Véronique Pouillard is Professor of Modern International History at the Department of Archaeology, Conservation and History, University of Oslo Marius Buning is Professor of European History at the University of Oslo Mala Loth is a postdoctoral fellow at ARENA Centre for European Studies at the University of Oslo

• IntroductionVéronique Pouillard, Marius Buning, and Mala Loth1. The drama of music: performance rights in the wake of industrial liberalisation, Paris 1851–1898Anna Marie Skråmestø Nesheim2. Confederation or corporation? Ideological and organisational visions in CISAC’s ‘Mechanical Rights Federation’ 1933–1939Johan Larson Lindal3 The politicization of copyright on the international stage: Fascist Italy and the foundation of CISACMalte Zill 4. Genealogies of copyright tariffsJose Bellido and Fiona Macmillan5. The colonial expansion of the Belgian collective management society SABAM and music copyright in Congo, Rwanda and Burundi (1950s–1960s)Véronique Pouillard6. Collecting the traditional Kabyle music of Algeria in decolonisation time: Taos Amrouche, Yvette Grimaud and UNESCO (1950s–1960s)Minja Mitrovic and Véronique Pouillard7. Licensing conflicts: bureaucracy and bickering in the GEMA ‘family’, 1949–1962Klaus Nathaus8. Competing Futures: GEMA, the European Commission, and Copyright Law, 1962–1972Mala Loth9. Performer’s Rights – A child of technology and a stepchild of copyrightIrina Eidsvold-Tøien

Véronique Pouillard is Professor of Modern International History at the Department of Archaeology, Conservation and History, University of Oslo Marius Buning is Professor of European History at the University of Oslo Mala Loth is a postdoctoral fellow at ARENA Centre for European Studies at the University of Oslo

• IntroductionVéronique Pouillard, Marius Buning, and Mala Loth1. The drama of music: performance rights in the wake of industrial liberalisation, Paris 1851–1898Anna Marie Skråmestø Nesheim2. Confederation or corporation? Ideological and organisational visions in CISAC’s ‘Mechanical Rights Federation’ 1933–1939Johan Larson Lindal3 The politicization of copyright on the international stage: Fascist Italy and the foundation of CISACMalte Zill 4. Genealogies of copyright tariffsJose Bellido and Fiona Macmillan5. The colonial expansion of the Belgian collective management society SABAM and music copyright in Congo, Rwanda and Burundi (1950s–1960s)Véronique Pouillard6. Collecting the traditional Kabyle music of Algeria in decolonisation time: Taos Amrouche, Yvette Grimaud and UNESCO (1950s–1960s)Minja Mitrovic and Véronique Pouillard7. Licensing conflicts: bureaucracy and bickering in the GEMA ‘family’, 1949–1962Klaus Nathaus8. Competing Futures: GEMA, the European Commission, and Copyright Law, 1962–1972Mala Loth9. Performer’s Rights – A child of technology and a stepchild of copyrightIrina Eidsvold-Tøien

Véronique Pouillard is Professor of Modern International History at the Department of Archaeology, Conservation and History, University of Oslo Marius Buning is Professor of European History at the University of Oslo Mala Loth is a postdoctoral fellow at ARENA Centre for European Studies at the University of Oslo

• IntroductionVéronique Pouillard, Marius Buning, and Mala Loth1. The drama of music: performance rights in the wake of industrial liberalisation, Paris 1851–1898Anna Marie Skråmestø Nesheim2. Confederation or corporation? Ideological and organisational visions in CISAC’s ‘Mechanical Rights Federation’ 1933–1939Johan Larson Lindal3 The politicization of copyright on the international stage: Fascist Italy and the foundation of CISACMalte Zill 4. Genealogies of copyright tariffsJose Bellido and Fiona Macmillan5. The colonial expansion of the Belgian collective management society SABAM and music copyright in Congo, Rwanda and Burundi (1950s–1960s)Véronique Pouillard6. Collecting the traditional Kabyle music of Algeria in decolonisation time: Taos Amrouche, Yvette Grimaud and UNESCO (1950s–1960s)Minja Mitrovic and Véronique Pouillard7. Licensing conflicts: bureaucracy and bickering in the GEMA ‘family’, 1949–1962Klaus Nathaus8. Competing Futures: GEMA, the European Commission, and Copyright Law, 1962–1972Mala Loth9. Performer’s Rights – A child of technology and a stepchild of copyrightIrina Eidsvold-Tøien