From J.C. Bach to Hip Hop: Musical Borrowing, Copyright and Cultural Context
From J.C. Bach to Hip Hop: Musical Borrowing, Copyright and Cultural Context
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从 J.C. 巴赫到嘻哈：音乐借用、版权和文化背景
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发表时间：
2004
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通讯作者：
Olufunmilayo B. Arewa
中科院分区：
文献类型：
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作者：
Olufunmilayo B. Arewa
关于嘻哈音乐的法律的处理，今天存在着巨大的争议。嘻哈音乐刚刚度过了它的30岁生日，现在是美国第二大最受欢迎的音乐类型，也是全球重要的音乐和文化力量。嘻哈音乐的出现引起了严重的版权法问题。这些关注的核心是采样问题，或者在嘻哈作品中使用现有的录制音乐片段，在某些情况下，这被认为构成侵犯版权。教授Arewa讨论了在音乐版权的应用中出现的问题，以及嘻哈辩论的历史和文化方面。在音乐的讨论中，特别是在法律的领域，嘻哈被认为是一种传统，重视音乐作品的独立和自主作者，因此反映了普遍的浪漫主义作者话语。在这样的讨论中，欧洲古典传统大师的音乐创作方式可以被视为音乐创作的一种模式，嘻哈等音乐形式通常至少是含蓄地衡量。然而，这种讨论中所包含的古典传统的形象是不准确和扭曲的。古典音乐传统是一个被发明的传统，它主要是在世纪建立起来的，不再是一个活跃的传统，新的作品正在以任何数量加入其中。古典传统中的实际实践与法律的音乐话语中明显体现的这一传统的理想化意象有很大不同。古典传统的形象是重要的，因为通过对这一传统的描述，嘻哈音乐制作通过使用一系列隐含和明确的二分法，在许多方面与其他制作音乐的方法区分开来。然而，从历史的角度来看这一古典传统，很明显，音乐的产生有很大的连续性，特别是在音乐借用方面，这在欧洲古典传统中是普遍的，而不是在其建构的历史中。音乐借用的各种用途表明，需要更仔细地考虑复制和借用在多大程度上已经成为并可能成为音乐创新的源泉，并延伸到其他地方。承认这种借用需要纳入现有的版权框架，作为制定商业惯例和基于责任规则的法律的结构的基础，以处理音乐，包括在创作中使用现有作品的嘻哈音乐。
Tremendous controversy exists today about legal treatment of hip hop music. Having just reached its thirtieth birthday, hip hop is now the second most popular type of music in the United States and an important musical and cultural force globally. The advent of hip hop has raised serious copyright law concerns. At the core of such concerns is the issue of sampling, or the use of pieces of existing recorded music within hip hop works, which has been deemed in some instances to constitute copyright infringement. Professor Arewa discusses issues that arise in the application of copyright to music generally as well as historical and cultural aspects of the hip hop debate. In discussions of music, particularly in the legal field, hip hop is considered within a tradition that values independent and autonomous authorship of musical works and that consequently reflects pervasive romantic author discourse. Within such discussions, the manner of music production of great masters of the European classical tradition may be seen as a model of musical production against which musical forms such as hip hop are often at least implicitly measured. The image of the classical tradition embedded in such discussions is, however, inaccurate and distorted. The classical music tradition is an invented tradition that was largely constructed in the nineteenth century and that no longer operates as an active tradition to which new works are being added in any quantity. Actual practice within the classical tradition varies significantly from the idealized imagery of this tradition evident in legal discourse about music. The image of the classical tradition is important because through characterizations of this tradition, hip hop musical production is distinguished from other methods of making music in a number of ways through the use of a series of implicit and explicit dichotomies. In looking at this classical tradition historically, however, it is clear that much continuity underlies the production of music generally, particularly in relation to musical borrowing, which was common in the European classical tradition in actuality as opposed to its constructed history. The varied uses of musical borrowing suggest that more careful consideration needs to be given to the extent to which copying and borrowing have been and can be a source of innovation within music and by extension elsewhere. Recognition of such borrowing needs to be incorporated into existing copyright frameworks as a basis for the development of commercial practices and liability rule based legal structures for treatment of music, including hip hop, which uses existing works in its creation.