数字时代音乐家保护自己权利.pdfVIP

Citation: 10 Wake Forest Intell. Prop. L.J. 265 2009-2010 Content downloaded/printed from HeinOnline () Tue Jan 10 21:46:59 2012 -- Your use of this HeinOnline PDF indicates your acceptance of HeinOnlines Terms and Conditions of the license agreement available at /HOL/License -- The search text of this PDF is generated from uncorrected OCR text. WAKE FOREST INTELLECTUAL PROPERTY LAW JOURNAL VOLUME 10 2009 -2010 NUMBER 3 THE MORAL OF THE STORY... MUSICAL ARTISTS MUST PROTECT THEIR OWN RIGHTS IN DIGITAL MUSIC Kimberlianne Podlas INTRODUCTION The advent of digital music did more than provide a new means for distributing, listening to, and stealing music. It also paved the way for new players to enter the music business, ushered in new consumptive trends, and ended the reign of the CD. Notwithstanding the variety of rights and economic interests implicated, discourse about digital music tends to focus on one issue, piracy, and one set of interests,2 those of Business.3 This institutionalizes pro-business 4 frames, while minimizing competing interests and facts that undermine them. 5 Guided by this Symposiums consideration of the rights of musical artists, this article asserts that the piracy story privileges Business at the expense of the artist. Indeed, the story marginalizes 1 Associate Professor of Media Law, Dept. of Media Studies, University of North Carolina at Greensboro; JD, cum laude, State