This book explores whether global music copyright law and the performers’ rights regime (PRR) have been able to improve the economic position of artists, as they were originally intended to. The author investigates whether this regime effectively addresses contemporary issues regarding royalty payments and cover songs in Sri Lankan music, drawing on the empirical findings of a case study she conducted on the Sinhala music industry. She finds that the PRR developed internationally and implemented in Sri Lanka is predicated on a particular view of the role of performers and their relationships with other actors in the music industry; although this view can be found in the USA, UK and India, it does not seem to reflect the established practices and relationships within Sri Lanka’s contemporary music industry. While providing a socio-historical and legal analysis of these differing industrial settings and investigating the manner in which they impact the PRR’s (in)ability to deliver improved economic security for Sinhala singers, the book also offers policymakers recommendations on how to supplement current national copyright law and the PRR in order to provide a secure economic position for music artists in Sri Lanka.

FFM to West Africa

This book offers a unique combination of quantitative and qualitative research arguing for the persistent power of human rights norms.

This is a leading text on the protection of performers' rights and has been updated to cover new legislation, case law and the impact of the Internet.

This book is a reflection on domestic intellectual property lawmaking from a developing country’s perspective. It focuses on Sri Lanka—a South Asian jurisdiction with a socio-economic, cultural, and political landscape similar to other developing nations in the region, but the intellectual property regime of which has been less explored. The aim of this book is to address the discrepancies, gaps, and flaws in the national intellectual property legal framework of Sri Lanka. In doing so, the book considers Sri Lanka’s obligations under TRIPS and other related intellectual property treaties to which the country is a party. The book also examines approaches adopted by developing countries in the region and beyond, as well as other more developed nations, in calibrating Sri Lanka’s domestic intellectual property regime to better address the country’s domestic needs and national interests. The approach adopted in this book is of relevance, more generally, to policymakers, legislators, legal academics, scholars, jurists, legal practitioners and judges who are keen on exploring the extent to which domestic intellectual property legislation complies with international intellectual property norms and standards and, more importantly, the extent to which domestic law makes use of the flexibilities under international law in addressing domestic needs and national interests.

The Musician’s Business and Legal Guide provides vital information to help demystify the music business and the complex body of law that shapes it. This book answers such questions as how to protect name and copyright; what is and is not legal about sampling; what are the legal issues surrounding digital downloads and streaming; what are the jobs of managers, talent agents and publishers; what are common contractual relationship between independent and major labels. The new edition includes chapters not covered in depth by other books: social media law, TV talent shows, YouTube, and international copyright. As in previous editions, the book features clause-by-clause contract analyses for 360 record deals, music publishing, management, and producer agreements.