Intellectual Property, Copyright, Authorship, and Individuality in Music and Print Culture :: Intellectual Property Copyright Authorship

quick-witted Property, Copyright, Authorship, and Individuality in Music and Print Culture When the alphabet was invented, intercommunicate larger-than-lifes could be converted into an abstract representation - writing. The experience of the spoken epic poem could be transformed into written format. Although books can be state aloud and therefore retain some similarity to the communal record of the oral tradition, books can also be read silently in solitude, emphasizing the individual reader. Among the many functions that Roger Chartier has attributed to the figure of the author is not single the role of creator to the content, but also to appropriate ownership of that foot to whomever owns the property rights to that content (36). Copyright law protects the specific manifestations of ideas and facts, but not those ideas and facts themselves. When commemoration was no longer used to experience memory, individual authors came to be recognized as readers became less par ticipatory in the process of acquire meaning from the work. The author as creator became an individual who gave meaning to an hearing fragmented by the ability of the written word to separate its readers from oneness another. The author serves as a meeting point for individual readers to give birth meaning, whereas in pre-literate times, this meaning would have been constructed by a the entire company in the immediacy of the performance. In terms of property ownership, one analogue in melody was the development of an agreed upon system of notes, scales, and representations of musical theater sounds and timings. This musical alphabet was necessary to write down makes of music, whether the ancient Egyptians music of the spheres or Beethovens Ninth Symphony. It serves to organize noise into a format that is legitimate as the creation of a musician. As Albert Borgmann writes, The identity element and integrity of a piece of music can be underwritten by a score only if ther e is a complete and authoritative score (94). This performer that a written account of a performed piece is only make up in validity to the performed piece if some amount of authority is given the former. The composer/author of the piece serves as the source of this authority. However, if there is no score, the identity and integrity of the piece must lie in its performance. In this case, it is the performers of the material song that constitute its integrity, and this has implications that undermine the functions of the author.