Cover -- Contents -- Introduction -- Chapter 1 What Is Copyright? -- I. Copyright: A Type of Property -- II. Why Do We Need Copyright? -- A. The Author's Right Philosophy -- B. The Utilitarian Philosophy -- C. Other Philosophies -- D. Economic Rights Philosophy -- III. Other Types of Intellectual Property Protection -- A. Patents -- B. Trademarks -- C. Trade Secrets -- IV. Copyright's Importance to the Economy and the Music Industry -- Endnotes -- Chapter 2 The History of Copyright -- I. The World before Copyright -- II. Copyright's English Origins -- A. The Statute of Anne -- III. Copyright in the United States -- A. The Colonial States -- B. The Constitutional Copyright Clause -- C. The Copyright Act of 1790 -- D. The Copyright Act of 1831 -- E. The Copyright Act of 1909 -- F. The Copyright Act of 1976 -- IV. International Developments -- V. Summary -- Endnotes -- Chapter 3 What Can Be Protected by Copyright? -- I. Requirements for Copyright -- A. Originality -- B. Expression -- C. Fixation -- II. Categories of Copyrightable Works -- A. Musical Works -- B. Sound Recordings -- C. Literary Works -- D. Dramatic Works -- E. Pantomines and Choreographic Works -- F. Pictorial, Graphic, and Sculptural Works -- G. Motion Pictures and Other Audiovisual Works -- III. Compilations -- A. Collective Works -- IV. What Is Not Protected by Copyright? -- A. The Public Domain -- B. Ideas versus Expression -- C. Facts -- D. Names, Titles, Slogans, and Short Phrases -- E. Unfixed Works -- F. Works of the United States Government -- Endnotes -- Chapter 4 Ownership of Copyright -- I. Initial Ownership -- II. Joint Ownership -- A. Requirements for Joint Ownership -- B. Rights and Duties of Joint Owners -- C. Community Properry -- III. Works Made for Hire -- A. Two Categories of Works Made for Hire -- IV. Transfer of Copyright Ownership -- A. The Writing Requirement.

B. Recording Copyright Transfers -- V. Termination of Transfers -- A. Rationale for the Termination Right -- B. Transfers Made Beginning January 1, 1978 -- C. Transfers Made before January 1, 1978 -- D. The Derivative Works Exception -- VI. Ownership of Sound Recordings -- VII. Orphan Copyrights -- Endnotes -- Chapter 5 The Reproduction Right -- I. Introduction: Exclusive Rights -- II. The Reproduction Right -- A. Reproduction of Musical Works -- B. Reproduction of Sound Recordings -- Endnotes -- Chapter 6 The Derivative and Distribution Rights -- I. The Derivative Right -- A. What Is a Derivative Work? -- B. Requirements for Derivative Works -- C. Types of Derivative Works -- D. Degree of Protection in Derivative Works -- E. Derivative Musical Arrangements -- F. Derivatives of Sound Recordings -- G. Arrangements Under the Compulsory Mechanical License -- H. Copyrighting the Uncopyrightable -- II. The Distribution Right -- A. Record Piracy -- B. Limitations on the Distribution Right -- Endnotes -- Chapter 7 Public Performance and Display Rights -- I. The Public Performance Right -- A. What Is a Performance? -- B. What Is a Public Performance? -- C. Performing Rights Organizations -- D. Limitations on the Public Performance Right -- E. Sound Recordings and the Performance Right -- F. The Digital Performance Right in Sound Recordings Act -- II. The Public Display Right -- A. Limitations on the Public Display Right -- Endnotes -- Chapter 8 Duration of Copyright -- I. Evolution of Copyright Term -- A. The 1909 Copyright Act -- B. The 1976 Copyright Act -- II. Determining Copyright Duration -- A. Works Created from 1978 to Present -- B. Works Created but Not Published before 1978 -- C. Works Published before 1978 -- D. Determining Whether a Work Is in the Public Domain -- E. Restoration of Copyright in Foreign Works -- F. Duration of Assignments.

III. Copyright Term in Other Countries -- A. Canada -- B. The European Union -- C. Australia -- D. Japan -- E. China -- F. South Korea -- G. Mexico -- IV. The Rule of the Shorter Term -- Endnotes -- Chapter 9 Copyright Formalities -- I. The Copyright Office -- A. Structure of the Copyright Office -- B. Copyright Office Records -- II. Copyright Registration -- A. What Is Copyright Registration? -- B. Why Should You Register? -- C. Who Can Register? -- D. When Should You Register? -- E. How to Register? -- F. Registering a Collection of Works -- G. Expedited Registration -- H. The Examination Process -- I. Correcting and Supplementing Registrations -- J. Alternatives to Registration -- K. Preregistration of Works -- III. Copyright Deposit -- A. Mandatory Deposit -- B. Penalties for Failure to Deposit -- C. What Must Be Deposited -- D. Exemptions from the Deposit Requirement -- IV. Copyright Notice -- A. What Should a Copyright Notice Contain? -- B. Where Should Copyright Notice Be Placed? -- Endnotes -- Chapter 10 Infringement of Copyright -- I. What Is Copyright Infringement? -- II. What if You Believe Your Work Has Been Infringed? -- III. How to Bring an Infringement Lawsuit -- A. Who Can Sue for Infringement? -- B. Where to Bring a Copyright Infringement Lawsuit -- IV. How Do You Prove Infringement? -- A. Ownership of a Valid Copyright -- B. Copying of a Copyrighted Work -- C. Some Famous Music Infringement Cases -- V. Liability for Infringement -- A. Contributory Infringement -- B. Vicarious Infringement -- C. Inducement Liablity -- D. Joint and Several Liability -- Endnotes -- Chapter 11 Defenses to Infringement -- I. Statute of Limitations -- II. Abandonment of Copyright -- III. Independent Creation -- IV. Fair Use -- A. What Is Fair Use? -- B. Origins of Fair Use -- C. Fair Use Under the 1976 Copyright Act -- V. De Minimis Copying.

VI. Innocent Intent -- Endnotes -- Chapter 12 Remedies for Copyright Infringement -- I. Coercive Remedies -- A. Injunction -- B. Impoundment -- C. Destruction -- II. Compensatory Remedies -- A. Actual Damages and Profits -- B. Statutory Damages -- C. Costs and Attorneys' Fees -- III. Criminal Copyright Infringement -- A. The 1976 Copyright Act -- B. The No Electronic Theft Act -- C. Pre-Release Piracy -- D. The Digital Millennium Copyright Act -- Endnotes -- Chapter 13 International Copyright Protection -- I. History of U.S. Attempts at International Protection -- A. Bilateral Treaties -- B. Multinational Treaties -- C. Differences in Copyright Term for Sound Recordings -- II. Countries That Have No Copyright Relations with the United States -- III. Piracy and the Use of Economic Pressure to Enforce Copyright -- IV. What to Do if Your Work Is Infringed in a Foreign Country -- Endnotes -- Chapter 14 Copyright and Digital Technology -- I. Copyright Law in the Internet Age -- II. New Technologies -- A. Digital Technology -- B. The Internet -- III. How Music Is Used on the Internet -- A. Streaming -- B. Downloading -- IV. How Does Copyright Apply to the Internet? -- A. The Reproduction Right -- B. The Public Performance Right -- C. The Reproduction/Performance Controversy -- D. The Distribution Right -- V. The Digital Millennium Copyright Act -- A. Anti-Piracy Provisions -- B. Online Service Provider Liability -- VI. Balance or Battleground? -- A. Net Neutrality -- B. The Future of Protecting Intellectual Property on the Net -- Endnotes -- Chapter 15 The Online Music War -- I. Legal Enforcement -- A. What Is Filesharing? -- B. The War Begins: A&M Records v. Napster -- C. Grokster, Parts One and Two: The Music Industry Suffers Its First Legal Losses -- D. RIAA v. The People -- E. Grokster and Streamcast, Part Three: Filesharing D-Day.

F. The Emergence of an International Standard -- G. Have the Filesharing Lawsuits Helped? -- II. Three Strikes and You're Out?: The Role of Internet Service Providers -- III. Copyright Education -- IV. Conclusion -- Endnotes -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- V -- W -- Z.