[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-322271-105":59,"doc-detail-322271-en":130},{"code":4,"msg":5,"data":6},0,"success",[7,13,18,23,28,33,38,43,48,51,55],{"id":8,"doc_module":4,"doc_module_name":9,"category_name":10,"show_sort_weight":11,"slug":12},1,"Document","Story & Novel",90,"story-novel",{"id":14,"doc_module":4,"doc_module_name":9,"category_name":15,"show_sort_weight":16,"slug":17},2,"Literature",80,"literature",{"id":19,"doc_module":4,"doc_module_name":9,"category_name":20,"show_sort_weight":21,"slug":22},4,"Exam",70,"exam",{"id":24,"doc_module":4,"doc_module_name":9,"category_name":25,"show_sort_weight":26,"slug":27},5,"Comic",60,"comic",{"id":29,"doc_module":4,"doc_module_name":9,"category_name":30,"show_sort_weight":31,"slug":32},6,"Technology",50,"technology",{"id":34,"doc_module":4,"doc_module_name":9,"category_name":35,"show_sort_weight":36,"slug":37},7,"Healthcare",40,"healthcare",{"id":39,"doc_module":4,"doc_module_name":9,"category_name":40,"show_sort_weight":41,"slug":42},8,"Research & Report",30,"research-report",{"id":44,"doc_module":4,"doc_module_name":9,"category_name":45,"show_sort_weight":46,"slug":47},9,"Religion & Spirituality",20,"religion-spirituality",{"id":46,"doc_module":4,"doc_module_name":9,"category_name":49,"show_sort_weight":46,"slug":50},"World Cup","world-cup",{"id":52,"doc_module":4,"doc_module_name":9,"category_name":53,"show_sort_weight":52,"slug":54},10,"Lifestyle","lifestyle",{"id":56,"doc_module":4,"doc_module_name":9,"category_name":57,"show_sort_weight":24,"slug":58},19,"General","general",{"code":4,"msg":60,"data":61},"ok",{"site_id":62,"language":63,"slug":64,"title":65,"keywords":66,"description":67,"schema_data":68,"social_meta":123,"head_meta":125,"extra_data":127,"updated_unix":129},105,"en","i-got-a-mashup-chapter-6-music-and-copyright-law","I Got a Mashup - Chapter 6 - Music and Copyright Law","","A study of how copyright law shapes cultural creation through the lens of music. The chapter contrasts patent’s model of converging, incremental invention with copyright’s assumptions about creative expression, originality, and derivative works. It explains why these assumptions fit literature poorly and fit music even worse, given the collective, additive nature of musical creativity. It frames questions about modern musical traditions, remixing, and sampling under today’s copyright regime.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":15,"@type":76,"position":81},"https://docshare.wps.com/document/literature/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/i-got-a-mashup-chapter-6-music-and-copyright-law/322271/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/i-got-a-mashup-chapter-6-music-and-copyright-law/322271.png","ImageObject",300,407,{"name":92,"@type":93},"Maya Linwood","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-22","2026-09-21",true,{"@type":102,"interactionType":103,"userInteractionCount":29},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"Why does the chapter argue that copyright law has trouble handling music?","Question",{"text":112,"@type":113},"Music often grows through collective, additive processes, and later creators may rely on raw material that copyright can restrict. The law’s assumptions about independent expression and what must be re-created do not align well with that reality.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How do patent and copyright law differ in their underlying assumptions about creativity?",{"text":117,"@type":113},"Patent law treats technological development as converging and incremental, with limited good approaches. Copyright law starts from creative expression in texts, assuming infinite possibilities and requiring permission for derivative works.",{"name":119,"@type":110,"acceptedAnswer":120},"What kinds of cultural practices does the chapter mention as needing extensive access to earlier copyrighted material?",{"text":121,"@type":113},"It highlights pastiche, collage, literary biography, and parody as forms that typically require substantial use of prior copyrighted work.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},322271,1790072751,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":29,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":145},962084928432,"https://ap-avatar.wpscdn.com/davatar_155a257f0dc6eb9ab79c44ca47cae57d","6  \nI Got a Mashup  \nSo far, I have talked about the root ideas of intellectual property. I have talked about its history, about the way it influences and is influenced by technology. I have talked about its effects on free speech and on competition. Until now, however, I have not described the way that it actually affects culture. This chapter aims to rectify theomission, looking at the way copyright law handles one specific form of cultural creation—music. It turns out that some of the problemsidentified in Chapters 4 and 5 are not simply the result of a mismatch between old law and new technology, or the difficulties posed in applying copyright to software, to machines made of words. The same issues appear at the heart of a much older cultural tradition.  \nThis is the story of a song and of that song’s history. But it is also a story about property and race and art, about the way copyright law has shaped, encouraged, and prohibited music over the last hundred years, about the lines it draws, the boundaries it sets, and the art it forbids.  \nMusic is hard for copyright law to handle. If one had to represent the image of creativity around which copyright law and patent law,  \nI Got a Mashup 123  \nrespectively, are built, patent law’s model of creativity would be a pyramid and copyright law’s a fountain, or even an explosion.  \nIn patent law, the assumption is that technological development converges. Two engineers from two different countries tend to produce similar ways of catching mice or harnessing the power of steam. There are a limited number of good ways of accomplishing a technical task. In addition, technological progress is assumed to be incremental. Each development builds on the ones behind it. Based on this image, patent law makes a series of decisions about what gets covered by property rights, for how long, how to handle “subsequent improvements,” and so on. Patent rights last for a short time, not only to lower costs to consumers, but because we want to build on the technology inventors have created as soon as possible, without getting their permission. Even during the patent term, subsequent “improvers” get their own rights and can bargain with the original patent holder to share the profits.  \nCopyright’s assumptions are different. Copyright began with texts, with creative expression. Here the assumption is (generally) that there are infinite possibilities, that two writers will not converge on the same words, and that the next generation of storytellers does not need to take the actual “stuff” that copyright covers in order to make the next play or novel. (It may be because of this image that so few policy makers seem to worry that copyright now lasts for a very long time.) Subsequent “improvements” of copyrighted material are called derivative works, and without the rights holder’s permission, they are illegal. Again, the assumption seems to be that you can just write your own book. Do not claim you need to build on mine.  \nOf course, each of these pictures is a caricature. The reality is more complex. Copyright can make this assumption more easily because it does not cover ideas or facts—just their expression. “Boy meets girl, falls in love, girl dies” is not supposed to be owned. The novel Love Story is. It is assumed that I do not need Erich Segal’s copyrighted expression to write my own love story. Even if literary creativity does converge around standard genres, plots, and archetypes, it is assumed that those are in the public domain, leaving future creators free to build their own work without using material that is subject to copyright. We could debate the truth of that matter for literature: the expansion of copyright’s ambit to cover plotlines and characters makes it more questionable. Certainly many recognized forms of creativity, such as the pastiche, the collage, the literary biography, and the parody need extensive access to prior copyrighted work. But regardless of how well we think the image of indi","cbCaisomi6Ezachp","https://ap.wps.com/l/cbCaisomi6Ezachp","pdf",379268,38,"English","# I Got a Mashup\n## Copyright and cultural creation through music\n## Patent vs. copyright models of creativity\n## Derivative works, expression, and public domain assumptions\n## Modern music traditions under copyright\n## Case study framing","[{\"question\":\"Why does the chapter argue that copyright law has trouble handling music?\",\"answer\":\"Music often grows through collective, additive processes, and later creators may rely on raw material that copyright can restrict. The law’s assumptions about independent expression and what must be re-created do not align well with that reality.\"},{\"question\":\"How do patent and copyright law differ in their underlying assumptions about creativity?\",\"answer\":\"Patent law treats technological development as converging and incremental, with limited good approaches. Copyright law starts from creative expression in texts, assuming infinite possibilities and requiring permission for derivative works.\"},{\"question\":\"What kinds of cultural practices does the chapter mention as needing extensive access to earlier copyrighted material?\",\"answer\":\"It highlights pastiche, collage, literary biography, and parody as forms that typically require substantial use of prior copyrighted work.\"}]","I Got a Mashup - Chapter 6 - Music and Copyright Law | PDF",1789962291,59]