The Present and Future of Music Law

For anyone considering a career in music whether as songwriter, performer or working on the business side this book takes the reader through the myriad of legal issues and areas that one is likely to encounter today. The Present and Future of Music Law brings together both academic views and those of the legal practitioners who are currently working at the coalface of our industry providing clear legal perspective and examining the complexities and challenges that are inherent in the modern music industry. * Nigel Elderton, PRS Chairman and European President, Peermusic * This is a much-needed, illuminating book for both aspiring musicians and seasoned practitioners. Written by a refreshingly gender-equal selection of experienced music industry professionals, it illustrates in an accessible and engaging manner the important role law plays in the business of music, shaping a broad range of aspects such as artist management, live events and branding agreements. * Ananay Aguilar, Affiliated Researcher, Centre for Intellectual Property and Information Law, University of Cambridge, and co-editor of Remixing Music Studies: Essays in Honour of Nicholas Cook (2020) * This book will no doubt be very helpful to anyone working in the music industry. Understanding the topics covered in this book has never been more important, particularly for music makers. I wish we had had such a book when my career started. * Graham Massey, Record Producer, Remixer, Musician, Artist and founding member of 808 State *

Ann Harrison is a Partner at SSB Solicitors Limited, a leading boutique law firm that specializes in music law, wider entertainment law, sponsorship and branding. She is a highly experienced lawyer who is well known across the UK music industry and regarded as expert in all aspects of music business contracts, copyright, protection of IP rights, et al. Ann is author of Music: The Business (8th Edition, pending 2021), the key textbook on all music business further education courses in the UK. She is a guest Lecturer at many UK further education institutions and a Leader in Residence at the University of Central Lancashire, UK. Ann is recognised as a Leading Practitioner in the Chambers and Partners 2021 Legal Services Guide. Tony Rigg is a Music Industry Practitioner, Business Consultant and Educator affiliated with the University of Central Lancashire, UK, where he leads the Master of Arts Programme in Music Industry Management. He is also Head of Music Business Education at the School of Electronic Music, UK. He has occupied senior management roles in market-leading organizations including Operations Director for Ministry of Sound, overseen the management of more than one hundred music venues and delivered thousands of music events. As an artist/ producer he has a chart pedigree with tracks featured on chart-topping and gold-selling albums. His notable publications include Popular Music in the Post-digital Age: Politics, Economy, Culture and Technology (2018), The Future of Live Music (2020) and The Evolution of Electronic Dance Music (2021), which he co-edited with Ewa Mazierska and Les Gillon and The Present and Future of Music Law (2021), which he co-edited with Ann Harrison.

Foreword: Music Law: Music and the Law Peter Hook, Joy Division, New Order, University of Central Lancashire, UK Reflections by Tony Rigg, University of Central Lancashire, UK Introduction: Music Law: Unravelling Complexities Ann Harrison, Partner SSB Solicitors Ltd, University of Central Lancashire, UK and Tony Rigg, University of Central Lancashire, UK Part I: Tensions Between the Rights of Copyright Owners and the Freedom to Create. 1. Copyright, Royalties and Industrial Decline Richard Osborne, Middlesex University, UK 2. Sampling Practice: The Threat of Copyright Management to Its Future (and Past) Justin Morey, Leeds Beckett University, UK 3. Emerging Frontiers: Platform regulation of mashups in and beyond an EU context Alan Hui, University of Oslo, Norway 4. Music Copyright, Creators and Fans: Enemies or Friends in the Digital Domain? Paul Oliver, Edinburgh Napier University, UK and Stefan Lalchev, University of West London, UK 5. Piracy Past, Present and Future & How the Recording Industry Can Disrupt, Mitigate and Innovate in Troubled Waters James Brandes, Digital Copyright Consultancy, UK Part II: Responding to the Needs of Music Business 6.Mediation and Arbitration: An Alternative Forum for Transnational Dispute Resolution in the Music Industries Metka Potocnik, University of Wolverhampton, UK 7. The Acoustic Trademark Katarzyna Krupa-Lipinska, Nicolaus Copernicus University, Poland 8. The Derivative Works Right and the Creative Epistemologies of the Other: Working towards a Legal Framework for Remix Lesley Model, University of Sussex, UK 9. The U.S. Compulsory License; A Lesson in Technological Development and Legislation Shaping the Music Market Ralph W Peer, Peermusic, USA Part III: The Developing Commercial Landscape 10. Blockchain: Hero or Hindrance for the Music Industry from a Legal Perspective Charlotte O'Mara, Partner Gunnercooke, UK 11.Greening the Live Music Industry Teresa Moore, A Greener Festival, UK 12. Branding and Endorsement: The Growing Importance of Branding and the Developing Legal Framework Emma Harding, Music Lawyer SSB Solicitors Ltd, UK 13. The Artist Manager Relationship Jules O'Riordan, a.k.a. Judge Jules, DJ, Producer and Partner Sound Advice LLP, UK and Leslie Gillon, University of Central Lancashire, UK