After Park Chung Hee's military coup and subsequent rise to power in 1961, his regime invalidated the Constitution as well as the democratically elected legislature. Park used the implied threat of the Democratic People's Republic of Korea to imprison and torture political enemies.[1] His regime targeted artists and politicians alike, jailing leaders who would later hold the office as president as well as writers such as Kim Chi-ha.[1] In 1975, Park's regime banned various music, citing "decadent" foreign influences. The ban included many American protest songs, folk ballads, and rock music.[9]
"Indecent" websites, such as those offering unrated games, any kind of pornography (not only child pornography), and gambling, are also blocked. Attempts to access these sites are automatically redirected to the warning page stating "This site is legally blocked by the government regulations."[37] Search engines are required to verify age for some keywords deemed inappropriate for minors.[38]
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In November 2010, a woman was sentenced to two years in prison for the possession of MP3s of instrumental music, on the grounds that the titles constituted praise of North Korea, notwithstanding the actual music's lack of lyrics.[40]
Censorship of Japanese media in South Korea has been relaxed significantly since the 1990s, but as of 2017 the terrestrial broadcast of Japanese television or music remains restricted under the government's Communications Commission that the permission is necessary for nationwide media companies beforehand to broadcast Japanese musics and films.[45]
If you decide to only have a jukebox on the premises to provide music, you can forgo negotiating directly with the PROs and simply obtain a single license from the Jukebox License Office, which covers ASCAP, BMI, and SESAC repertoires. Many jukebox vendors include this license and its fee in the rental cost, but double check to make sure.
SM 3.0 involves establishing five different production centers and independent music labels to diversify production, a significant departure from the former system in which Lee was in charge of the entire music production process.
Latin music business platform and acquisitions in the US
Representation of HYBE Co., Ltd., one of South Korea's largest music label and KRX-listed entertainment, media and technology companies, on establishing its Latin music business platform and US acquisitions of Exile Music and Exile Podcast from media and entertainment company Exile Content.
BEIJING, May 8 (Yonhap) -- South Korea's top music agency, SM Entertainment, and Baidu Inc., operator of China's biggest search engine, announced Thursday they are forming a strategic alliance to jointly promote "legal" music downloads and K-pop songs in China.
The alliance, signed by SM Entertainment chairman Lee Soo-man and Baidu co-founder and chairman Li Yanhong in Beijing earlier in the day, will enable the two companies to build a "legal music market in China by rooting out illegal music files and protecting copyrights," the South Korean company said in a statement.
Furthermore, I am still having issues discerning the difference between cultural appropriation and cultural appreciation within South Korea. South Korean pop culture; specifically k-pop draws inspiration heavily from Black African culture (hip-hop/rap/r&b and more). As this is also an issue for me in the US, I am still taken aback when I see non-African Americans wearing protective hairstyles (braids, dreads). I think that many South Koreans are fans of Black African American culture and music yet at the same time don't quite understand the historical significance behind the culture nor are aware of the cultural sensitivities around Black African American culture. This is very apparent in the ways in which K-pop has transitioned from having a local audience to a global audience; international fans are calling out cultural appropriation and the lack of cultural awareness around the cultures they are emulating and drawing influence from (this is also seen within K-rnb, K-rap, and k-hip hop). Seeing that Korea has been homogenous historically for many years and doesn't have much experience with interacting or having exposure to those outside of their society, the country seems to not have much knowledge about cultural awareness, especially Western cultural history, and sensitivities.
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Korea Creative Content Agency (KOCCA) supports production, planning, creation, distribution,overseas expansion, business growth, training, R&D, policy financing,and policy study of many different genres, including broadcasting, video game, music, fashion,animation, character, comics, IP, new technology convergence content.
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AI has become a hot topic in the music industry in recent months, with new examples each week of astonishing AI-generated music, and concerns voiced about the "widespread and lasting harm" of such tools to music creators and rightsholders.
In the UK, the proliferation of such tools comes at a time of increased scrutiny of the role of copyright and the remuneration of music creators and rightsholders, following the DCMS's inquiry into the economics of music streaming.
By analogy, in Hyperion Records v Sawkins [2005] EWCA Civ 565, a composer and musicologist created new versions of a public-domain work, including corrections and additions to make it playable. The Court of Appeal found that, even though the starting point was a public domain score, the composer's revisions made it an "original" work.
Under English law, to the extent that AI is used as a tool to generate ideas and themes which are adapted by a musician into a final work, the overall piece is likely to be protected by copyright (although any exclusively AI-developed themes, for example, may not themselves be protected).
If an AI tool copied specific melodies or lyrics, for example, that would likely constitute copyright infringement. However, it may be difficult to identify such specific examples of copying, with well-built AI tools generally designed to copy the general sound and feel of music, in part to avoid allegations of copyright infringement. Despite the potential implications in the US of the 'Blurred Lines' case Williams v. Gaye, 885 F.3d 1150 (9th Cir. 2018), infringement of the feel of a song is unlikely to be sufficient. A new composition that is composed with an AI tool or sung using an AI-generated voice may not incorporate any "substantially similar" element or "substantial part" of any previous work that is actually protected by copyright.
The scope of statutory exceptions from liability from copyright infringement for TDM varies markedly between territories. UK law currently permits "text and data analysis" only for non-commercial research (s. 29A, CDPA). However, in June 2022, the UK IPO announced a proposal to allow TDM for any purpose at all. The proposed exception would have allowed commercial AI tools to be trained on all music without requiring a licence or compensating rightsholders, making the UK one of the most permissive places for AI research in the world. This received significant objection from the music industry, which described it as "music laundering". The UK Government then announced in February 2023 that these proposals were to be scrapped. By comparison, the EU Digital Single Markets Directive provides rightsholders with the ability to opt their works out of the TDM exception, whereas Singapore has recently enacted a very broad TDM exception.
Certainty can be provided by obtaining licences from the rightsholders for the express purpose of TDM, noting that for music catalogues there may be several rightsholders for each track (e.g. writers, publishers, performers, record labels). (As an example, see Hipgnosis's deal with Reactional Music.) In addition to commercial licences freely negotiated between users and rightsholders, state-approved licensing schemes may emerge.
Does it actually matter whether AI music is protected by copyright? The general answer from both AI companies and rightsholders is, yes. Many AI developers want their investment in the creative industries to be recognised by way of copyright protection, and for rightsholders (as exemplified by the newly formed Human Artistry Campaign) there is a concern that copyright protection for AI-generated music could undercut their catalogues and undermine human creativity. AI-generated music could provide an effectively unlimited supply of music in an industry which the major labels see as already over-saturated with the proliferation of so-called "fake artists" and "functional music" on streaming services. Given licensing costs and the complex royalty flows in the music industry, it may even be that (paradoxically) if AI-generated music does not attract copyright protection, it is in a better position to undercut human-made copyright music.
There is very little research on the legal, economic, or ethical consequences of AI-generated music in the music industry. For example, its rise has been so rapid that it would almost certainly have been a major topic for discussion in the DCMS's inquiry into the economics of music streaming were it to be heard now. For context, this was published only 18 months ago. It is likely that it will be an area for IPO-commissioned research in the near future.
UK copyright law needs to keep up with these developments. However, to do this it needs to somehow satisfy the conflicting concerns of AI researchers whilst protecting the interests of musicians and rightsholders. tag_hash_111 0852c4b9a8
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