Titlebook: Creative Autonomy, Copyright and Popular Music in Nigeria; Mary W. Gani Book 2020 The Editor(s) (if applicable) and The Author(s), under e

TEN

是剝皮

garrulous

言行自由

,An Empirical Analysis of the Status of Performing Authors’ Creative Autonomy, as a control for the exercise. Using relatively simple mathematical and graphic methods of sorting and depicting data, the chapter shows the influence of copyright, contracts and business practices on performing authors’ creative autonomy.

軍火

赤字

Strategic Policy and Legislative Recommendations for the Preservation of Creative Autonomy,orship of sound recordings in performing authors and reintroduce the copyright reversion clause. Finally, she asserts the importance of implementing national copyright goals based on Nigeria’s developmental realities.

NICHE

細胞膜

vision for the arrangement and production of their songs. The chapter also identifies the importance of independent music producers, and discusses the history and scope of collective copyright administration with regard to popular music.

侵蝕

Freeze

,Temperaturfelder beim Schwei?en,n recording contracts and trends in their formation that do not support the exercise of creative autonomy for performing authors. These include the practice of assignments, unfair bargaining terms, strategic avoidance of consideration in contract formation, controlled composition clauses and work-for-hire clauses.