El derecho de transformación de la obra musical
The article aims to present an interdisciplinary vision of the problem of the right of transformation of the original musical work and its possible conceptualization as a derivative work. As a result of the scarce treatment on the matter in the consolidated Spanish Intellectual Property Law, conflic...
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| Formatua: | Artikulua |
| Hizkuntza: | Gaztelania |
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2021
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| Sarrera elektronikoa: | https://dialnet.unirioja.es/servlet/oaiart?codigo=9054698 |
| Baliabidea: | Misión Jurídica: Revista de derecho y ciencias sociales, ISSN 1794-600X, Vol. 14, Nº. 20, 2021, pags. 100-119 |
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Etiketa erantsi
Etiketarik gabe: Izan zaitez lehena erregistro honi etiketa jartzen
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dialnet-ar-18-ART0001618719
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dialnet
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Misión Jurídica: Revista de derecho y ciencias sociales, ISSN 1794-600X, Vol. 14, Nº. 20, 2021, pags. 100-119
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| language |
Spanish
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| topic |
Musical work
Right of transformation Plagiarism Intellectual appropriation Musical arrangement Derivative work Obra musical Derecho de transformación Plagio Apropiación intelectual Obra derivada Arreglo musical Tabalho musical Direito de transformação Plágio Apropriação intelectual Trabalho derivado Arranjo musical |
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Musical work
Right of transformation Plagiarism Intellectual appropriation Musical arrangement Derivative work Obra musical Derecho de transformación Plagio Apropiación intelectual Obra derivada Arreglo musical Tabalho musical Direito de transformação Plágio Apropriação intelectual Trabalho derivado Arranjo musical García-Trelles Fernández, Carmen María El derecho de transformación de la obra musical |
| description |
The article aims to present an interdisciplinary vision of the problem of the right of transformation of the original musical work and its possible conceptualization as a derivative work. As a result of the scarce treatment on the matter in the consolidated Spanish Intellectual Property Law, conflicts often arise when the author of an original composition authorizes its incorporation into a new one, holding the right for his work fully maintain its integrity without suffering impairment or deformation once its exhibition or exploitation has been consented. Within the legal and musicological context, the purpose is to give a transversal approach and to establish objective criteria related to the musical field that, dumped in the mold of intellectual property legislation, manages to provide solutions to the doubts that arise regarding the current and intricate conjuncture of the delimitation in transformations of musical works. The starting hypothesis is the profusion of inaccuracies, the lack of elements that delimit with certainty the variety of concepts that are attributable to the original musical works that may be the object of derived works; as well as the procrastination of the legislator when addressing this very relevant problem. The existing gaps and the lack of studies in both topics are highlighted, both within musicological studies and in the treatment of national doctrine and jurisprudence which are rather scarce, also in relation to comparative law.
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Article
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| author |
García-Trelles Fernández, Carmen María
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| author_facet |
García-Trelles Fernández, Carmen María
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| author_sort |
García-Trelles Fernández, Carmen María
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| title |
El derecho de transformación de la obra musical
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| title_short |
El derecho de transformación de la obra musical
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| title_full |
El derecho de transformación de la obra musical
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| title_fullStr |
El derecho de transformación de la obra musical
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| title_full_unstemmed |
El derecho de transformación de la obra musical
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| title_sort |
el derecho de transformación de la obra musical
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| publishDate |
2021
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| url |
https://dialnet.unirioja.es/servlet/oaiart?codigo=9054698
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| _version_ |
1799535410950438912
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| spelling |
dialnet-ar-18-ART00016187192023-08-23El derecho de transformación de la obra musicalGarcía-Trelles Fernández, Carmen MaríaMusical workRight of transformationPlagiarismIntellectual appropriationMusical arrangementDerivative workObra musicalDerecho de transformaciónPlagioApropiación intelectualObra derivadaArreglo musicalTabalho musicalDireito de transformaçãoPlágioApropriação intelectualTrabalho derivadoArranjo musicalThe article aims to present an interdisciplinary vision of the problem of the right of transformation of the original musical work and its possible conceptualization as a derivative work. As a result of the scarce treatment on the matter in the consolidated Spanish Intellectual Property Law, conflicts often arise when the author of an original composition authorizes its incorporation into a new one, holding the right for his work fully maintain its integrity without suffering impairment or deformation once its exhibition or exploitation has been consented. Within the legal and musicological context, the purpose is to give a transversal approach and to establish objective criteria related to the musical field that, dumped in the mold of intellectual property legislation, manages to provide solutions to the doubts that arise regarding the current and intricate conjuncture of the delimitation in transformations of musical works. The starting hypothesis is the profusion of inaccuracies, the lack of elements that delimit with certainty the variety of concepts that are attributable to the original musical works that may be the object of derived works; as well as the procrastination of the legislator when addressing this very relevant problem. The existing gaps and the lack of studies in both topics are highlighted, both within musicological studies and in the treatment of national doctrine and jurisprudence which are rather scarce, also in relation to comparative law. O artigo visa dar uma visão interdisciplinar do problema do direito de transformar a obra musical original e sua possível conceituação como obra derivada. Devido ao escasso tratamento do assunto que é dado pelo Texto Consolidado da Lei de Propriedade Intelectual Espanhola, freqüentemente surgem conflitos quando o autor de uma composição original autoriza sua incorporação em uma nova, detendo o poder de ter sua obra mantida integralmente intacta sem sofrer danos ou deformação, uma vez que você consentiu com sua exibição ou exploração. No âmbito jurídico e musicológico, pretende-se dar uma abordagem transversal e estabelecer critérios objetivos relacionados com o campo musical que, imersos na legislação de propriedade intelectual, consigam dar resposta às dúvidas que surgiram quanto à atual e intrincada situação da a delimitação da transformação das obras musicais. A hipótese de partida é a profusão de imprecisões, a falta de elementos que delimitem com segurança a variedade de conceitos atribuíveis a obras musicais originais que podem ser objeto de obras derivadas; bem como a procrastinação do legislador ao abordar este problema. Destacam-se as lacunas existentes e a escassez de estudos nesta matéria em ambas as áreas, tanto no âmbito dos estudos musicológicos, como no tratamento da doutrina e jurisprudência nacional, que são escassos, também em relação ao direito comparado. El artículo pretende dar una visión interdisciplinar de la problemática del derecho de trasformación de la obra musical original y su posible conceptuación como obra derivada. A razón del escaso tratamiento del tema que se hace por el Texto Refundido de la Ley de Propiedad Intelectual española, con frecuencia se generan conflictos cuando el autor de una composición original autoriza la incorporación de ésta en otra nueva, ostentando la facultad para que su obra se mantenga totalmente íntegra sin sufrir menoscabo o deformación, una vez que ha consentido su exhibición o explotación. Dentro del contexto jurídico y musicológico se trata de dar un enfoque transversal y establecer criterios objetivos referidos al ámbito musical que, inmersos en la legislación de propiedad intelectual, consigan dar soluciones a las dudas surgidas respecto a la coyuntura actual e intrincada de la delimitación de la transformación de las obras musicales. La hipótesis de partida es la profusión de imprecisiones, la falta de elementos que delimiten con seguridad la variedad de conceptos atribuibles a las obras musicales originales que puedan ser objeto de obra derivada; así como, la procastinación del legislador a la hora de abordar este problema. Se ponen de manifiesto las lagunas existentes y la falta de estudios al respecto en los dos ámbitos, tanto dentro de los estudios musicológicos, como en el tratamiento de la doctrina y la jurisprudencia nacionales que son escasas, también en relación con el derecho comparado.2021text (article)application/pdfhttps://dialnet.unirioja.es/servlet/oaiart?codigo=9054698(Revista) ISSN 1794-600XMisión Jurídica: Revista de derecho y ciencias sociales, ISSN 1794-600X, Vol. 14, Nº. 20, 2021, pags. 100-119spaLICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. Cualquier enlace al texto completo de estos documentos deberá hacerse a través de la URL oficial de éstos en Dialnet. Más información: https://dialnet.unirioja.es/info/derechosOAI | INTELLECTUAL PROPERTY RIGHTS STATEMENT: Full text documents hosted by Dialnet are protected by copyright and/or related rights. This digital object is accessible without charge, but its use is subject to the licensing conditions set by its authors or editors. Unless expressly stated otherwise in the licensing conditions, you are free to linking, browsing, printing and making a copy for your own personal purposes. All other acts of reproduction and communication to the public are subject to the licensing conditions expressed by editors and authors and require consent from them. Any link to this document should be made using its official URL in Dialnet. More info: https://dialnet.unirioja.es/info/derechosOAI
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