Szám |
Fejezet |
Oldal. |
1. |
Introduction |
5 |
2. |
Needful requirements and agreements to be recognized as owner of a sound recording |
5 |
3. |
Identification of authors of songs incorporated in the sound recording; their rights and payments |
7 |
3.1. |
Qulification of authors |
8 |
3.2. |
Setting clearance if separate or joint authors created the songs |
8 |
3.4. |
Moral rights of the authors |
11 |
4. |
Identification of performers in the sound recording; their rights and payments |
12 |
4.1. |
Contracts with identified performers |
12 |
4.2. |
Performer rights and royalties |
13 |
5. |
Identification of B.Terre’s brother Job in the creation of sound recording and his payment suggestion |
13 |
5.1. |
Case study of Latvian band BrainStorm and photographer A.Corbijn |
14 |
6. |
Licenses to be needed to receive for usage of other authors’ copyrightable work |
15 |
6.1. |
Sample of BBC footage |
15 |
6.2. |
Steve Smith‘s poem |
15 |
6.3. |
Painting of Lowry |
16 |
7. |
Questions to be considered in the songs B.Terre has re-worked other copyrighted songs |
17 |
7.1. |
Radical re-working of John Martin song |
17 |
7.2. |
The song inspired by Rolling Stones’classic Under My Thumb |
17 |
7.2. |
(a) Case study Francis Day v.Hunter |
20 |
7.3. |
Suggestions |
20 |
8. |
Considiration of lyrics in the songs Cockle Bay Ghosts and Building Bridges |
21 |
8.1. |
Case study – Bennie Man |
23 |
8.2. |
Case Study – Swedish rap band |
23 |
8.3. |
Suggestions |
23 |
9. |
Advisable recording deal between B.Terre and Fair Trade Records |
24 |
10. |
Conclusions |
25 |
11. |
Bibliography/References |
26 |