Music Law: Further Reading

The music business is a multifaceted, transnational industry that operates within complex and rapidly changing political, economic, cultural and technological contexts. The mode and manner of how music is created, obtained, consumed and exploited is evolving rapidly. It is based on relationships that can be both complimentary and at times confrontational, and around roles that interact, overlap and sometimes merge, reflecting the competing and coinciding interests of creative artists and music industry professionals. It falls to music law and legal practice to provide the underpinning framework to enable these complex relationships to flourish, to provide a means to resolve disputes, and to facilitate commerce in a challenging and dynamic business environment. The Present and Future of Music Law presents thirteen case studies written by experts in their fields, examining a range of key topics at the points where music law and the post-digital music industry intersect, offering a timely exploration of the current landscape and insights into the future shape of the interface between music business and music law.

This book addresses the role music plays in constituting law in the United States. The subject of the book is important in order to show that while the Supreme Court writes decisions and legislators create and modify statutes, music is more invasive and influential in the lives of the populous. The book s first purpose is to introduce readers to the classic jurisprudential schools of thought and connect those philosophies to the lyrics of various songs. Legal scholars have argued that music and law are often loosely connected but this book asserts that music creates law and images of law through specific lenses. Critical Race Theory, Feminist Legal Theory, and underclass literature are the best examples of how music has explicitly infected legal circles.The book highlights the impact that musicians have in constituting law through their lyrics. When musicians remind the listener of the injustices in society, call for social change, or give their interpretation of legal theory, an image of law is constituted and that image often becomes the Law. When musicians create music, they are simultaneously creating law.

This volume deals with various social-science perspectives on law and legal control pertaining to music in a variety of contexts. Under influence of important recent social developments, especially in the realm of communications technology, the world of music has been changing very rapidly and profoundly these past decades. As a result, the world of music, especially popular music, has been subject to a range of new legal issues. This volume brings together some 15 scholars to contribute their respective chapters on the socio-legal aspects involved in music as a social reality. The chapters address various pertinent questions from the perspective of socio-legal studies, sociology of law, jurisprudence, and related social and behavioral sciences. The issues addressed can range from matters of formal law and legislation to law-related behavior, deviance, and informal normative structures and processes that have a relevance to music, whether in a contemporary or historical setting.

What is important to understanding American law? What is important to understanding Hip Hop? Wide swaths of renowned academics, practitioners, commentators, and performance artists have answered these two questions independently. And although understanding both depends upon the same intellectual enterprise, textual analysis of narrative storytelling, somehow their intersection has escaped critical reflection. Hip Hop and the Law merges the two cultural giants of law and rap music and demonstrates their relationship at the convergence of Legal Consciousness, Politics, Hip Hop Studies, and American Law. No matter what your role or level of experience with law or Hip Hop, this book is a sound resource for learning, discussing, and teaching the nuances of their relationship. Topics include Critical Race Theory, Crime and Justice, Mass Incarceration, Gender, and American Law: including Corporate Law, Intellectual Property, Constitutional Law, and Real Property Law.

From The Beatles to George Michael and Jimi Hendrix to U2, Brian Southall traces and chronicles some of the most famous, most notorious, most important and most ludicrous court cases involving bestselling musicians. Among the cases uncovered and revealed are those involving Elvis Presley, Ozzy Osbourne, George Michael, U2, Metallica, Jimi Hendrix and The Stone Roses. Over the years rock 'n' roll has endured disputes and differences alongside in-fighting and insults as the stars got themselves into legal spats with each other, managers, music companies, newspapers, corporations... and even a Prime Minister. For some - fans and pundits alike - watching the rich and famous forced into court to settle their arguments and having their finances, private lives and preferences aired in public is what makes pop and rock truly entertaining.

Although the use of music for extramusical purposes has been a part of American culture for some time, for much of the general public the phenomenon remained largely unknown until revelations became widespread of startling military practices during the second Iraq War. In Music in American Crime Prevention and Punishment, Lily E. Hirsch explores, through a series of fascinating case studies, the related terrain at the intersection of music and law, demonstrating the ways in which music has become a tool of law enforcement and justice. To do this, Hirsch asks several questions: How does the law treat music? When and why does music participate in the law? How does music influence the legal process? How does the legal process influence music? And how do these appropriations affect the romantic ideals underlying our view of music?