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Issues in US Forensic Musicological Analysis of Popular Music

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  • By Dana DeVlieger
  • Source: The Intellect Handbook of Popular Music Methodologies , pp 178-193
  • Publication Date: June 2025
  • DOI: https://doi.org/10.1386/9781835951033_13
  • Language: English
  • Accessibility Summary:  EPUB 3 and pdf file included; compatible with devices and software which can read these formats. Adjustable font size, spacing, contrast, text justification, number of columns (ePUB only). Alternative text for images. Tagged with a logical reading order to assist screen readers. Navigation between in-text citations and reference list, and endnotes and endnote markers.
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References

  1. Arnstein v. Porter (1946), 154 F.3d, p. 464.
  2. Bent, Ian and Pople, Anthony (2001), ‘Analysis’, in D. Root (ed.), Grove Music Online, 20 January 2001 New York: Oxford University Press. https://doi.org/10.1093/gmo/9781561592630.article.41862. Accessed 7 January 2025.
     [Google Scholar]
  3. Bridgeport Music v. Dimension Films (2005), 230 F. Supp 2d, p. 830.
  4. Burgess, Richard James (2012), ‘Interlude 2: Comments and commentaries by industry professionals’, in S. Zagorski-Thomas , K. Isakoff , S. Lacasse and S. Stévance (eds), The Art of Record Production: An Introductory Reader for a New Academic Field, London: Ashgate Publishing, pp. 189–206.
     [Google Scholar]
  5. Copyright Act of 1831 (1831), 4 Stat. 436.
  6. Decker, Todd (2017), ‘Expert Report’, in Gray v. Perry.
  7. DeVlieger, Dana (2020), ‘Promoting creativity: How the use of music analysis affects value judgments incopyright litigation’, Ph.D. dissertation, Minneapolis, MN: University of Minnesota.
     [Google Scholar]
  8. DeVlieger, Dana (2022), ‘Searching for similarity: Confirmation bias in forensic analyses of popular music’, Journal of Popular Music Studies, 34:2, pp. 91–111.
     [Google Scholar]
  9. Fast, Susan (2000), ‘Same as it ever was? Musicology continues to wrestle with rock’, Canadian University Music Review, 21:1, pp. 40–53.
     [Google Scholar]
  10. Ferrara, Lawrence (2016), ‘Expert Report’, in Skidmore v. Led Zeppelin.
  11. Finell, Judith Greenberg (1990), ‘Using an expert witness in a music copyright case’, New York Law Journal, https://www.jfmusicservices.com/using-an-expert-witness-in-a-music-copyright-case/. Accessed 7 January 2025.
     [Google Scholar]
  12. François, Jean-Charles (1992), ‘Writing without representation, and unreadable notation’, Perspectives of New Music, 30:1, pp. 6–20.
     [Google Scholar]
  13. Gherman, Sergiu (2009), ‘Harmony and its functionality: A gloss on the substantial similarity test in music copyright’, Fordham Intellectual Property, Media & Entertainment Law Journal, 19, pp. 483–517.
     [Google Scholar]
  14. Gray v. Perry (2020), WL 1275221, p. 1.
  15. Gray v. Hudson (2022), 28 F.4th, p. 87.
  16. Kim, Alice J. (1994), ‘Expert testimony and substantial similarity: Facing the music in (music) copyright cases’, Columbia-VLA Journal of Law & the Arts, 19:1&2, pp. 109–28.
     [Google Scholar]
  17. Leo, Katherine M. (2016), ‘Blurred lines: Musical expertise in the history of American copyright litigation’, Ph.D. dissertation, Columbus, OH: The Ohio State University.
     [Google Scholar]
  18. Leo, Katherine M. (2021), Forensic Musicology and the Blurred Lines of Federal Copyright History, Lanham, MD: Lexington Books.
     [Google Scholar]
  19. Middleton, Richard (1990), Studying Popular Music, Maidenhead: Open University Press.
     [Google Scholar]
  20. Reynolds, M. Fletcher (1991), ‘Music analysis for expert testimony in copyright infringement litigation’, Ph.D. dissertation, Lawrence, KS: University of Kansas.
     [Google Scholar]
  21. Sibley, Frank (1993), ‘Making music our own’, in M. Krausz (ed.), The Interpretation of Music: Philosophical Essays, Oxford: Clarendon Press, pp. 142–53.
     [Google Scholar]
  22. Sid and Marty Krofft Television Productions, Inc. v. McDonald's Corp . (1977), 562 F.2d, p. 1157.
  23. Skidmore v. Led Zeppelin (2020), WL 6674985, p. 1.
  24. Stewart, Alexander (2016), ‘Expert Report’, in Skidmore v. Led Zeppelin.
  25. Stone, Kurt (1963), ‘Problems and methods of notation’, Perspectives of New Music, 1:2, pp. 9–31.
     [Google Scholar]
  26. Tagg, Philip (1982), ‘Analysing popular music: Theory, method and practice’, Popular Music, 2, pp. 37–67.
     [Google Scholar]
  27. Winkler, Peter (1997), ‘Writing ghost notes: The poetics and politics of transcription’, in D. Schwarz and A. Kassabian (eds), Keeping Score: Music, Disciplinarity, Culture, Charlottesville, VA: University of Virginia Press, pp. 169–203.
     [Google Scholar]
  28. Zak, Albin (2001), The Poetics of Rock: Cutting Tracks, Making Records, Berkeley, CA: University of California Press.
     [Google Scholar]

References

  1. Arnstein v. Porter (1946), 154 F.3d, p. 464.
  2. Bent, Ian and Pople, Anthony (2001), ‘Analysis’, in D. Root (ed.), Grove Music Online, 20 January 2001 New York: Oxford University Press. https://doi.org/10.1093/gmo/9781561592630.article.41862. Accessed 7 January 2025.
     [Google Scholar]
  3. Bridgeport Music v. Dimension Films (2005), 230 F. Supp 2d, p. 830.
  4. Burgess, Richard James (2012), ‘Interlude 2: Comments and commentaries by industry professionals’, in S. Zagorski-Thomas , K. Isakoff , S. Lacasse and S. Stévance (eds), The Art of Record Production: An Introductory Reader for a New Academic Field, London: Ashgate Publishing, pp. 189–206.
     [Google Scholar]
  5. Copyright Act of 1831 (1831), 4 Stat. 436.
  6. Decker, Todd (2017), ‘Expert Report’, in Gray v. Perry.
  7. DeVlieger, Dana (2020), ‘Promoting creativity: How the use of music analysis affects value judgments incopyright litigation’, Ph.D. dissertation, Minneapolis, MN: University of Minnesota.
     [Google Scholar]
  8. DeVlieger, Dana (2022), ‘Searching for similarity: Confirmation bias in forensic analyses of popular music’, Journal of Popular Music Studies, 34:2, pp. 91–111.
     [Google Scholar]
  9. Fast, Susan (2000), ‘Same as it ever was? Musicology continues to wrestle with rock’, Canadian University Music Review, 21:1, pp. 40–53.
     [Google Scholar]
  10. Ferrara, Lawrence (2016), ‘Expert Report’, in Skidmore v. Led Zeppelin.
  11. Finell, Judith Greenberg (1990), ‘Using an expert witness in a music copyright case’, New York Law Journal, https://www.jfmusicservices.com/using-an-expert-witness-in-a-music-copyright-case/. Accessed 7 January 2025.
     [Google Scholar]
  12. François, Jean-Charles (1992), ‘Writing without representation, and unreadable notation’, Perspectives of New Music, 30:1, pp. 6–20.
     [Google Scholar]
  13. Gherman, Sergiu (2009), ‘Harmony and its functionality: A gloss on the substantial similarity test in music copyright’, Fordham Intellectual Property, Media & Entertainment Law Journal, 19, pp. 483–517.
     [Google Scholar]
  14. Gray v. Perry (2020), WL 1275221, p. 1.
  15. Gray v. Hudson (2022), 28 F.4th, p. 87.
  16. Kim, Alice J. (1994), ‘Expert testimony and substantial similarity: Facing the music in (music) copyright cases’, Columbia-VLA Journal of Law & the Arts, 19:1&2, pp. 109–28.
     [Google Scholar]
  17. Leo, Katherine M. (2016), ‘Blurred lines: Musical expertise in the history of American copyright litigation’, Ph.D. dissertation, Columbus, OH: The Ohio State University.
     [Google Scholar]
  18. Leo, Katherine M. (2021), Forensic Musicology and the Blurred Lines of Federal Copyright History, Lanham, MD: Lexington Books.
     [Google Scholar]
  19. Middleton, Richard (1990), Studying Popular Music, Maidenhead: Open University Press.
     [Google Scholar]
  20. Reynolds, M. Fletcher (1991), ‘Music analysis for expert testimony in copyright infringement litigation’, Ph.D. dissertation, Lawrence, KS: University of Kansas.
     [Google Scholar]
  21. Sibley, Frank (1993), ‘Making music our own’, in M. Krausz (ed.), The Interpretation of Music: Philosophical Essays, Oxford: Clarendon Press, pp. 142–53.
     [Google Scholar]
  22. Sid and Marty Krofft Television Productions, Inc. v. McDonald's Corp . (1977), 562 F.2d, p. 1157.
  23. Skidmore v. Led Zeppelin (2020), WL 6674985, p. 1.
  24. Stewart, Alexander (2016), ‘Expert Report’, in Skidmore v. Led Zeppelin.
  25. Stone, Kurt (1963), ‘Problems and methods of notation’, Perspectives of New Music, 1:2, pp. 9–31.
     [Google Scholar]
  26. Tagg, Philip (1982), ‘Analysing popular music: Theory, method and practice’, Popular Music, 2, pp. 37–67.
     [Google Scholar]
  27. Winkler, Peter (1997), ‘Writing ghost notes: The poetics and politics of transcription’, in D. Schwarz and A. Kassabian (eds), Keeping Score: Music, Disciplinarity, Culture, Charlottesville, VA: University of Virginia Press, pp. 169–203.
     [Google Scholar]
  28. Zak, Albin (2001), The Poetics of Rock: Cutting Tracks, Making Records, Berkeley, CA: University of California Press.
     [Google Scholar]

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