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Titlebook: Creative Autonomy, Copyright and Popular Music in Nigeria; Mary W. Gani Book 2020 The Editor(s) (if applicable) and The Author(s), under e

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發(fā)表于 2025-3-21 17:49:33 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
書目名稱Creative Autonomy, Copyright and Popular Music in Nigeria
編輯Mary W. Gani
視頻videohttp://file.papertrans.cn/240/239482/239482.mp4
概述Provides an in-depth overview of the Nigerian music industry and Nigerian copyright law.Establishes the case for creative autonomy as an intrinsic part of copyright theory and an essential tool for su
圖書封面Titlebook: Creative Autonomy, Copyright and Popular Music in Nigeria; Mary W. Gani Book 2020 The Editor(s) (if applicable) and The Author(s), under e
描述.This book provides an in-depth analysis of the unique structure of the Nigerian popular music industry. It explores the dissonance between copyright’s thematic support for creative autonomy and the practical ways in which the law allows singer-songwriters’ (performing authors‘) creative autonomy to be subverted in their contractual relationships with record labels. The book establishes the concept of creative autonomy for performing authors as a key criterion for sustainable economic development, and makes innovative legal and policy recommendations to help stakeholders preserve it..
出版日期Book 2020
關(guān)鍵詞Nigerian Popular Music; Creative Autonomy; Copyright; Record Labels; Copyright Legal Theory; Copyright La
版次1
doihttps://doi.org/10.1007/978-3-030-48694-5
isbn_softcover978-3-030-48696-9
isbn_ebook978-3-030-48694-5
copyrightThe Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl
The information of publication is updating

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The Unique Structure of the Nigerian Popular Music Industry,es the hallmarks of the traditional structure of the popular music industry, visible in executive and creative roles in the Nigerian music industry, as this delineation of roles provides an important background for the empirical analysis which chapter four undertakes. This chapter also identifies th
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Justifying Creative Autonomy within Copyright Discourse,ept of creative autonomy latent within such arguments. Within deontological theories, she identifies that Locke, Kant and Hegel all refer to the autonomous nature of appropriation, speech and self-determination respectively. Furthermore, the intersections between human rights and intellectual proper
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Strategic Policy and Legislative Recommendations for the Preservation of Creative Autonomy,, Gani emphasises the importance of copyright education for performing authors, and suggests practical actions performing authors can take in public relations campaigns, negotiating recording contracts, and observing certain protocols at recording studios and live events. In view of the problems ana
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Summary and Conclusions, music industry and highlight the central role of the performing author. The chapter reiterates the statistics observed in the Nigerian popular music industry, which show the precarious position of creative autonomy for performing authors. It briefly highlights copyright, business practices and cont
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