performing Right Society in 1914, where the interests of ‘serious’ music were well represented up until the end of the twentieth century. Since then, the relationship between this Society and the classical music community has been more equivocal, and a key rupture in this regard was the removal in 1999 of the Classical Music Subsidy, which attracted considerable media attention. The chapter examines this case study with extensive recourse to contemporaneous documents produced by the Society and its composer and publisher members, as well as interviews with interested parties. It is contextualised with an overview of international collecting societies’ distribution policies in the twenty-first century. Finally, the cross-disciplinary academic near-consensus that has emerged since 2000—that radical steps are needed to reduce the strength and extent of legislative copyright protection—is scrutinised. While this stance is undoubtedly not shared by the music industry, viewing the debate through the lens of contemporary classical music offers a nuanced perspective on this frequently polarised discourse. This moves the agenda on from simplistic characterisations, e.g. creative remixers ‘heroically’ standing up to greedy, philistine corporations, or, conversely, struggling artists and entrepreneurs ‘robbed’ by piratical thieves and fickle legislators.

Research GroupMusic group
LanguageEnglish
Page range7-31
Book titleThe Classical Music Industry
EditorsDromey, C. and Haferkorn, J.
PublisherRoutledge
Place of publicationAbingdon, Oxon
SeriesRoutledge Research in Creative and Cultural Industries Management
ISBN
Hardcover9781138203693
Electronic9781315471099
Paperback9780367512262
Publication dates
Print10 Jun 2018
Online12 Jun 2018
Publication process dates
Deposited18 Jun 2018
Output statusPublished
Accepted author manuscript
Accepted author manuscript
Accepted author manuscript
Copyright Statement

This is an Accepted Manuscript of a book chapter published by Routledge in The Classical Music Industry on 01/06/2018, available online: http://www.routledge.com/9781138203693 or http://www.crcpress.com/9781138203693

Web address (URL)https://www.taylorfrancis.com/books/e/9781315471099/chapters/10.4324/9781315471099-2
Digital Object Identifier (DOI)https://doi.org/10.4324/9781315471099-2
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