从著作权主体看音乐作品的权利保护

发布时间：2018-07-20 20:28

【摘要】： 音乐在现代社会中的作用不言自明,音乐作品的法律保护也随着卡拉OK收费和音乐界名人诉讼案件受到社会广泛关注。各国法律也将音乐作品作为艺术作品加以保护,但司法实践中对音乐作品的保护并非尽善尽美,有关法律原则在音乐作品保护中还需具体化。本文即结合有关音乐作品侵权案件对音乐作品著作权保护中的特殊问题做出分析、研究。论文分为三个部分。第一部分音乐作品著作权主体的探析。采用实证研究、对比研究等方法分析、论证了音乐作品的构成要件。强调乐谱并非音乐作品的唯一表现形式,只要音乐作品具有特定的组织形式,可重复表演,就应该受到法律保护,这也为保护尚未形成乐谱的音乐作品提供理论依据。其次,本部分还从实际创作角度分析认定了词曲作者、配器者、特定区域居民的著作权主体地位,为下文音乐作品的著作权保护做铺垫。第二部分音乐作品著作人身权的保护。采用个案研究、文献资料法讨论音乐作品著作权人身权保护的必要性,以及如何保护著作权主体的发表权、署名权、修改权和保护作品完整权,尤其对发表权的行使方式、署名权的文字表述、修改权与修改行为的区别进行重点分析。第三部分音乐作品著作财产权的保护。阐释了音乐作品表演权、改编权和信息网络传播权三项著作财产权。首先指出表演权与表演者权的区别,分析了表演在音乐作品传播中的重要作用,但也不应将表演这种“二次创作”拔高为著作权法上的创作;其次论证了改编在音乐创作中的作用和法律性质,它是音乐创作的常用技法,并与配器存在交叉关系,对原作改编达到一定创新程度的构成演绎作品;最后介绍保护音乐作品信息网络传播权的意义和方法。
[Abstract]:The role of music in modern society is self-evident, and the legal protection of music works has been widely concerned with karaoke fees and celebrity lawsuits. The laws of various countries also protect musical works as works of art, but the protection of musical works in judicial practice is not perfect, and the relevant legal principles need to be concretized in the protection of musical works. This paper analyzes and studies the special problems in the copyright protection of music works according to the infringement cases of music works. The paper is divided into three parts. The first part is the analysis of the subject of music works copyright. Using empirical research, comparative study and other methods, this paper demonstrates the composing elements of music works. It is emphasized that music score is not the only form of expression of music works. As long as music works have a specific organizational form and can be performed repeatedly, they should be protected by law, which also provides a theoretical basis for the protection of music works that have not yet formed music scores. Secondly, from the angle of actual creation, this part also analyzes and confirms the copyright subject status of the songwriter, orchestrate, and residents of the specific area, which paves the way for the copyright protection of the following music works. The second part is the protection of personal rights of music works. This paper discusses the necessity of the protection of the personal rights of the copyright of music works and how to protect the rights of publication, authorship, modification and integrity of the works, especially the exercise of the right of publication. The text expression of the right of authorship, the difference between the right of modification and the act of modification are analyzed emphatically. The third part is the protection of the property right of music works. This paper explains the three rights of music performance, adaptation and information dissemination. First of all, it points out the difference between the right of performance and the right of performers, and analyzes the important role of performance in the dissemination of music works, but it should not elevate the "second creation" of performance into the creation of copyright law. Secondly, it demonstrates the function and legal nature of adaptation in music creation, which is a common technique of music creation, and has a cross relationship with orchestration, and it can be used in composing and deducting works with a certain degree of innovation in the adaptation of the original work. Finally, it introduces the significance and method of protecting the right to network communication of music works.
【学位授予单位】：中国政法大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：D923.41

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