出版社：AHRC Research Centre for Studies in Intellectual Property and Technology Law
摘要：Alternatively described as an “exercise in irreverence,”1 “another step on the path towards the democratization of creativity”2 and “surprisingly vapid,”3 mashups are songs created by combining pieces of two or more sound recordings into one new sound recording which is both “at once familiar yet often startlingly different.”4 Through mashups, anyone with access to both a computer and sound editing software can engage with and participate in the (re)creation of culture. Among other purposes, mashups allow individuals to critique artists through the comical juxtaposition of their works with other artists’ works (for instance, to staple the dark, brooding lyrics of Montreal’s The Dears to the music of Walter Ostanek, “Canada’s Polka King”), to explore what the lyrics of Vancouver indie pop band Said the Whale would sound like when played over the big band music of Rob McConnell and his Boss Brass, and to create tributes to iconic bands such as Winnipeg’s The Weakerthans by mashing their entire musical library onto one track. Due to both the cost and logistical difficulty of obtaining licences,5 most mashups are created without the permission of those who hold copyright in the underlying works.6
