Edited by Andreas Rahmatian, School of Law, University of Glasgow, UK

‘I've long known that musicians understand copyright law as little as copyright lawyers understand music, but this book shows brilliantly that such mutual ignorance is deeply rooted in historical, philosophical and practical arguments about music making. In persuading both musicologists and legal theorists to address issues of authorship, creativity, property and performance, Andreas Rahmatian has put together a collection that is essential reading for anyone concerned with the uneasy relationship of music and law. This is a sophisticated, instructive and stimulating book.’

• Contents:Introduction1. What is a ‘Musical work’? Reflections on the Origins of the ‘Work Concept’ in Western Art MusicJohn Butt2. Music Performed: What is Beyond the Score?Charlotte Waelde3. Creativity and Possessive InterestsMartin Parker Dixon4. The Elements of Music Relevant for Copyright ProtectionAndreas Rahmatian5. Who wrote Duke Ellington’s Music? Authorship and Collective Creativity in ‘Mood Indigo’Björn Heile6. Music and Co-authorship/Co-ownershipAlison Firth7. For the Benefit of All Musicians? The Musicians’ Union and Performers’ Rights in the UKJohn Williamson8. How Notice-and-Takedown Regimes Create Markets for Music on Youtube: An Empirical StudyPaul J. HealdIndex

Edited by Andreas Rahmatian, School of Law, University of Glasgow, UK

‘I've long known that musicians understand copyright law as little as copyright lawyers understand music, but this book shows brilliantly that such mutual ignorance is deeply rooted in historical, philosophical and practical arguments about music making. In persuading both musicologists and legal theorists to address issues of authorship, creativity, property and performance, Andreas Rahmatian has put together a collection that is essential reading for anyone concerned with the uneasy relationship of music and law. This is a sophisticated, instructive and stimulating book.’

• Contents:Introduction1. What is a ‘Musical work’? Reflections on the Origins of the ‘Work Concept’ in Western Art MusicJohn Butt2. Music Performed: What is Beyond the Score?Charlotte Waelde3. Creativity and Possessive InterestsMartin Parker Dixon4. The Elements of Music Relevant for Copyright ProtectionAndreas Rahmatian5. Who wrote Duke Ellington’s Music? Authorship and Collective Creativity in ‘Mood Indigo’Björn Heile6. Music and Co-authorship/Co-ownershipAlison Firth7. For the Benefit of All Musicians? The Musicians’ Union and Performers’ Rights in the UKJohn Williamson8. How Notice-and-Takedown Regimes Create Markets for Music on Youtube: An Empirical StudyPaul J. HealdIndex

Edited by Andreas Rahmatian, School of Law, University of Glasgow, UK

‘I've long known that musicians understand copyright law as little as copyright lawyers understand music, but this book shows brilliantly that such mutual ignorance is deeply rooted in historical, philosophical and practical arguments about music making. In persuading both musicologists and legal theorists to address issues of authorship, creativity, property and performance, Andreas Rahmatian has put together a collection that is essential reading for anyone concerned with the uneasy relationship of music and law. This is a sophisticated, instructive and stimulating book.’

• Contents:Introduction1. What is a ‘Musical work’? Reflections on the Origins of the ‘Work Concept’ in Western Art MusicJohn Butt2. Music Performed: What is Beyond the Score?Charlotte Waelde3. Creativity and Possessive InterestsMartin Parker Dixon4. The Elements of Music Relevant for Copyright ProtectionAndreas Rahmatian5. Who wrote Duke Ellington’s Music? Authorship and Collective Creativity in ‘Mood Indigo’Björn Heile6. Music and Co-authorship/Co-ownershipAlison Firth7. For the Benefit of All Musicians? The Musicians’ Union and Performers’ Rights in the UKJohn Williamson8. How Notice-and-Takedown Regimes Create Markets for Music on Youtube: An Empirical StudyPaul J. HealdIndex