MARC Record from Marygrove College

LEADER: 04821cam a22007814a 4500
001 ocn672300127
003 OCoLC
005 20191109071327.3
008 101022s2011 ilua b 001 0 eng c
010 $a 2010045370
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043 $an-us---
050 00 $aML3790$b.K448 2011
072 7 $aCRI$2eflch
082 00 $a364.16/62$222
049 $aMAIN
100 1 $aKernfeld, Barry Dean,$d1950-
245 10 $aPop song piracy :$bdisobedient music distribution since 1929 /$cBarry Kernfeld.
246 30 $aDisobedient music distribution since 1929
260 $aChicago ;$aLondon :$bUniversity of Chicago Press,$c©2011.
300 $axii, 273 pages :$billustrations ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references (pages 255-263) and index.
505 0 $aTin Pan Alley's near-perfect distribution system -- Bootlegging song sheets -- The content and uses of song sheets -- Fake books and music photocopying -- Pirate radio in Northwestern Europe --Illegal copying of phonograph records -- Illegal copying of tapes -- Bootleg albums as unauthorized new releases -- Illegal copying of compact discs -- Song sharing.
520 $aThe music industry's ongoing battle against digital piracy is just the latest skirmish in a long conflict over who has the right to distribute music. Starting with music publishers' efforts to stamp out bootleg compilations of lyric sheets in 1929, Barry Kernfeld's Pop Song Piracy details nearly a century of disobedient music distribution from song sheets to MP3s. In the 1940s and '50s, Kernfeld reveals, song sheets were succeeded by fake books, unofficial volumes of melodies and lyrics for popular songs that were a key tool for musicians. Music publishers attempted to wipe out fake books, but after their efforts proved unsuccessful they published their own. Pop Song Piracy shows that this pattern of disobedience, prohibition, and assimilation recurred in each conflict over unauthorized music distribution, from European pirate radio stations to bootlegged live shows. Beneath this pattern, Kernfeld argues, there exists a complex give and take between distribution methods that merely copy existing songs (such as counterfeit CDs) and ones that transform songs into new products (such as file sharing). Ultimately, he contends, it was the music industry's persistent lagging behind in creating innovative products that led to the very piracy it sought to eliminate.
590 $bInternet Archive - 2
590 $bInternet Archive 2
650 0 $aMusic trade$xCorrupt practices$zUnited States$xHistory$y20th century.
650 0 $aPopular music$xWriting and publishing$xCorrupt practices$zUnited States$xHistory$y20th century.
650 0 $aSound recording industry$xCorrupt practices$zUnited States$xHistory.
650 0 $aSound recordings$xPirated editions$zUnited States$xHistory.
650 0 $aCopyright$xMusic$zUnited States$xHistory$y20th century.
650 0 $aPiracy (Copyright)$zUnited States$xHistory$y20th century.
650 7 $aCopyright$xMusic.$2fast$0(OCoLC)fst00878748
650 7 $aMusic trade$xCorrupt practices.$2fast$0(OCoLC)fst01030643
650 7 $aPiracy (Copyright)$2fast$0(OCoLC)fst01064762
650 7 $aSound recording industry$xCorrupt practices.$2fast$0(OCoLC)fst01127021
650 7 $aSound recordings$xPirated editions.$2fast$0(OCoLC)fst01127053
651 7 $aUnited States.$2fast$0(OCoLC)fst01204155
650 7 $aIndustry.$2eflch
648 7 $a1900-1999$2fast
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
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938 $aTheodore Front Musical Literature$bTFRT$nTF309474
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