This is a constant and ever-changing challenge - the music market internationally continues to be distorted by unfair competition from unlicensed services. IFPI estimates that forty per cent of internet users access unlicensed music content. Advertising is a major source of income for unlicensed services Digital piracy undermines the licensed music business across many forms and channels - unlicensed streaming websites, peer-to-peer P2P file-sharing networks, cyberlockers and aggregators, unlicensed streaming and stream ripping and mobile applications. The industry is responding not with a single strategy, but with a comprehensive, multi-pronged approach.
May 25, Piracy of Intellectual Property Mr. Chairman, Senator Leahy, Members of the Subcommittee, thank you for the opportunity to speak with you today about one of the most pressing issues in copyright today—international piracy.
It is always a pleasure to appear before you, and I was pleased to see the reinstallment of the Subcommittee, and wanted to congratulate you on your Chairmanship. Chairman, in the nearly forty years that I have worked in the Copyright Office, piracy, and especially global piracy, is probably the most enduring problem I have encountered.
As with some other illegal activities, there will always be at least a small segment of any population who cannot be deterred from this theft of others' creativity.
Thus, I fear that it is simply not realistic to speak of eliminating all piracy around the world, or even within the United States.
What we can and should strive for is the reduction of piracy to the lowest levels possible; levels that will not rob authors and copyright owners of the incentive to create and distribute the works that have made America's creative industries the envy of the world. The Copyright Office has a long history of working toward this goal, both on its own initiative and in cooperation with the other agencies of the Federal Government.
My testimony Copyright law and music piracy will describe those efforts and their effectiveness. Legal Framework Broadly speaking, there are two elements to the protection of copyright.
The first element is a legal framework that provides the basic rights to copyright owners and establishes procedures for the enforcement of those rights.
Those procedures must provide the opportunity to obtain adequate remedies when those rights are violated as well as the possibility of punitive monetary judgments and, in appropriate cases, imprisonment of the infringer.
The second element of copyright protection is the application of these legal rules to ensure that copyright owners have actual, effective protection against infringement of their rights. In the ten years since the conclusion of the Uruguay Round of the WTO, and the concomitant adoption of the TRIPS Agreement, 1 there has been tremendous improvement worldwide in countries' legal framework for copyright protection.
By incorporating the substantive copyright obligations of the Berne Convention, and supplementing them with civil, criminal, and border enforcement obligations, TRIPS established a minimum standard against which all countries' copyright regimes could be judged.
Sincethe number of WTO member countries has nearly doubled. By including the TRIPS Agreement in the WTO obligations, and thus subjecting the obligations therein to international dispute resolution, we have been able to advance copyright protection in all WTO member countries further and faster than would have been possible without it.
The Copyright Office is proud of its contributions to this success, which include participation in the negotiation of the TRIPS Agreement and other copyright treaties and agreements, as well as training of foreign officials.
This week-long program exposes foreign officials from developing countries and countries in transition to a wealth of copyright knowledge and information, presented by U. Government, and foreign and domestic industry experts. Thanks to the Congress, we are able to attract the best participants from around the world by offering this training program at no cost to them or their governments.
Part of the reason the ICI is such a success is that it is not merely a week of lectures. We provide ample time for the delegates to interact and learn from each other.
Similarly, we learn valuable information about the law in their countries, including new developments not necessarily available to the public. Perhaps most important of all, we strengthen the relationship with those countries.
Many ICI participants have been high-ranking officials or have gone on to high-level government positions. The relationships we establish at the ICI enhance our ability to negotiate with the officials and countries we have hosted.
In addition to the ICI, the Copyright Office makes its experts available to speak around the world at various conferences and training programs. In the past twelve months, we have spoken at WIPO seminars, academic conferences, and events sponsored by other U.
I personally have been very active in the State Department's Distinguished Speaker program, giving presentations in Chile and Uruguay last year, and am scheduled to speak in Germany, Brussels, and Brazil this year.
We were pleased to send experts to the two intellectual property and telecommunications programs that the State Department organized for its embassy officers throughout Europe and east Asia.This report is the result of that effort.
In addition to identifying the shortcomings of the current methods of licensing music in the United States, it offers an in-depth analysis of.
A copyright is a form of protection, granted by the laws of the United States, to the creator of an original work of authorship including literary, dramatic, musical, artistic, and certain other intellectual works, to control the distribution, usually for a limited time, after the work enters the public domain.
In order to understand what music piracy is one must first define it. According to Piracy (), music piracy is when a person utilizes copyrighted music without either purchasing it, or petitioning the songwriter, or singer for permission to use the music.
In the late 20th and early years of the. But the Thomas-RassetÂ case shows how seriously the music industry, and the RIAA, takes piracy. In fact, a very similar case, a federal appeals courtÂ upheld aÂ $, judgment for the RIAA against a graduate student in September Copyright infringement (colloquially referred to as piracy) is the use of works protected by copyright law without permission, infringing certain exclusive rights granted to the copyright holder, such as the right to reproduce, distribute, display or perform the protected work, or to make derivative works.
Chapters Title 17 of the United States Code. Chapter 1: Subject Matter and Scope of Copyright. Chapter 2: Copyright Ownership and Transfer.