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000049132 0247_ $$a10.1093/grurint/ikad105$$2doi
000049132 035__ $$a(OCoLC)1427545352
000049132 040__ $$aSzGeWIPO$$beng$$erda$$cSzGeWIPO$$dCaBNVSL
000049132 041__ $$aeng
000049132 24504 $$aThe Musical Work in Copyright Law.
000049132 264_1 $$a[Oxford, England] :$$bOxford University Press (OUP),$$c2024.
000049132 300__ $$a1 online resource (pages  18–33)
000049132 336__ $$atext$$2rdacontent
000049132 337__ $$acomputer$$2rdamedia
000049132 338__ $$aonline resource$$bcr$$2rdacarrier
000049132 4901_ $$aGRUR International,$$x2632-8550 ;$$v73, 1, 2024
000049132 520__ $$aMusic is a special art form and a special object for copyright protection. In contrast to other, more static, forms of art, such as most of the visual arts, music is fashioned time and therefore constitutes change and movement; it also exists only in its performance. This article shows how copyright constructs a normative device, the ‘musical work’, to be able to protect this fleeting and transient art form. The article also discusses how music is analysed to ascertain which of its elements obtain copyright protection against infringement, and whether a ‘hearing test’ is an adequate method for establishing infringement.
000049132 542__ $$fhttps://academic.oup.com/grurint/article/72/3/231/6998505
000049132 588__ $$aCrossref
000049132 590__ $$aPublished online: 19-Oct-23
000049132 650_0 $$aIntellectual property.
000049132 650_0 $$aCopyright$$xArt.
000049132 650_0 $$aCopyright infringement.
000049132 650_0 $$aCopyright.
000049132 650_0 $$aPatents.
000049132 7001_ $$aRahmatian, Andreas,$$eauthor.
000049132 7731_ $$tGRUR International$$wGRUR
000049132 830_0 $$aGRUR International ;$$v73, 1, 2024,$$x2632-8550.
000049132 85641 $$uhttps://doi.org/10.1093/grurint/ikad105$$yonline version
000049132 904__ $$aJournal article
000049132 980__ $$aGRUR