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1

SELECTED ISSUES OF THE COPYRIGHT IN MUSICAL COMPOSITION (PART II.) LEGAL ASPECTS OF PERFOMERS' CHANGES IN THE AUTHORIAL WORK FROM THE VIEWPOINT OF THE SLOVAK AND CZECH LEGISLATION (Slovak title - below)

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Adamov N.
Právny obzor. Teoretický časopis pre otázky štátu a práva (Juridical Review. Theoretical journal for the questions of state and law)
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2009
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vol. 92
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issue 5
427-438
EN
(Title in Slovak - 'Vybrane otazky autorskeho prava v oblasti hudobnej tvorby (II. cast) Pravne aspekty zasahov vykonneho umelca do autorskeho diela z hladiska slovenskej a ceskej pravnej upravy'). A performance of authorial piece of work is not only making of its use, but often the interpretation is connected with some interference beyond the author's intentions. Therefore, it is necessary to distinguish between 'the use of the work' as a general term, 'an intervention into the work' as a specific term and 'a processing of the work' as the most specific term. Within the processing of the work, parody has a peculiar position. On the one hand, it must stand in relation to the original work; on the other hand, this relationship is specific in that it more or less fundamentally denies the parodied work and simultaneously, so to speak, parasitizes upon it. In the parody of a musical work one must distinguish two levels: the relation of the reworked text to the original text and the relation of the reworked text to the original musical component. Where the relation of both texts is concerned, the parody might be unambiguously another work which does not devalue the original text, even while being its deliberate deformation, because the original text (as a separable part of the musical work) only creates an association on the basis of so-called gradual semiosis. What is fundamental, however, is that the significance of the new work is changed. In this case authorial legal protection could not be applied against such an encroachment, because only the thought included in the work would be affected.
2

STARÉ VERSUS NOVÉ: KONFRONTÁCIA NA POLI SLOVENSKEJ LITURGICKEJ HUDBY

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Adamov N.
Musicologica Slovaca et Europaea
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2006
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vol. 24
159-164
EN
The differentiation of the individual streams of Slovak catholic liturgical music became obvious in late 1980s and the process continued during the 1990s. Opinions in this period varied a lot. Such affinity results in latent but sometimes even manifesting conflicts. Rhythmical songs of youth choirs became a real alternative to the Unified Catholic Songbook. In the beginning the older generation thought the repertory to be a profanation of liturgy. Yet, in the second half of 1990s, even the older churchgoers gradually started to accept the new music of the youth. This caused a change in the social impact of this genre. As indirect consequence further development was greatly slowed down.
3

SEMIOTICKÝ POHĽAD NA PROJEKT TOTAL BALALAIKA SHOW

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Adamov N.
Musicologica Slovaca et Europaea
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2005
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vol. 22
163-168
EN
'Total Balalaika show' is a name of a sixty minute-long documentary by Aki Kaurismäki about a concert of a Finnish rock band 'The Leningrad Cowboys' and a Russian army band 'The Alexanders' in Helsinki (12th June 1993). Fusion of two archetype symbols of western and eastern music represents one of the most radical semantic shifts in the period after the fall of iron curtain. An interaction took place that would have been unimaginable a few years earlier - here lies its political dimension. The messages are encoded in signs, some of which are readable easily; some of them are more sophisticated. However, the signs do not function on a linear level only, they create vertical relations as well. Moreover, the perception is largely determined by the space that the individual signs were given by the film director. The approach to the study of the message encoded in the system of signs is primarily semiotic interpretation as well as semiotic formalisation. Individual signs had been divided into three essential groups: symbols, icons and indexes and then they were interpreted. The interpretation makes it easier to perceive the structure of the audiovisual recording.
4

SELECTED ISSUES OF THE COPYRIGHT IN MUSICAL COMPOSITION (PART I.) PROBLEMS OF QUOTATION, EPIGONISM AND PLAGIARISM IN THE CONTEXT OF LEGAL PROTECTION OF A MUSICAL PIECE (Slovak title - below)

100%
Adamov N.
Právny obzor. Teoretický časopis pre otázky štátu a práva (Juridical Review. Theoretical journal for the questions of state and law)
|
2009
|
vol. 92
|
issue 4
351-363
EN
(Title in Slovak - 'Vybrane otazky autorskeho prava v oblasti hudobnej tvorby (I. cast) Problematika citacie, epigonstva a plagiatu v nadvaznosti na pravnu ochranu hudobneho diela'). A quotation of the musical piece in another musical piece is common, however, in practice it brings problems specific to this particular kind of authorial work. The topic of the quotation also relates to the distinction between quotation and allusion. Another problem is how to define academism and epigonism as phenomena which are parts of the so called everyday creativity however they do not break the law. Where epigonism is concerned, here there cannot be any consideration of responsibility for a breach of authorial right, because the protection of the Slovak law on authorship does not (among other things) relate to the method, system, principle, etc. Unlike plagiarism, which is not a means of author's creativity in the right meaning of the word and rather, other works are subject to parasitism. The author suggests that plagiarism be defined as the production of mutations of concrete material from the work of another author.
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