This study aims to discuss the fundamentals of music copywriting in music education and identify pathways for integrating musical compositions into the learning process without infringing copyright and prohibiting the use of specific music pieces. To achieve this goal, the authors used methods of analysis to identify the available resources in the…

Many music educators do not sufficiently understand the complicated system of U.S. copyright law or what constitutes "fair use," resulting in both illegal and overly conservative practices. Increasingly accessible recording and distribution technology has also led to common practices such as posting performances on YouTube, creating…

Legal issues involved in copyrighting are discussed. (CK)

Offers suggestions on how to locate an appropriate music publisher for the type of music one is writing, how to prepare and send the manuscript, and on whether or not to copyright the manuscript or submit it to more than one publisher. (Editor)

Discusses copyright ownership in the light of employment relationships, and cites actual court cases as examples. (AN)

On October 19, 1976, President Ford signed the nation's first comprehensive revision of our copyright law since 1909. It became fully effective on January 1, 1978 and it is a law that will need to be understood by music educators both to improve their teaching and to protect themselves and their schools from incurring liability or being sued. This…

Recent developments affecting educational institutions provide guidelines: first, for the videotaping and use of television programs by nonprofit educational institutions and, second, for the copying of music. (Author/MLF)

This collection of copyright policies from member libraries of the Association of Research Libraries (ARL) contains: (1) ARL briefing papers on reproduction of copyrighted materials for classroom use and current issues in library photocopying; (2) university copyright policies from New York University, Rutgers University, University of…

Designed for use by librarians, teachers, and students, this booklet provides information on permissable levels of and limitations on the photocopying of copyrighted material for educational purposes, as outlined by the Copyright Law of 1976 (PL 94-553), its subsequent amendments, and guidelines, effective January 1, 1978. Following introductory…

This discussion of copyright law on music focuses on the special problems of the band director who wishes to make a special arrangement or alteration of a copyrighted work. Guidelines and a sample form are provided for securing the publisher's permission to arrange a musical work. (SJL)

One way to teach the research paper is by first discussing sampling, the musical practice of using other artists' work. By studying the lyrics of Sean "P. Diddy" Combs, a widely known hip-hop sampler, students gain an understanding of quoting, paraphrasing, and summarizing sources.

The licensing for public performance of copyrighted musical compositions by a performing rights society to the television industry is examined. Focus is on the antitrust problems of the American Society of Composers, Authors and Publishers (ASCAP) and the most recent litigation, CBS vs ASCAP. (JMD)

This report addresses the question of what libraries and archives are legally empowered to do to preserve and make accessible for research their holdings of pre-1972 commercial recordings, the large aural legacy that is not protected by federal copyright. The report is one of a series of studies undertaken by the National Recording Preservation…