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• W2600356656 abstract "I. INTRODUCTIONIn truth, in literature, in science and in art, there are, and can be, few, if any, things, which, in an abstract sense, are strictly new and original throughout. . . . The thoughts of every man are, more or less, a combination of what other men have thought and expressed, although they may be modified, exalted, or improved by his own genius or reflection.1Music sampling, in recent years, has become a mainstay in nearly all genres of popular music. Sampling involves copying a musical work-usually a small portion that is subsequently modified by sound engineers-and incorporating that sample in a new musical work. Sampling has engendered a string of copyright infringement lawsuits that courts are beginning to address. In last two years, two circuit courts have reached different conclusions in only music sampling cases that have reached appellate level thus far. Though there are factual differences between two cases, it appears that a circuit split is developing over whether musicians can invoke de minimis defense-based on a Latin maxim meaning the law does not concern itself with trifles-in copyright infringement suits concerning unlicensed, short samples of copyrighted works.2This Note addresses relevance of de minimis defense to music sampling copyright infringement cases and offers an alternative hypothetical standard to tests currently used by circuit courts. The analysis will demonstrate that currently employed formulations of de minimis defense do not adhere to policy behind copyright law. Part II presents an overview of relevant copyright law, policy concerns, and history and mechanics of music sampling. An examination of de minimis defense and its use in two recent circuit cases dealing with sampling in copyright infringement actions follows in Part III. A critical examination of rules employed by circuits comprises Part IV, and an analysis of proper role of de minimis defense in music sampling actions concludes analysis in Part V.II. BACKGROUND INFORMATIONA. ProtectionArticle I, section 8 of United States Constitution grants Congress power to promote Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors exclusive Right to their respective Writings and Discoveries.3 Congress first exercised this power by adopting Act of 1790 (1790 Act),4 which granted protection to authors of maps, charts, and books against unauthorized printing and sale of their works for a term of fourteen years with a renewal of an additional fourteen years.5 A revision of 1790 Act in 1831 extended initial term of protection to twenty-eight years, but renewal option remained at fourteen years.6 While 1790 and 1831 Acts were later superseded by Act of 1909,7 which was itself superseded by Act of 1976 (1976 Act),8 trend of statutory extension of copyright duration and scope continues. The most recent substantial addition to copyright law, Digital Millennium Act of 1998,9 exemplifies trend. Over time, Congress has also strengthened penalties for copyright infringement by adding both civil remedies and criminal sanctions to relevant statutes.10 Though multiple revisions to copyright law have addressed copyright in different ways, increasing protection has remained a constant.An individual desiring copyright protection in present-day United States must comply with statutory provisions of 1976 Act as amended. Section 102 of title 17 of United States Code sets out basic requirement for copyright protection, stating: Copyright protection subsists, in accordance with this title, in original works of authorship fixed in any tangible medium of expression, now known or later developed, from which they can be perceived, reproduced, or otherwise communicated, either directly or with aid of a machine or device. …" @default.
• W2600356656 created "2017-04-07" @default.
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• W2600356656 date "2006-04-01" @default.
• W2600356656 modified "2023-09-24" @default.
• W2600356656 title "Copyright-The De Minimis Defense in Copyright Infringement Actions Involving Music Sampling" @default.
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