The topic of intellectual property gets me every time. As much as I am opposed to the notion of property in general, intellectual property is a complete farce. Along with Rick Beato and David Bennet, Adam Neely is one of my three main music theory staples on YouTube. Here, he goes into more depth than I would have expected, but it’s worth hearing the perspective of a musician. I won’t break down his video fully because it speaks for itself. Instead, I’ll share my thoughts and pull out highlights.
November 8th, 1548 is the day in history that the French King Henri II opened the door to intellectual property, an obvious giveaway to a benefactor, creating a publishing monopoly. He turned community cultural knowledge into property, turning the benefit of many into the benefit of one. This is the crux of capitalism—favouring the one over the many.
Before continuing, it seems that there is a schism in the legal system itself. In fact, it is very fractured even within this small domain. At the same time it wants to be precise and analytical, it’s dealing with a subject that cannot be analysed as such. To add insult to injury, it exempts musicians and musical experts and requires music consumers to decide the outcomes of trial cases. To be fair, even relying on so-called experts would lead to mixed results anyway. They might as well just roll the dice. This is what happens when right hemisphere art enters a left hemisphere world.
nature + work = ownership
Adam establishes a grounding on the theory of property rights à la John Locke’s ‘sweat of the brow’ concept, wherein nature plus work equates to ownership. He then points out how intellectual property has even shakier ground to stand on. It relies rather on notions of originality and creativity, two concepts that have no intersection with the left-hemisphere heavy legal and jurisprudence systems. Moreover, like pornography, these things cannot be defined. They need to be divined. Divination is no place for lay jurists. It’s a recipe for disaster. The entire English court system is rife with problems, but the left-brainers feel these are just trivial devils in the details. I beg to differ, yet I am voiceless because I won’t participate within their frame.
Adam also points out how out of date the law is insomuch as it doesn’t recognise much of the music produced in the past few decades. Moreover, the music theory it’s founded on is the Romantic Era, white European music that often ties transcriptionists in knots. If the absence of certain words to emote experience is a challenge, it’s even worse for musical notation.
In any case, this is a hot-button issue for me on many levels, and I needed to vent in solidarity. This video is worth the 30 minutes run time. His ham sandwich analogy in part V works perfectly. It’s broken into logical sections:
- 0:00 Intro
- 1:45 Part I – Rhythm-A-Ning
- 7:07 Part II – Property Rights
- 11:25 Part III – Copyright
- 15:58 Part IV – Musical Constraints
- 22:18. Part V – HAM SANDWICH TIME
- 26:51 Part VI – Solving copyright….maybe?
Give it a listen. Cheers.
The cover image for this is of Thelonius Monk (circa 1947), who features heavily in the video.