The Western novel is a product of modern civilization, although in the Far East novels began a separate development as early as the tenth century. Extended prose works of complex interpersonal relations and motivations begin in seventeenth-century France with (1678) by Madame de Lafayette. Eighteenth-century France produced an immense number of novels dealing with love analysis but none to compare with Madame de Lafayettes until Pierre Choderlos de Laclos wrote (1782). This was, in form, an exchange of letters between two corrupters of youth; but, in intent, it was a savage satire of the ancient regime and a heart-rending psychological study. The English novel of the eighteenth century was less subtle, more robust vulgar in the best sense and is exemplified by Henry Fieldings (1749) and Laurence Sternes . The nineteenth century was the golden age of the novel. It became ever more profound, complex, and subtle (or, on the other hand, more popular, eventful, and sentimental). By the beginning of the twentieth century it had become the most common form of thoughtful reading matter and had replaced, for most educated people, religious, philosophical, and scientific works as a medium for the interpretation of life. By the late 1920s the novel had begun to show signs of decay as a form, and no works have since been produced to compare with the recent past. This may prove to be a temporarily barren period, or else the novel may be losing its energy as a narrative art form and in this sense giving way to the medium of film.
In our current society, artists are becoming increasingly likely to use samples from fellow musicians. Whether it is a couple of cords or a section of vocals, it seems virtually impossible to slip under the radar. What I find most ironic is how the music industries claim that penalties for copyright are to protect their artists. In actuality, it is the major music industries who are profiting off of copyright legality cases. Not only do they make money of off suing “violators” but they have the time and money to hire the best representation possible. The line between fair use and copyright laws is becoming more and more blurred. Although the law is largely on the side of the major music labels, that does not necessarily make their cause justified. As lawyer Lawrence Lessig asserted in “RiP!: A Remix Manifesto,” these copyright laws need to be reevaluated given the ever0changing circumstance in our current society. The internet has yielded a whole new culture of music— mashups, covers, etc.— that are only propelled like networks such as youtube, soundcloud, and youtube. Individuals are going to borrow from one another without even realizing it. Sounds and lyrics are so readily accessible, it seems almost impossible to scrutinize each individual who crosses an already blurry line. Music is something that inspires people and often leads them to create pieces of their own. People work off of one another- its a form of expression and communication. It seems as though individuals’ inspiration and creativity are what are ultimately diminished, as they are limited and sometimes threatened before they ever really get to begin.
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The show presents the relationship between score, voice, sound and performance explored by contemporary artists who are interested in the intersection of movement, rhythm, music and performance, and who use scores and musical instruments deeply engaged with everyday life and social reality.
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Your post posed the question, yet again about copyright and how it hampers creativity. The EDM culture is about create a new and distinct voice out of past creative work. When reading past articles about the mash-up culture the point that stuck out the most for me is how it the integration of others work seems so ingrained in music culture. This is the natural progression that music is suppose take it would only make sense that music producers of the time are evolving and attempting to give their audience what they want. In this past if this were stopped would we have had the great jazz legends of the time as well as some of the best rereleases of our time? While this protects well-established artists it really increase the barriers of entry into the EDM music industry. However well established artists such as deadmau5 should also look to new emerging artists and not nitpick for copyright infringements. The example you raise about the use of deadmau5’s chord in a new artists song, also raises questions such as is deadmau5’s just keeping up with the times of copyright protection and how would it affect an artist if they simply let their work be free to public domain. The question also is raised of how these artists would make their money and if they would get tossed to the wayside by new up and coming artists would could mix their music better than they could make it.
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After searching for different articles, I came to the consensus that the artists will for the most part pay to clear the track they want to use and then in the future a certain percentage for royalties. Artists may also buy a “sample library” which provides them with a collection of sounds and the licenses to these sounds. This is easy for an established artist to cover as expenses however for many up and coming artists in the industry these payments may deter them and they often choose to release tracks without the clearance for those tracks. This is what Girl Talk seemed to do in the video we watched–release songs with different samples and hope nothing would come from it. Scott MacDonald outlines in his article that fair use does not apply very much to cases with sampling and remixing, although it is the only defense for a up and coming producer. A producer could claim that they are not using a sampling for commercial use and that they distorted the sample enough to make it a new sound. As for playing songs at a show, clubs often will have a blanket licensing payment which makes DJs able to play whatever songs they want. This then allows DJs to be more creative with their samples at clubs because they won’t have to worry about copyright.