Titlebook: Creative Autonomy, Copyright and Popular Music in Nigeria; Mary W. Gani Book 2020 The Editor(s) (if applicable) and The Author(s), under e

Water-Brash

,Eigenspannungen und Verzug beim Schwei?en,racts as avenues through which affronts to creative autonomy may occur, and re-emphasises the recommendations the book makes to alleviate these problems for Nigerian copyright law and the Nigerian popular music industry.

繁榮地區(qū)

,The Traditional Structure of the Popular Music Industry, and the Performing Author’s Role, vision for the arrangement and production of their songs. The chapter also identifies the importance of independent music producers, and discusses the history and scope of collective copyright administration with regard to popular music.

Ordeal

Problems for Creative Autonomy in New Business Models, in the media from winners of shows like Idols and the X-Factor, the chapter shows the tussle for creative control that performing authors may experience. It also highlights multiple rights deals, also known as 360 rights deals, as an avenue through which the authorial autonomy of performing authors may be undermined or circumvented.