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    Title: 美國爭議流行音樂抄襲案件研究
    Research On Controversial Copyright Infringement Cases of Popular Music in the United States
    Authors: 邱柏華
    Chiu, Bo-Hua
    Contributors: 盧建誌
    Lu, Chien-Chih
    邱柏華
    Chiu, Bo-Hua
    Keywords: 著作權
    音樂著作侵權
    流行音樂
    抄襲
    實質近似測試
    Lay observer
    Copyright infringement
    Popular music
    Substantial similarity
    Date: 2023
    Issue Date: 2023-08-02 14:14:13 (UTC+8)
    Abstract: 音樂的發展與時代的進步，使得音樂著作權侵權更為頻繁。如何認定著作權侵害成為音樂著作權法案的核心議題。本文以美國流行音樂侵害之實務為研究範圍，期盼能透過分析流行音樂著作權法案中實質近似之判定，提供音樂著作侵權判定程序更公正與適切的途徑。

    本研究將音樂侵權判定流程分為兩部分介紹。第一部分為「接觸」的標準與其直接證明和間接證明之要件，包括直接事證證明被告接觸原告之著作、特定事件作為原告作品與被告接觸之連結、原告著作廣泛流通、明顯近似與潛意識模仿理論。

    第二部分則以「實質近似測試」為主軸，探討音樂著作侵權之司法判決實務應用在不同測試法與判斷標準所衍生的問題與困境。本文將實質近似認定方法之議題分為五大部分進行研究與分析，包含實質相似之定義、思想與表達之區分原則、一般觀察者之應用、陪審團指示及整體觀念與感覺測試法。

    本文發現過度仰賴普通觀察者的主觀意見、整體觀念與感覺測試法和群集理論的不當應用會導致法院將不受保護的音樂元素納入實質近似之判斷，進而與美國著作權法立法之本旨相悖。因此，法院應該要更謹慎地依據不同流行音樂著作侵權案的個別狀況，來判斷該案件是否適用群集理論與整體觀念與感覺測試法。此外，借鑑美國流行音樂實務與學說之經驗與見解，本文認為一般觀察者之標準並不適合應用於音樂著作侵權判決之實質近似判斷，故主張以「意欲閱聽大眾」代替一般觀察者，採取音樂領域專家之觀點較為妥適。期許未來對於音樂著作近似之侵權認定方法能夠在保護著作權與樂曲創作間取得平衡，在保障著作權權益的同時，促進音樂、文化與藝術的發展。
    The act of copyright infringement in the field of music has increased with the development of technology and the information age going on today. The determination standard of infringement has become a controversial issue in music copyright infringement cases. This study focuses on analyzing the judgement of substantial similarity test in the popular music copyright cases in America. The aim of the research is to provide a more appropriate strategy for music copyright determination procedures.

    This study gives an overall description of “access” by introducing the methods currently applied to prove access in popular music copyright infringement cases, including a particular chain of events, widespread dissemination and striking similarity. This essay centered on “substantial similarity test” and analyzes the five determinative factors in substantial similarity test, including the unclear definition of substantial similarity, idea-expression dichotomy, the adoption of lay observers, jury instruction and total concept and feel test.

    This study draws a conclusion that the court should be more cautious when applying constellation theory and total concept and feel test to ensure the methods are applicable based on the individual conditions of different popular music copyright cases. In addition, it was also found that the standard of ordinary observers is not suitable for making judgements of substantial similar test in music copyright cases. Instead, lay observers is suggested to be replace by the intended audiences who own enough musical knowledge and experiences. This study proposes a more comprehensive standard for substantial similarity test for the future infringement determination process.
    Reference: References
    1. Chinese References
    Journal Articles
    1. 溫家緯、盧建誌(2023)，音樂創作的實質近似—以美國的關鍵判決為觀察， 月旦法學雜誌 14 期，頁 17-28。
    Copyright Acts
    1. 著作權法(民 111 年 6 月 15 日)。取自全國法規資料庫 https://law.moj.gov.tw/ENG/LawClass/LawAll.aspx?pcode=J0070017
    2. English References
    Books
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    4. Jason Martineau, Elements of Music: Melody, Rhythm & Harmony (Glasttonbury, UK: Wooden Books, 2021), 64.
    5. Thomas Pankhurst, SchenkerGUIDE: a brief handbook and website for Schenkerian analysis (New York: Routledge, 2008), 272.
    Journal Ariticles
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    Dark Horse" Candidate to Spark Change?”, Rutgers UL Rev. 73, (2020): 265-306.
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    32. Johannes Hoffman, “Breaking up Melodic Monopolies: A New Approach to Originality, Substantial Similarity, and Fair Use for Melodies in Pop Music”, JL & Pol`y 28, (2019): 762-796.
    33. Joke Bradt and Aaron Teague, “Music interventions for dental anxiety”, Oral diseases 24, no.3 (2018): 300-306.
    34. Jonathan R. Sandler, “Idea Theft and Independent Creation: A Recipe for Evading Contractual Obligations”, Loy. LAL Rev. 45, no.4 (2012): 1421-1428.
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    36. Joseph P Fishman and Deepa Varadarajan, “Similar Secrets”, U. Pa. L. Rev. 167, no.5 (2019): 1051-1114.
    37. Karen Bevill, “Copyright Infringement and Access: Has the Access Requirement Lost Its Probative Value”, Rutgers L. Rev. 52, (1999): 311-340.
    38. Katherine M Leo, “Musical Expertise and the `Ordinary` Listener in Federal Copyright Law”, Music and Politics 13, no.1 (2019): 1-19.
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    41. Marisa Schutz, “Is Gray v. Perry the One That Got Away? The Idea-Expression Dichotomy and Music Copyright Infringement”, UIC Review of Intellectual Property Law 20, 3 (2021): 290-306.
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    47. Nicholas Booth, “Backing Down: Blurred Lines in the Standards for Analysis of Substantial Similarity in Copyright Infringement for Musical Works”, J. Intell. Prop. L. 24, no.1 (2016): 100-101
    48. Nicole K. Roodhuyzen, “Do We Even Need a Test-A Reevaluation of Assessing Substantial Similarity in a Copyright Infringement Case”, JL & Pol`y 15, (2007): 1375-1419.
    49. Nicole Lieberman, “Un-Blurring Substantial Similarity: Aesthetic Judgments and Romantic Authorship in Music Copyright Law”, NYU J. Intell. Prop. & Ent. L. 6, no.1 (2016): 91-141.
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    51. Patrick E. Savage et al., “Quantitative evaluation of music copyright infringement”, Thessaloniki Greece, (2018): 61-66.
    52. Paul M. Grinvalsky, “Idea-Expression in Musical Analysis and the Role of the Intended Audience in Music Copyright Infringement”, California Western Law Review 28, 2 (1992): 395-429.
    53. Paulius Jurcys, Mindaugas Beniušis and Justinas Draksas, “‘So You Wanna Play With Magic?’, There Is No Going Back`, says the Californian Court in the Case against Katy Perry for Copyright Infringement”, Journal of Intellectual Property Law & Practice 15, no. 8 (2020): 586-589.
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    55. Peter Rybolt, “More Blurred Lines: On Downstream Infringement And The Disgorgement Of Profits”, les Nouvelles-Journal of the Licensing Executives Society 53, no.1 (2018): 11-16.
    56. Peter Jaszi, “Toward a theory of copyright: The metamorphoses of ‘authorship’”, Duke Law Journal 1991, no.2 (1991): 468.
    57. Richard H. Jones, “The myth of the idea/expression dichotomy in copyright law”, Pace L. Rev. 10, (1990): 551.
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    64. Tze Ping Lim, “Beyond Copyright: Applying a Radical Idea-Expression Dichotomy to the Ownership of Fictional Characters”, Vand. J. Ent. & Tech. L. 21, no.1 (2018): 95-144.
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    Law Cases
    1. Arnstein v. Porter, 154 F.2d 464, 68 U.S.P.Q. 288 (C.C.A. 2d Cir. 1946)
    2. Apps v. Universal Music Group, Inc., 283 F.Supp.3d 946 (D.Nev., 2017)
    3. Art Attacks Ink, LLC v. MGA Ent. Inc., 581 F.3d 1138 (9th Cir. 2009)
    4. Atari, Inc. v. N. Am. Philips Consumer Elecs. Corp., 672 F.2d 607 (7th Cir. 1982)
    5. Baltimore Orioles, Inc. v. Major League Baseball Players Ass`n, 805 F.2d 663 (7th Cir. 1986)
    6. Baxter v. MCA, Inc., 812 F.2d 421, 424 n.2 (9th Cir. 1987)
    7. Bikram`s Yoga College of India, L.P. v. Evolation Yoga, LLC, 803 F.3d 1032 (9th Cir. 2015)
    8. Campbell v. Acuff-Rose Music, Inc., 510 U.S. 569 (1994)
    9. Cavalier v. Random House, Inc., 297 F.3d 815 (9th Cir. 2002)
    10. Clanton v. UMG Recordings, Inc., 556 F. Supp. 3d 322 (S.D. N.Y. 2021)
    11. Dawson v. Hinshaw Music Inc., 905 F.2d 731 (4th Cir. 1990)
    12. D.C. Comics Inc. v. Mini Gift Shop, 912 F.2d 29 (2d Cir. 1990)
    13. Feist Publications, Inc. v. Rural Telephone Service Co., Inc., 499 U.S. 340 (U.S.Kan., 1991)
    14. Ferguson v. Nat`l Broad. Co., 584 F.2d 111 (5th Cir. 1978)
    15. Gable v. National Broadcasting Co., 727 F.Supp.2d 815 (C.D.Cal., 2010)
    16. Gaste v. Kaiserman, 863 F.2d 1061 (2d Cir. 1988)
    17. Gray v. Hudson, 28 F.4th 87 (9th Cir. 2022)
    18. Gray v. Perry, 2019 WL 2992007 (C.D.Cal., 2019)
    19. Gray v. Perry, 2020 WL 1275221 (C.D.Cal., 2020)
    20. Harper & Row Publishers v. Nation Enters., 471 U.S. 539, 589 (1985)
    21. Hein v. Harris, 175 F. 875 (C.C.S.D.N.Y.), aff`d, 183 F. 107 (2d Cir. 1910)
    22. Loomis v. Cornish, 836 F.3d 991 (9th Cir. 2016)
    23. Nichols v. Universal Pictures Co., 45 F.2d 119, 122 (2d Cir. 1930)
    24. Peters v. West, 776 F. Supp. 2d 742 (N.D. Ill. 2011), aff`d, 692 F.3d 629 (7th Cir. 2012)
    25. Roth Greeting Cards v. United Card Co., 429 F.2d 1106 (9th Cir. 1970)
    26. Satava v. Lowry, 323 F.3d 805 (9th Cir. 2003)
    27. Selle v. Gibb, 741 F.2d 896 (C.A.Ill.,1984)
    28. Shaw v. Lindheim, 919 F.2d 1353 (9th Cir. 1990)
    29. Sheldon v. Metro-Goldwyn Pictures Corp., 81 F.2d 49 (2d Cir. 1936)
    30. Sid & Marty Krofft TV Productions, Inc. v. McDonald`s Corp., 562 F.2d 1157 (9th
    Cir. 1977)
    31. Skidmore as Trustee for Randy Craig Wolfe Trust v. Led Zeppelin, 952 F.3d 1051 (9th Cir. 2020)
    32. Smith v. Jackson, 84 F.3d 1213, 1218 (9th Cir. 1996)
    33. Swirsky v. Carey, 376 F.3d 841 at 849 (9th Cir. 2004)
    34. Three Boys Music Corp. v. Bolton, 212 F.3d 477, 482-84 (9th Cir. 2000)
    35. Transgo, Inc. v. Ajac Transmission Parts Corp., 768 F.2d 1001 (9th Cir. 1985)
    36. White v. Alcon Film Fund, LLC, 52 F.Supp.3d 1308 (N.D.Ga.,2014)
    37. Williams v. Bridgeport Music, Inc., 2015 WL 4479500 (C.D.Cal., 2015)
    38. Williams v. Gaye, 885 F.3d 1150 (9th Cir. 2018)
    Copyright Acts
    1. Copyright Act of Mar. 4, 1909, ch. 320, 35 Stat. 1075, 1078-80 (1909).
    2. Copyright Act of 1790, 1 Stat. 124, 125 (1790).
    3. U.S Const. art. I, § 8, cl. 8.
    4. U.S. Congress. United States Code: Copyright Office, 17 U.S.C. §102.
    5. U.S. Congress. United States Code: Copyright Office, 17 U.S.C. § 106.
    6. U.S. Congress. United States Code: Copyright Office, 17 U.S.C. § 107.
    7. U.S. Congress. United States Code: Copyright Office, 17 U.S.C. § 501.
    Internet Resources
    1. Charlie Harding, “A jury said Katy Perry’s “Dark Horse” copied another song.
    The $2.8 million verdict is alarming”, Vox 2 Aug. 2019,
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    noise-copyright-2-8-million.
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    Description: 碩士
    國立政治大學
    國際傳播英語碩士學位學程(IMICS)
    109461005
    Source URI: http://thesis.lib.nccu.edu.tw/record/#G0109461005
    Data Type: thesis
    Appears in Collections:[International Master`s Program in International Communication Studies] Theses

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