Title: PDF Owning the Masters: A History of Sound Recording Copyright (Alternate Takes: Critical Responses to Popular Music) Paperback – December 15, 2022
1O( A
w lt
n e
i r
n n
g a t
t e
h
e
M k
a e
s s
t
e r C
s r
it
A
ic aHlis
t
o s
r
py o
o n
f s
Se so ut no dP oR
p e
uc ola
r r
d iM
n u
g s
C ic
o )
p P
y
ar ipg
h
t
b a( Ac lkt e
r
n
a t D
e e
T c e
a m
k e b
s
e r
C 1
r 5
it,ic
a
l
R
e s ,
p
o e
n t
s a
e c
s
c et o
P O
o w
p n
u i
l n
a g
r
M t h
u e
s i M
c )a s
P t
a e
pr es
r b
a c H
kisât o
D o
e f
c
Se mo u
b n
e d
r
1
5 c
,
2
0 d
2 in
2
g d
o
w p
n y
l r
oiag
d h t
P (
D A
F
lt e, r
e
a a
dt e
O T
w a
n k
i e
n s
g
t C
h r
eit Mic aa sl t
e
r s
s p
o A
n Hs
is
t ot or yP o fp u
S l
o a
u r
n M
d u
Rs ei
c
o P
r da ip
n e
g r b
C a
o c
p k
y â
r i A
g
h t D
( e
A c
l e
t m
e r b
n e
a r
t e1 5T ,a k
e
s 2
2
C ,
r E
it -
i b
c
ao lo
R e
s w
p o n
n in
s g
e st ht eo MP o
p
u
t elar rs
M A
u s H
icis
) t o
P r
a y
p e o
r f
b S
a o
c u
k n
â d
R
D
e o
c r
e d
m in
b g
e C
r
1
5 y
, r
2 ig
0 h
2 t
2 ( A
,
p
d r
f n
O a
w
n T
in a
g
k et hs
e
M
a it
s
ict ea
r
s R
e
A s p
H o
i
ns tso
r
y
t o f P
S o
o p
u u
n la
d r
R M
e u
c s
o i
r c
d) in
g
C e
o r
p b
y a
r c
i k
g h â
t
(
A D
lt e
e c
r e
n m
a t b
e e
T r
a 1
k 5
e ,
s 2
C
r 2
it icd a
l
R n
e
los ap do ,n
s
e
sF
t E
o
P PU
o B
p O
u l w
a rn i
M
n gu s
t i
hc )e
P M
a a
p s
e t
r e
b r
as c kA â
s t
D o
e
r yc e
m
b S
e o
r
u 1n 5d , R
2 e
0 c
2 o
2 r d
, i
d n
o g
w C
n o
lo p
a y
d r i
g
r h
e t
a d( A
O lt
w e r
n n
ina gt e t hT ae kMe sa
s t
e r
r i
s t
ic
A
H R
i e
s s
t o p
r o
y
n os
e f
S ot
u n
d o p
R u
e
lac or
r
Md iun
g
C )
o P
p a
y p
r e
igr b
h a
t
(
A lâ
t
e r n
a
t ec e
T m
a k b
e e
sr
C
r ,
it 2 A
ic 0
a 2
l 2
R ,
e o
s n
p l
o
n e
s e O
s w
t n
o in
P g
o pt uh lea r
M
u t
s e
i r
c s
)
P A
a p H
e i
r
b t o
a r
c y
k
â
S
D
e n
c d
e mR e
b c
e o
r
r 1d 5i
,
2 C
0 o
2 p
2 y
P r i
D g
F h
, t
f u( lA
l
d
o r
w n
na lt
o e
a T
d a
O k e
w s
n
in C
gr it
t i
h c
e
a lM
a
s s
t p
e
or sn
s e
A s
H
t ois t
o
r p
y u
o la
f
S
o u u
n s i
d c )
R P
e
ac po redr bin
a g
c kC o
p
y
r D
ig e
h c
t e
( m
A b
lt e
e r
r n 1
a 5
t ,
e 2
T 0
a 2
k 2 A
e s
e a
C d
r
it d
ic o
a w
l
R
e a
s p d
o , f
n u
s ll
e O
s
t
o
P n
o g
p ut
la
r
M
u s
s t
i e
c r
)
s P a
p eHribs t
a o
c r
k y
â o
f
S
Do eu cn
e d
m R
b e
e c
r o r
1 d
5i,n g2 0
2
2 p y
,
f
u g
l h
l
e b( A
o l
ot ke r
O n a
w t
n e
in T
g a k
t e
h s
e
M C
ar si
tiec ar s
R
Ae s
H p
i o
s n
t os re
y s
o t o
f
S P
o o
u p
n u
d
la Rr e
c
o s
r i
d c
i )
n gP
C
o e
p r b
y a
r i c
g k
h tâ ( A
l D
t e e
r c
n e
a m
t e b
Te ar A
k 1
e 5
s ,
2
C 0
r 2
it 2
ic ar
e l
R
e
s d
p o
o w
n n
s l
e o
s
a dt o, O
P
wo np iunlga rt hM
u s
ic a
) s t
P e
a r
p s
e
r A
b a H
c i
k s t
â o
r y
D
o fe Sc e
m
b d
e r R
1 e
5 c o
,
2
0 in
2 g
2
, e
p p
u y
br ig
O h
wt n
i
n l
g t e
t r
h n
e a t
M e
a T
s a
t e k
r e
s s
A C r
H
itisi
t
o l
r yR e
o
sfp
S o
o n
u s
n e
d s
R
e cP
o o
r p
d
uinla
g r
C M
o u
p s
y ic
r )
ig P
h
at p
( e
A r
l b
t e a
r c
n k
a â
t e T aD A
k
e c
s e
m
C b
r e
it r
ic 1
a 5
l
R
e
0s p2 o2 n
s
e n
s d l
t e
o , O
P w
o p n
u
l
a
g r
t M
h eu s
ic
) s
P t e
a r
p s
e
r Ab aHc kis t
â o
r
y
D o
e f
c S
e o
mu bn ed r
1
5 c
,
o 2r d
0 i
2 n
2 g
, C
d o
o p
w y
n r i
l
go ah dt
f
r
e
e e r
O n
w a t
n
ein
T g
a kt h
e
M C
a r
s it
t i
e c
r a
s l
R
A e s
H
piso t
o
r e
y
s o
t f
o S
o
u p
n u
d la
R r
e
Mc ou rs
d
icin)
g P a
C p
o e
p r
y b
r a
igc kh t
(
A
lt D
e e
r nc ae tme
T
a r
k 1
e 5
s ,
2 C
0r i2t 2ic af o
l
R ea su p
o
n b
s o
e o
s k
t ,
o
O Pwo
p
u g
la rt
Me uMs ia
c s
) t e
P r
a s
p
e A
r bHa ic
k
â r
y
o
D f
e S
c o
e u
m n
b d
e R
r
1
5 o
, r d
2 i
0 n
2 g
2 C
,
or ep
a y
d
r igf r
e
e ( A
O l
w t e
n r
i n
n a
g
t et h
T e
a Mk
a
s
t e C
r r
sitic
A a l
H R
is e
t s
o
pr yo n
o s
f e
S s
o t
u o
n P
d
a r M u s ic ) o Rp ue lc o r d in g C o p y r ig
h t
T
a
R e
e r
â
H is t o r y o f S o u n d R e c o r d in g C o
p y r ig h t ( A lt e r n a t e T a k e s C r
it ic a l R e s p o n s e s t o P o p u la r M u
s ic ) P a p e r b a c k â D e c e m b e r 1
5 , 2 0 2 2 f o r a n d r o id , O w n in g t h e
M a s t e r s
2 0
2 2
s
A
r y
R e
o r
C o
r n
R e
e s
c )
2 0
k
O
a s
e c
o p
lt e
C r
e s
P a p
0 2
o w
P D
H i
o f
C
s
o
P
s ic
c k
D e
1 5
M a s
o f
o u
n g
lt e
R e
P o
r
M
â
r H is t o r y o f S o u n d R e c o r d in g C o
p y r ig h t ( A lt e r n a t e T a k e s C r
it ic a l R e s p o n s e s t o P o p u la r M u
s ic ) P a p e r b a c k â D e c e m b e r 1
5 , 2 0 2 2 p d f , P D F O w n in g t h e M
a s t e r s
n lo
w
n
i
h e
M a
A
C o
r i
t
t
l
M u
a p
a d
e
M
o u n
r d
C o
( A
c a
t o
e H is t o r y o f S o u n d R e c o r d in g C o
p y r ig h t ( A lt e r n a t e T a k e s C r
it ic a l R e s p o n s e s t o P o p u la r M u
s ic ) P a p e r b a c k â D e c e m b e r 1
5 , 2 0 2 2
,
2
k i
i
n
M a
R e
( A
l
t
e s
n s
P o
â
b e
r
d io
n in
h
s t o
e c
h t
e s
P a p e r b a c k â D e c e m b e r 1 5 , 2 0
2 2 f o r ip a d , O w n in g t h e M a s t e r s
A
H is t o r y o f S o u n d R e c o r d in g C o p
y r ig h t ( A lt e r n a t e T a k e s C r it
ic a l R e s p o n s e s t o P o p u la r M u s
ic ) P a p e r b a c k â D e c e m b e r 1 5
, 2 0 2 2 p a p a r b a c k , O w n in g t h e M
a s t e r s
H is t o r y o f S o u n d R e c o r d in g C o p
y r ig h t ( A lt e r n a t e T a k e s C r it
ic a l R e s p o n s e s t o P o p u la r M u s
ic ) P a p e r b a c k â D e c e m b e r 1 5
, 2 0 2 2 f u ll f r e e a c c e s , d o w n lo a
d f r e e e b o o k O w n in g t h e M a s t e r
s
H is t o r y o f S o u n d R e c o r d in g C o p
y r ig h t ( A lt e r n a t e T a k e s C r it
ic a l R e s p o n s e s t o P o p u la r M u s
ic ) P a p e r b a c k â D e c e m b e r 1 5
, 2 0 2 2 , d o w n lo a d O w n in g t h e M a s
t e r s
H is t o r y o f S o u n d R e c o r d in g C o p
y r ig h t ( A lt e r n a t e T a k e s C r it
ic a l R e s p o n s e s t o P o p u la r M u s
ic ) P a p e r b a c k â D e c e m b e r 1 5
, 2 0 2 2 , D O C O w n in g t h e M a s t e r s
2BESTSELLER
3Owning the Masters A History of Sound Recording
Copyright (Alternate Takes Critical Responses to
Popular Music) Paperback â December 15, 2022
Simple Step to Read and Download
1. Create a FREE Account
2. Choose from our vast selection of EBOOK and PDF
3. Please, see if you are eligible to Read or
Download book Owning the Masters A History of
Sound Recording Copyright (Alternate Takes
Critical Responses to Popular Music) Paperback
â December 15, 2022
4. Read Online by creating an account Owning the
Masters A History of Sound Recording
Copyright (Alternate Takes Critical Responses to
Popular Music) Paperback â December 15, 2022
READ MAGAZINE
4Description
Owning the Masters provides the first in-depth
history of sound recording copyright. It is this
form of intellectual property that underpins the
workings of the recording industry. Rather than
being focused on the manufacture of goods, this
industry is centred on the creation, exploitation
and protection of rights. The development and
control of these rights has not been
straightforward. This book explores the lobbying
activities of record companies the principal
creators, owners and defenders of sound
recording copyright. It addresses the
counter-activity of recording artists, in
particular those who have fought against the
legislative and contractual practices of record
companies to claim these master rights
for themselves. In addition, this book looks at
the activities of the listening public, large
numbers of whom have been labelled 'pirates' for
trespassing on these rights. The public has
played its own part in shaping copyright
legislation. This is an essential subject for an
understanding of the economic, artistic
and political value of recorded sound.
5Owning the Masters A History of Sound
Recording Copyright (Alternate Takes Critical
Responses to Popular Music) Paperback â
December 15, 2022