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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e highlights the performing author as the central figure around whose role the arguments in the book are made, and establishes the cultural and economic disadvantages associated with obstructing their creative autonomy. The economic necessity for the study, the use of international sources, and the

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Technical and Cost Comparisons,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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Erich Hau,Jens Langenbrinck,Wolfgang Palzept 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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