How does the court distinguish between plagiarism and inspiration in songs? https://www.youtube.com/watch?v=8JL4JXEv-RY https://www.youtube.com/watch?v=zqqq8uqSDnk How does the court distinguish between plagiarism and inspiration in songs? I heard these two and I found they sounded very similar, but weren't completely the same. Is there a set of criteria we can use to judge if a song was plagiarizing another rather than taking inspiration from another song? Does the law allow a composer to heavily borrow from another song without being subject to a lawsuit in the United States?
First of all, &quot;plagiarism&quot; is more of an academic than a legal term. It means using another's work without proper credit, and particularly in a way that falsely makes it appear to be ones own work. This is severely criticized in academic and journalistic circles, and may result i a person losing a job or being expelled from a degree program, but it is not in and of itself a legal issue. What a court is concerned with is copyright infringement. Some things are plagiarism but not copyright infringement. For example, copying without acknowledgement from a work written two hundred years ago might well be plagiarism , but would not be infringement because the soruce is not protected by copyright. i can, for example copy from the music of Bach all that I want, because it is long out of copyright. On the other hand, if I copy a recent work without permission but properly attribute my source, it is not plagiarism, but may well be copyright infringement. When faced with a claim of copyright infringement, a US Federal court will look at several things. First of all, it will check if the copyright has been registered within eh copyright office. Under US law, one must registered before bringing a copyright suit. If there has been no registration, the suit will be dismissed. The court will also consider evidence of similarity, unless the defendant admits copying. Usually if this is disputed there will be expert testimony that the similarity is so great that simple coincidence cannot explain it. Thsi will consider the notes, the duration of each tone, rhythm, chords, keys, and other musical elements. To establish copying there should normally be a significant similarity over an extended passage at least. I have read of cases where similarity of a passage 35 notes long was enough to m establish copying. But there is not clear cut rule on this. A passage just a few notes long could be identical by accidental recreation, and will not generally prove copying. The court will also consider evidence of access. The plaintiff will often introduce evidence showing that the alleged infringer had access to a copy of the source work. This is not absolutely essential, but is very helpful to the plaintiff's case. The court can also consider claims of common source. If the defendant says that the allegedly infringing work was in fact based on an older work now out of copyright, which the plaintiff's work was also based on, that would tend to defeat a claim of infringement. The court might also consider claims that the alleged source work was not in fact original and should not have copyright protection. And if the defendant admits copying, but claims that this was a fair use of the source work, the court will analyze the statutory dour factors, and possibly other relevant factors to determent whether this is valid fair use or not. This is where claims of &quot;influence&quot; tend to be resolved. There is no clear cut set of criteria for how much copying is allowed. I have not followed the links, because I am not a musical expert and my judgement of the degree of similarity would not be meaningful, and even if it were, the degree of similarity alone would not prove whether there has been infringement. Note that it is also possible that one of these composers has actually gotten permission from the other, perhaps in return for a fee, to use part of the other's work. In that case there would be no infringement, as long as there was permission. The book My Life in Court by Louis Nizer has a detailed description of a successful suit for infringement of a copyrighted song, the so-called &quot;rum and coca-cola&quot; case (Baron v. Leo Feist). The book describes in detail the evidence presented by plaintiff and defendant. See also the Music Copyright Infringement Resource provided by The George Washington University Law School &amp; Columbia Law School, which lists many cases of alleged copyright infringement of music, from 1844 to 2021, giving results and excerpts of court opinions as well as other information about each case.
This case did not find that Two Live Crew's version was fair use. Rather it held that it could be fair use, contrary to the lower court ruling that its commercial nature precluded a fair use defense based on parody. The court remanded the case to be considered in light of its holding. The two parties settled without getting a final decision on fair use. It was never really contested that this work was parody. The issue was whether the commercial nature rendered it unfair. The Supreme Court told the lower courts to assess the taking under the full four-factor fair use analysis and that commercial use doesn't automatically make a parody unfair. One source of confusion is that you seem to be conflating parody and fair use. Parody is just one purpose (along with criticism, education, and others) that has been generally held to swing the balance in favour of fair use. Last, the "five word plagiarism rule" is not a legal standard.
Ultimately whether one work is derivative of another is a question of fact, and there is no absolute rule beyond taking it to a court. Many cases are clear. A Full translation is obviously a derivative work, The definition in 17 USC 101 is: A “derivative work” is a work based upon one or more preexisting works, such as a translation, musical arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other form in which a work may be recast, transformed, or adapted. A work consisting of editorial revisions, annotations, elaborations, or other modifications, which, as a whole, represent an original work of authorship, is a “derivative work”. A mere description of a work, such as a one-paragraph summary, is probably not a derivative work, but as the summary gets longer and fuller, it starts to approach an &quot;abridgment or condensation&quot;. One test is if the summery could reasonably replace the original, at least for some consumers. But there is no clear cut place to draw the line. By the way, If something is a derivative work, it is infringing provided only that the original is in copyright and the creator of the derivative did not have permission from, the copyright holder on the original. Fair use may prevent an adverse judgement, but is still an infringement. As the question referred to fair use, a strictly US legal concept, I am assuming US law here.
Distribution on YouTube implicates, at least, US copyright law. Shropshire v. Canning 809 F.Supp.2d 1139 (N.D. Cal. 2011), Subafilms v. MGM 24 F.3d 1088 (9th Cir. 1994) Are you infringing? Is the original work eligible for copyright? &quot;It is undisputed that computer programs— defined in the Copyright Act as a set of statements or instructions to be used directly or indirectly in a computer in order to bring about a certain result, can be subject to copyright protection as literary works.&quot; 17 USC 102, Oracle Am., Inc. v. Google, Inc., 750 F.3d 1339 (Fed. Cir. 2014) (internal citations omitted). Are you making a copy or displaying the work publicly? (17 USC 106) You concede that you are doing this in the hypothetical, so we can skip this step. Do you have permission to do this? Some work is licensed to allow your proposed use. If you have permission, then this entire answer is moot. Are you taking what amounts to a substantial taking of the original? Presumably, you will not need to show the entire source file to present the naming conventions and techniques that other developers have used. But, what you do show will be an exact reproduction of the original. In the case of computer programs, all US districts use the abstraction-filtration-comparison test. Computer Associates International, Inc. v. Altai, Inc., 982 F.2d 693 (2d Cir. 1992). The abstraction stage of this test is irrelevant in this hypothetical because the reproduction is exact. Filtration excludes any uncopyrightable elements of the original from consideration (due to scènes à faire, merger, lack of originality). The comparison stage compares what remains after the filtration stage, to determine if the new work takes substantially from the original. Fair use defense If your use is found to be infringing based on the above analysis, the affirmative defense of fair use is available. I can't tell you whether a fair use defense would be applicable or successful in your particular case. However, you can search the US Copyright Office's Fair Use Index for many examples successful fair use defenses when a literary work was reproduced in part or whole for educational purposes. There are also other affirmative defenses available (implied license, for example), or defenses that directly attack the elements of copyright infringement. Some confusion exists regarding &quot;idea/expression merger&quot; as a defense after a prima facie case of copyright infringement has been made. This isn't completely correct. Where idea/expression merger enters the analysis differs from circuit to circuit. In the 6th circuit, merger enters in the copyrightability analysis (paragraph 1. above). But, the 2nd and 9th circuits treat merger as part of the infringement analysis (paragraph 4. above) and in the 9th circuit, merger is an affirmative defense. Ets-Hokin v. Skyy Spirits, Inc., 225 F.3d 1068 (9th Cir. 2000) The idea/expression merger doctrine is not implicated just because &quot;the idea one that is expressing is 'this is the code they used.'&quot; When you need to cite/show the original work for purposes of &quot;criticism, comment, news reporting, teaching&quot;, that is a direct implication of fair use. Using using this justification triggers the full four-factor fair use analysis. (17 USC 107). You don't get to reproduce a work just because you want to say &quot;this is the work they created.&quot;
Summary: A transcription of a &quot;faithful&quot; to-the-letter recorded performance of a public domain work is not copyright infringement. However, once there exists original changes to the underlying composition, the transcribers are infringing copyright in all but the most trivial cases and are in for an uphill legal battle. Caveat 1: I'm mainly confining myself to US law due to the statement that this concerns a US-based company. However, there might be legal troubles in some jurisdictions for both the company and transcribers where a perpetual and inheritable moral right of first publication is recognized, like Germany (UrhG § 12). Caveat 2: Outside of copyright law, the company could theoretically gain some limited protection by selling the recording under a contract with a &quot;no transcribing&quot; clause. Since a similar scenario has already been discussed on this site, I am confining myself to the copyright law aspects. 1. What did the transcribers copy? In effect, I believe the transcribers are ultimately copying an underlying arrangement fixed by the recorded performance. That's a bit dense, so let me explain: As you already note, a performance is an artistic rendition of the underlying composition. This performance has separate copyright and may even include various changes to the underlying composition such as dynamic changes, instrumentation changes, tempo changes and various flourishes. I believe that a transcription would mainly reflect the underlying composition plus any such artistic changes to that composition made in the performance. Effectively, from a music theory perspective an underlying composition with artistic changes is the definition of an arrangement. From a legal perspective, an arrangement is copyrightable as a derivative work. Even though it's the performance itself that's being copied from and you haven't specified that there's a separate written arrangement, one can consider an implicit arrangement created by the performance. This implicit arrangement is then documented (i.e. fixed) by the recorded performance. Since a transcription is not capturing the sound itself, but rather the compositional elements of that performance, i.e. the arrangement, I think that it's a useful perspective to consider that the transcribers are copying an arrangement. Even if this way of viewing things turns out not to be 100% accurate, I think it's accurate enough and provides a clearer picture into the underlying legal concepts. I do however admit that some may take issue with this simplification, and it's entirely possible that my answer is completely invalid if this simplification turns out to have no merit. 2. Extent of possible copyright infringement The company which commissioned the orchestra and the recording undoubtedly has copyright on the performance. However, they do not have copyright on the underlying original composition, as that copyright will have long expired in US law. The company can't claim copyright on material which originates in the underlying public domain composition, but can claim copyright for any original contributions made by the arrangement (17 USC 103(b)). As such, I would expect an infringement lawsuit launched by the company will be limited to the portions of the arrangement that differ from the original composition and that are then copied into the transcription. In order to properly determine what those portions are, we would need to compare the transcription, performance, and manuscript together. Since it's the company that is initiating a lawsuit, I would expect that the judge would force them to disclose the manuscript for the proceedings (and instruct the parties that the information is not to leave the courtroom, which is ironic since an NDA is how this whole mess started). This is an exercise that will likely get bogged down in excruciating note-by-note comparisons, but luckily those are factual questions, and I'm just going to discuss the higher-level legal concepts. You also mention there might be &quot;mistakes&quot; included. In theory, copyright protection only applies to creative choices made, I don't believe that mistakes would count. In practice though, this may be difficult to prove and I think the company would argue it was an artistic choice, thus rolling it into the overall changes which constitute the arrangement. However, they might alternatively argue the mistakes are a purposeful copyright trap which can have mixed results. 3. Copyrightability of the arrangement In my opinion, the obvious argument to start with is that the company's arrangement does not qualify for copyright protection. This is a bit of a spectrum. While a full-fledged arrangement is undoubtedly protected as a derivative work, here we are dealing with just portions of an arrangement. Based on the premise of the performance being an accurate representation of a public domain song, I would expect these portions to be minimal. In fact, in the ideal case of the performance being a perfect faithful rendition of the composition, there is no separate underlying arrangement and therefore no copyright to infringe. This would be similar to the case of a photo of public domain art, which gains no copyright due to lack of originality. Copyright requires a &quot;modicum of creativity&quot; as determined in Feist Publications, Inc., v. Rural Telephone Service Co.. Feist also shows the reason copyright traps don't work for defending an originality argument: while you can use traps to prove that copying occurred, they provide no indication as to the actual originality/creativity of the work. The transcribers can thus try to argue that the given portions of the arrangement do not meet this standard for copyright protection. As applied to music, one can consider that the basic building blocks of musical composition are not copyrightable, though large enough combinations of these building blocks do qualify. An examination of this can be found in Marcus Gray v. Katy Perry, where a specific 8-note sequence was found not to be eligible for copyright protection (though do note the case is currently being appealed). The court additionally stated that even if the sequence was copyrightable, such a small sequence would only be found to be infringing if the copying was virtually identical. Since the transcribers are presumably attempting an accurate transcription, this latter point is important to us as it shows that it would not take much copying for copyright infringement to occur. On the other hand, I would expect the differences in the arrangement and original composition might be scattered around and perhaps not be a cohesive artistic unit, which would benefit the transcribers' argument. For further information, LegalEagle has a 25-minute YouTube video discussing this case and the involved legal principles. As the arrangement is a derivative work, the transcribers might be able to advance a separate &quot;triviality&quot; argument. The Seventh Circuit Court of Appeals (also citing the Second Circuit cases) states in Schrock v. Learning Curve International, Inc. [T]he key inquiry is whether there is sufficient nontrivial expressive variation in the derivative work to make it distinguishable from the underlying work in some meaningful way. However, this emphasis the court makes on having the derivative be nontrivially distinguishable from the original doesn't arise from statute, but from a practical concern of determining whether the derivative or original was copied from given a hypothetical subsequent derivative. Assuming the company can prove the original hasn't been &quot;leaked&quot; and is unpublished, I would expect this argument to be discarded. Additionally, here is where copyright traps might actually help the company. Interesting aside: the German law on derivatives diverges here based on an oddly specific clause for public domain music (UrhG § 3): Translations and other adaptations of a work which are the adapter’s own intellectual creations are protected as independent works without prejudice to the copyright in the adapted work. The insubstantial adaptation of an unprotected musical work is not protected as an independent work. 4. The asserted truths doctrine This is a bit of a novel argument, since the Ninth Circuit Court of Appeals only just articulated an &quot;asserted truths&quot; doctrine on 2020-09-08 in Corbello v. Valli: Adopting an “asserted truths” doctrine, the panel held that an author who holds their work out as nonfiction cannot later claim, in litigation, that aspects of the work were actually made up and thus entitled to full copyright protection. Basically, an author had claimed that the work was a factual biography, but then in the lawsuit claimed it was fiction in order to gain additional copyright protection since facts are not entitled to copyright protection. The court denied copyright protection for such an action. If the company is asserting that the performance is a 100% faithful rendition of the public domain work, the transcribers might be able to adapt this argument. They might argue that they relied on the asserted truth that they were copying public domain material. The company might counter that since this is a performance, one would expect that there will necessarily be at least some small differences and so the doctrine does not apply. Here, the transcribers may be able to counter that based on the company's representation, they had expected that any such small differences would not be under copyright due to not meeting the &quot;modicum of creativity&quot; standard. I think this argument is a stretch though. 5. Making the transcription public domain &amp; final points Assuming the arguments above worked for the transcribers, they don't really need to specifically designate the transcription public domain – it already is by its nature of not being copyrightable by those very same arguments. The one exception though would be that they hold copyright in the layout of their transcription so would have to designate it public domain for that purpose. If the arguments above do not work for the transcribers and the arrangement is found to have copyright protection, I can't think of any other viable arguments for the transcribers. They might argue fair use, but given their intent to disseminate the transcription, I would expect that argument to fail quickly based on both the nature/quantity of the copying and the damage caused to the company's revenue. On the minimal chance that fair use or some other argument works, the transcribers still could not put the transcription in the public domain. They could say that, but it would be of no real effect, since in this scenario it's the company that holds copyright over the arrangement represented by the transcription. In all, I believe that if the performance is a rigorously faithful rendition with only the odd mistake or flourish here and there, then the transcription is not copyright infringement. Otherwise, it is. Wow, that took me a while to get to this relatively simple conclusion.
It's highly unlikely that A would even recognise this as similar. It's really bog standard. A coloured patterned background (in a different colour and with a different pattern). Two buttons. A picture and a testimonial. All things that have been done thousands of times. In the end, it is _copy_right. What exactly is B supposed to have copied?
Such works may be considered as copyright infringements under US law. The US does not apply the &quot;rule of the shorter term&quot;, and so the PD status of the parent work in some other country,. including the source country, is not relevant. There are, however, other ways for a work to have lost copyright protection under US law, and one of them might apply in a particular case. Also, whether a work is legally a derivative work of another is a fact-based legal question, and the answer is not always as obvious as one might think. The copyright holder of the parent work could file a copyright infringement suit, seeking damages and other relief in a US Federal court. Note that one of the rights that make up copyright is the right to make or authorize the making of derivative works. This ism spelled out in 17 USC 106 item (2) &quot;to prepare derivative works based upon the copyrighted work;&quot; I am not sure of the rules for customs seizure of allegedly infringing works. I thin k that only works already adjudged to be infringing are seized, pursuant to a court order, but I am not sure of that. II do not see how the customs service would determine the disputable issues mentioned above. For the matter of that, any such work could be authorized by permission from the copyright holder, and I don't see how customs would know if there had been such permission granted. Added citations: 17 USC 503 says: (a)(1) At any time while an action under this title is pending, the court may order the impounding, on such terms as it may deem reasonable (A) of all copies or phonorecords claimed to have been made or used in violation of the exclusive right of the copyright owner; ... (b) As part of a final judgment or decree, the court may order the destruction or other reasonable disposition of all copies or phonorecords found to have been made or used in violation of the copyright owner’s exclusive rights, ... 17 USC 602 provides that: (a) (2) Importation or exportation of infringing items.—Importation into the United States or exportation from the United States, without the authority of the owner of copyright under this title, of copies or phonorecords, the making of which either constituted an infringement of copyright, or which would have constituted an infringement of copyright if this title had been applicable, is an infringement of the exclusive right to distribute copies or phonorecords under section 106, actionable under sections 501 and 506. ... (b) Import Prohibition.—In a case where the making of the copies or phonorecords would have constituted an infringement of copyright if this title had been applicable, their importation is prohibited. In a case where the copies or phonorecords were lawfully made, the United States Customs and Border Protection Service has no authority to prevent their importation. In either case, the Secretary of the Treasury is authorized to prescribe, by regulation, a procedure under which any person claiming an interest in the copyright in a particular work may, upon payment of a specified fee, be entitled to notification by the United States Customs and Border Protection Service of the importation of articles that appear to be copies or phonorecords of the work. It appears that copies of an infringing work may be seized. but only by court order. It appears that import of an allegedly infringing work may be prohibited, but not when copies were lawfully made. But such imports may be reported to the claimant, who can then take appropriate legal action.
It would be copyright infringement. The script that you are planning to copy from is protected by law, so requires the copyright-owner's permission to create a derivative version (your own interpretation). If instead you write a completely different story inspired by the original book, you might not get sued. The problem is that there is a reasonable chance that you would accidentally duplicate part of one of the myriad adaptations, then the jury would have to decide whether it was just a coincidence, or copying.