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Buying Music over the Internet, 2001.
This paper examines the issue of buying music over the Internet for both the consumer and musician.
1,240 words (approx. 5.0 pages), 3 sources, MLA, £ 29.95
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Abstract
This paper discusses the issue of buying music over the Internet and the problems with it. It discusses the anti-trust issues that have arisen and how to deal with them. It also examines the issue of who really ?owns? the commercial product which is music, whom does this belong to? How can musicians and record labels receive benefits from their works if the music is bought over the Internet from an e-commerce site. It discusses music downloads over the Internet and its problematic issues as well.
From the Paper
"One of the most controversial issues in the music business today is the issue of selling music through the Internet. The ongoing and evolving process of selling and disseminating music through the Internet has provoked a number of economic as well as artistic debates for the music business and for the computer and technology businesses that allow such technology to be accessed. This paper will address some of these concerns with a particular focus on the anti-trust issues that have arisen over the course of this debate. First of all, the issue of disseminating music over the Internet provokes the perplexing question of who really ?owns? the commercial product of a pieces of music, anyway? Is the owner the person or persons who simply hear the tune and keep humming it? Is the owner the musician who produces the product? Or are the owners the music companies musicians have signed artistic rights to? Clearly, to survive musicians must be able to charge for the product they produce, and the companies have control over the specifics of how to market that product. But once a song is in the public sphere, do not consumers have a right to ?pass on? that music product in ways that they see fit, even if those ways may inhibit the sales of recordings of that music?"
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The Music Industry and the Internet, 2003.
This paper discusses the early history of the battle by the music industry against the downloading of copyright music from the Internet and argues against the position of the industry.
2,115 words (approx. 8.5 pages), 12 sources, APA, £ 45.95
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Abstract
This paper explains that, despite the enthusiastic participation of some recording artists such as the Dave Matthews Band and Courtney Love, the Recording Industry Association of America (RIAA) has brutally attacked file sharing programs, such as Napster, which allow the downloading of music from the Internet, by arguing that the availability of music on the Internet is destroying record sales. The author points out that the industry's use of "fake files," which attempted to halt Internet music downloading, was an almost laughable endeavor, but intentionally damaging a consumer's computer was not so humorous. The paper relates that, in 1999, a law was passed, which declared that recorded music was the property of the company that recorded the music, not the artist; this outraged many artists.
From the Paper
"The Dave Matthews Band broke ground by releasing the first single from their 2001 album "Everyday" through the now defunct file-sharing program Napster. Napster, an Internet based file-sharing program, gave its users the ability to search for and download music (in MP3 format) to their computers by directly tapping into another user's computer. The program gained popularity rapidly, with millions of users at its peak in 2000 and 2001. When the Dave Matthews Band premiered "I Did It" through Napster, the album debuted at number one, and generated the highest first-week sales the band had experienced thus far."
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Music on the Internet, 2002.
A discussion of the issues regarding shared music on the internet.
1,930 words (approx. 7.7 pages), 8 sources, MLA, £ 42.95
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Abstract
This paper examines how for the last several years, the recording industry has been battling to stop on-line music-swapping. It looks at how the battle began over Napster and has expanded to take on Napster?s descendants. It evaluates how despite the abundance of evidence suggesting that on-line music-swapping actually boosts record sales, the recording industry feels that this practice robs them of potential profits. It looks at how client-to-client file-swapping software already exists and how in many cases it is open source. It shows that shutting down individual sites is only a temporary set-back to the overall music-swapping community, which can quickly move on to another site with the same basic code. It discusses how the battle for control continues because the recording industry continues to attempt to control what it sees as its rightful domain (recorded music) without realizing that it is mistakenly battling for control of the uncontrollable (the advance of technology in general and the internet in specific).
From the Paper
"However, the recording industry quickly found that killing Napster did it precious little good. The time they had spent in court, and the apparent impending demise of Napster had already spawned numerous look-alikes such as AudioGalaxy. The recording industry began to go after those as well. However, not all of them were susceptible to the sort of lawsuits that brought down Napster. Napster had functioned through a centralized server that catalogued the MP3 collections of its users, and then put them in contact with other users who wish to copy something from that collection. However, many of Napster?s descendants were either decentralized or less centralized file-swapping programs. Gnutella, for example, does not keep a centralized library, but rather maintains a spiderweb of networks through which a request is sent by individual users to individual users. Programs such as this, which have no centralized ?command? and are not affiliated with a single company are almost impossible to sue or shut down."
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RIAA - Internet Music Downloads, 2005.
A review of issues surrounding downloading music from the Internet.
1,221 words (approx. 4.9 pages), 7 sources, MLA, £ 28.95
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Abstract
This paper takes a look at music downloads. The paper reviews how music is downloaded via the Internet, and various issues relating to music downloads. The paper also discusses whether this is illegal or not.
Outline:
Introduction
How Music is Downloaded from the Internet
The Threats of Music Downloading
Music Downloading : Why is it Illegal?
Conclusion
From the Paper
"At first, it may seem that ease of downloading music from the Internet will produce nothing but positive impact to the consumers. They will be able to get and enjoy music for free. They will be able to share music to their friends without limits or boundaries. However, the fact remains that copying or downloading music from the internet is piracy. It is copying without proper consent from the real owners. It is copying and reproducing without notifying the people who have shed great efforts in producing such music. Thus, honor, credibility and integrity of the consumer is being wage. "
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Controversy of Napster and Internet Music Files, 2002.
This paper discusses the affect that globalization and the Internet has had on music copyright.
1,900 words (approx. 7.6 pages), 6 sources, £ 49.95
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Abstract
The current day of Globalization and advanced cyber-technology has tended to weaken all matters of patents, ownership and copyright. (Fitzgerald:2001) This is exemplified in different ways by the threat that Napster and shared internet music files represent to artists and to the music recording industry, at large. In this paper, the controversy created by the advent of Napster is explained in addition to possible prognoses for the future.
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The Internet and the Music Industry, 2004.
This paper argues that music downloads and online radio have a positive effect on the music industry.
2,725 words (approx. 10.9 pages), 5 sources, APA, £ 56.95
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Abstract
This paper explains that online radio, which simply rebroadcasts the content from existing, traditional radio stations or is solely virtual, has done the music industry much more good than harm because it is able to expose a greater diversity of people to artists and a greater diversity of artists to people. The author, using statistics, points out the correlation that the more you burn from the Internet, the more CDs you buy; therefore, the author seeks other causes for the lagging sales in the music industry, such as the recession, competition from other forms of entertainment, consolidation of radio stations, the ever-increasing CD prices, and even cellphones. The paper relates that the music industry?s legal campaign against downloading is being circumvented by new technology, such as ?Grouper?, which only allows users to ?stream? songs from a peer and, thus, operates legally under the ?private performance? section of the copyright law.
Table of Contents
Introduction
History of Online Radio
History of Music Downloads
Effects of Online Radio on the Music Industry
Effects of Music Downloads
Current Legal Status of Downloading
From the Paper
"As technology increased, so did the popularity of file sharing software like Napster. Although the use of such file-sharing software to download non-copyrighted material is not illegal, the propensity was for users to download copyrighted materials (?File Sharing?). For the last few years, the legalities of file sharing have made the issue one of the central debates. Record companies and musicians argue on both sides of the issue. Most, however, feel that unauthorized music downloads infringe on their livelihood and have negatively affected the profitability of the music industry as a whole. However, this may not be true."
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Negative Impact of Popular Music and Music Videos, 2003.
Investigates the negative impact of popular music and music videos on youth in the United States today.
3,623 words (approx. 14.5 pages), 10 sources, APA, £ 69.95
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Abstract
The music industry spends enormous amounts of money to create music videos that will make a profit, and the one ingredient they have consistently found that helps sell their products is violence; this violence is usually directed toward women. The AAP notes that there is a paucity of research concerning the impact of such gratuitous violence on children and adolescents. To this end, this paper demonstrates this relationship through a critical review of the literature, followed by a summary of the research and recommendations in the conclusion.
From the Paper
"The definitions concerning what constitutes entertainment and what is protected by the 1st Amendment do not necessarily address the underlying problems of violence in the media and sometimes only serve to merely contribute to the statistical haze that surrounds an already complex situation. The recent appearance of national leaders on MTV attests to the importance and power of music videos in shaping the nation?s conscience. Further, while many non-black observers feel that rap music is just ?so much noise generated by angry black youths,? rap music or simply ?rap,? is in actuality a reflection of the current affairs within the communities in which it is performed. Rap is a ?genre of rhythm-and-blues music that consists of rhythmic vocals declaimed over musical accompaniment. The accompaniment generally consists of electronic drum beats combined with samples (digitally isolated sound bites) from other musical recordings? (Bowman, 2003). From this perspective, rap is an extension of the Black Power movement of the 1960s, and has embodied the essence of the young black culture. The first rap recording was made in 1979 and the genre rose to prominence in the United States in the mid-1980s. Although the term rap is often used interchangeably with hip-hop, the latter term encompasses the subculture that rap music is simply one part of. The term hip-hop derives from one of the earliest phrases used in rap, and can be found on the seminal recording ?Rapper?s Delight? (1979) by Sugarhill Gang. In addition to rap music, the hip-hop subculture also comprises other forms of expression, including dance methodologies, art, vocabulary (in the form of slang) and fashion affectations. Despite these contributions to the popular culture, many observers suggest a connection between the music and personification of violence evinced in music videos and rap as a factor contributing to the incidence of violence by young people in the United State today."
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Music Piracy, 2004.
A look at the arguments for and against the desirability of unrestricted music downloads on the Internet.
2,107 words (approx. 8.4 pages), 10 sources, APA, £ 45.95
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Abstract
This paper examines how the recent development of computers, the Internet, and music compression technologies, such as MP3, have given a totally new dimension to music privacy and how free music downloads and the exchange of music files over the Internet has reached such daunting proportions that the music industry considers it the single biggest threat to its very survival. It discusses whether downloading of music from the Internet should be unrestricted and free by looking at both sides of the issue. While doing so, recent court cases about music piracy in the United States and Australia are also examined.
Outline
The Beginnings of Music Downloads on the Internet
The Napster Lawsuit and Its Aftermath
Current Scale of Internet Music Downloads
Ethics of Free Music Downloads
Arguments For and Against
Recent US and Australian Court Cases
Conclusion
From the Paper
"Napster attracted the ire of the music recording industry, which filed lawsuits (A&M Records Inc. et al versus Napster) against the company in the US courts in 2001. A Californian district court ruled against Napster, ordering it to close its file-transferring service. Ultimately, the ninth circuit appeal?s court upheld the decision of the district court against Napster in 2001. On appeal, the US Court of Appeals for the Ninth Circuit upheld the decision in a landmark ruling in 2002 that forced Napster to close down its file-transferring Website and file for bankruptcy. (?Napster Lawsuit,? 2002 Findlaw) The court ruling, however, was far from a death-blow to the free downloading business on the Internet as there were a number of grey areas in the court?s ruling that did not lift the cloud of confusion about the application of copyright laws on the Internet."
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Music Piracy, 2002.
Examining the new phenomenon of music piracy on the internet and methods to curb this occurance.
13,000 words (approx. 52.0 pages), 17 sources, MLA, £ 171.95
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Abstract
This paper presents an examination of music piracy on the internet. The writer explores the various views on its occurrence and what is being done to stop it. The writer also discusses the affects piracy has on the United States music industry including what various artists have been saying about its occurrence. The examination focuses on the affect the Internet is having on the piracy industry in the music field.
From the Paper
"The technological explosion of the last few decades has taken mankind to heights it never dreamed possible. Today, with the click of a mouse one can trade stocks, plan vacations and purchase the fares, chat with others around the world, play online games, research any topic they choose and many other things. The world of technology and the advent of the Internet have expanded the ability of knowledge, and self help beyond anything in history has done. It is an exciting time for those who use it and it is something that continues to improve with each passing year. The internet has opened doors that used to be only dreamed of, but the enlightenment the Internet provides comes with a price. Because it is so new to the world there are several areas of legal issue that have not been decided and are currently under fire. One of the most controversial topics of the internet debate is that of ownership. When one puts an idea out on the net who owns it? This question has created tension and turmoil in many fields including literature, litigation and music. Music has long since been at the forefront of controversy when it comes to the internet and its abilities because of the ease with which it allows in music piracy. Front page news accounts detail the rise and fall of companies such as Napster and others that made a huge profit on the willingness of consumers to commit music piracy. Music piracy on the internet has become a multi-million dollar venture and the artists, their agents and the attorneys they hire are constantly working to shut down its existence."
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Music Downloads, 2007.
An analysis of the ethical and legal implications of downloading music for free off the Internet.
755 words (approx. 3.0 pages), 5 sources, MLA, £ 18.95
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Abstract
This three page paper presents a discussion about the downloading of music off of the Internet. The writer argues that it has a tremendous impact on society and the music industry by decreasing profits to the musicians and music centers. It discusses the ethical implications of downloading music for free and discusses laws that are necessary to prevent this.
From the Paper
"Why should artists continue to write new songs, perform on stage and put them to cd if they are not going to be paid for their efforts? Would you go to work if at the end of the week you didn't get a paycheck? Downloading music instead of paying for the cd or privilege will have long reaching affects on society. It will discourage artists from producing new material and it will teach future generations that stealing is okay as long as one doesn't get caught. Both of these options have negative impacts on society. "In a period of lackluster sales, illegal downloading isn't the only factor affecting the depressed music industry. Disgruntled consumers have contributed significantly to the decline in retail music sales. Retail music sales, valued at $12.5 billion in 2005, are predicted to fall to $10.5 billion by 2010, according to a recent Mintel report (Spotlight, 2006).""
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Guillaume Dufay Music from Medieval and Renaissance Music, 2006.
An examination of Guillaume Dufay's music and its origins.
34 words (approx. 0.1 pages), 6942 sources, MLA, £ 11.95
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Abstract
In this paper the author looks at what Guillaume Dufay's music meant in terms of music history. The author starts with a look at the Gregorian chant from Medieval times which was the main form of sacred music, how it developed and what it gave to modern music. The paper continues with a look at the other forms of music that have developed over the years and contributed to the work of Guillaume Dufay. In particular the author highlights the development of church music in the Renaissance period which, as he points out was the basis for Dufay's music compositions. The author discusses the life and works of Dufay's music as a move towards a clearly defined tonal and functional harmonic structure. The author believes that this helped prepare one of the most important stylistic developments in music of the following century. In conclusion the author reminds us that we are lucky to have the musical pieces that have been curated and restored. A number of Dufay's as well as other composers from that era had masterpieces destroyed because of the political climate.
Outline:
Table of Contents
Introduction
Gregorian Chant
Motet
Troubadour Influence
The Development of Musical Notation
Polyphony
Machaut
Guillaume Dufay a Biography
Dufay's Music
Dufay and Faux-bourdon
Dufay's Motets
Conclusion
From the Paper
"Dufay began composing at a time when musical style was in a period of relative stability and changing that style was not readily accepted. Dufay cannot be thought of as one of the great revolutionaries in Western music; the term 'originality' in the classic sense of the word was not familiar to him. This is not to say, however, that Dufay was in any way lacking of originality or he was in any way reactionary. Quite to the contrary, he played an integral role in the development of faux-bourdon and the cyclic mass. He was one of the first composers to handle four-voice texture with any kind of convincing skill before the end of the 15th century. Furthermore, his attempt to move towards a clearly defined tonal and functional harmonic structure helped prepare one of the most important stylistic developments of the following century. Dufay's works and compositions have come to be known as the supremely polished works of a long period of slow and serene stylistic change."
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African Music's Influence on Pop Music Culture, 2005.
An ethno-musicological study of African music's influence on western society's popular music culture.
675 words (approx. 2.7 pages), 4 sources, £ 18.95
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Abstract
The paper by examines various western artists, such as Paul Simon and David Byrne, and shows how African music plays an important part in how popular music is interwoven within the western musical tradition. The paper concludes that western music in North America has been greatly influenced by the music of South Africa and other traditional musical traditions from the African continent.
From the Paper
"This ethno musicological study will examine the various African music influences that have become imbued within western pop music culture. By examining various western artists, such as Paul Simon and David Byrne, one can realize how African music plays an important part in how pop music is interwoven within the western musical tradition. In essence, western music in North America has been greatly influenced by the music of South Africa and other traditional musical traditions from the African continent."
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Program Music v. Absolute Music, 2006.
This paper examines the Verdi aria "Ave Maria" from "Othello," highlighting the debate between program and absolute music.
675 words (approx. 2.7 pages), 3 sources, £ 18.95
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Abstract
The paper outlines the importance the aria holds for the opera and for music in general. The paper then outlines the debate depicting how music ought to be considered. Finally it considers whether the aria better fits one or the other of the arguments. The conclusion of the paper is that program music better explains the piece.
From the Paper
"In Verdi's "Ave Maria," from "Othello," Desdemona sings what is perhaps the opera's greatest addition to the storyline already laid out so brilliantly by Shakespeare. In a lilting, soaring soprano, Desdemona presents this liturgical prayer for the humble, the innocent and the oppressed in such a beautifully supplicant manner that the listener feels her purity and honesty pouring through her tender prayer. The story wins the listener over to the character, particularly as the music is juxtaposed to the hard declamations of the evil Iago. Though the character has a name that is purposefully indicative of demons, and the tragedy that befalls her later in the opera stems from the misunderstanding of her connection to evil, the listener knows from the moment that Desdemona has sung the "Ave Maria" that the character is pure of heart and gentle of spirit."
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Intellectual Property Law, 2004.
This paper discusses the problems with intellectual property law in the music and Internet industries in the European Union.
3,520 words (approx. 14.1 pages), 4 sources, MLA, £ 68.95
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Abstract
This paper explains that the European Union copyright directive, especially as this relates to the music industry, is an attempt at adjustments in intellectual property law; however, it falls short of the all-encompassing clarity required in specific situations, such as certain cases within the music industry, new technological developments, and the Internet. The author points out that the three issues that impact the music industry when mergers between large companies are considered, in terms of competition law, are the gatekeeper, the source, and the path issues. The paper relates that warnings to the effect that piracy protection devices could lead to damaged equipment should be issued not only as a deterrent, but also as a courtesy and acknowledgement of the rights of the public; the industry should acknowledge that users more often than not make copies of discs for their own personal use, not for the purpose of profit.
Table of Contents
Introduction
The Changing Music Industry and EU Competition Law
The Gatekeeper Issue
The Source Issue
The Path Issue
Problems Associated with the EU Copyright Directive
Copyright Laws and the Digital Age
The Repercussions of the Copyright Directive
Technological Advance and Legislation
Conclusion
From the Paper
"Although the purpose of the Directive is repeatedly stated as increasing legal certainty, the opposite is actually the case. Although this article is meant to reconcile rights owners and their interest with the interest of users, the vagueness of the article does not appear to ensure the rights of anybody. Indeed, there appears to be an increased amount of uncertainty as opposed to the idealized certainty in the initial goal. Indeed, the legislation and its exceptions appear to create a singular amount of opportunities for abuse and misinterpretation. Furthermore there is a list of no less than 20 exceptions to the copyright law. Adding to the confusion, these exceptions are furthermore optional rather than mandatory, allowing Member States to pick and choose which to implement and which to discard."
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