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Digital Performance Right in Sound Recordings Act of 1995 A Legislative History of Public Law No. 104-39 109 Stat. 336 by William H. Manz

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Published by Fred B Rothman & Co .
Written in English

Subjects:

  • General,
  • Law

Book details:

The Physical Object
FormatHardcover
ID Numbers
Open LibraryOL11516313M
ISBN 100837734290
ISBN 109780837734293

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  SECTION TITLE. [This Act may be cited as the ``Digital Performance Right in Sound Recordings Act of ´´. SEC. IVE RIGHTS IN COPYRIGHTED WORKS. [Section of ti United States Code, is amended— (1) in . Get this from a library! Digital Performance Right in Sound Recordings Act of report (to accompany S. ).. [United States. Congress. Senate. Committee on the Judiciary.]. Get this from a library! Digital Performance Right in Sound Recordings Act of report (to accompany H.R. ) (including cost estimate of the Congressional Budget Office).. [United States. Congress. House. Committee on the Judiciary.]. Prior to , the last significant piece of copyright legislation addressing digital developments in music was the Digital Performance Right in Recordings Act (DPRA).

Under the Digital Performance Right in Sound Recordings Act, sound recordings have a limited public performance right in digital transmissions, such as webcasting. This bill would expand the performance right to cover terrestrial broadcasts, such as AM/FM radio. The bill is Long title: A bill to provide fair compensation to artists for use of their sound recordings. Title IV of the DMCA is comprised of several disparate but significant "miscellaneous provisions," one of which includes an amendment to the Digital Performance Right in Sound Recordings Act of ("DPRSRA") which requires webcasters and other nonsubscription broadcasters of digital recordings to pay a royalty to record companies whose. (5) The amendment made by paragraph (2)(B)(i)(III) of this subsection shall be deemed to have been enacted as part of the Digital Performance Right in Sound Recordings Act of , and the publication of notice of proceedings under section (1) of ti United States Code, as in effect upon the effective date of that Act, for the. In addition to the safe harbors and exemptions the statute explicitly provides, 17 U.S.C. (a)(1) requires that the Librarian of Congress issue exemptions from the prohibition against circumvention of access-control technology. Exemptions are granted when it is shown that access-control technology has had a substantial adverse effect on the ability of people to make non-infringing uses of Acts amended: Copyright Act of

Appendix 2G: Materials on the Uruguay Round Agreements Act Appendix 2H: Materials on the Digital Performance Right in Sound Recordings Act of Appendix 2I: Materials on the Technical Corrections to Certain Provisions of Ti United States Code Appendix 2J: Price: $ In , Congress added a limited public performance right for sound recordings, giving holders of sound recording copyrights the “exclusive right [] to perform the copyrighted work publicly Author: Richard Busch.   Labels and musicians had been trying to get a public performance right for sound recordings [which exists in most other countries] since the s, but we were never able to . In , Congress partially remedied this discrepancy by providing such a right, but limited to the digital context. The Digital Performance Right in Sound Recordings Act (DPRA) created a new exclusive right for owners of sound recordings to perform their works publicly by means of a digital audio transmission Congress determined that a.