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MÔŽEME SA HUDBY BÁŤ?

100%

Hviščová J.

ESPES

2013

vol. 2

issue 1

46 – 53

There are a lot of musical works reflecting horrible historical and political events in 20th century. The musical works of the 20th century react to the horror of the WWI and the WWII, violence and political terror of that time ideologies. However the works indisputably witness the experiences of personal drama and trauma inclusively. The article points to the musical induction of the negative emotions in human consciousness with a strong emphasis on the negative emotion of fear. The main aim of the article is to examine the role of a listener in this situation, namely if the listener may experience the emotion of fear while listening to the musical works. Using an analogy of actual experienced fear and fear as described through the perspective of the existential philosophy, the article will portray the various forms of fear that people experience while listening to music.

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)

75%

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 5

427-438

(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.

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1 ESPES

1 Právny obzor. Teoretický časopis pre otázky štátu a práva (Juridical Review. Theoretical journal for the questions of state and law)

1 2013

1 2009

1 Adamov N.

1 Hviščová J.

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MÔŽEME SA HUDBY BÁŤ?

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)