TFL Vsebine / Zbornik znanstvenih razprav

Pri nastanku končne oblike glasbenega dela v zabavni glasbi navadno sodeluje več oseb: skladatelj, pisec besedila, glasbeni aranžer, izvajalci, tonski tehniki ipd. Članek preučuje, kdaj prispevki teh oseb pomenijo soavtorstvo glasbenega dela in kdaj izvirno glasbeno avtorsko delo sploh nastane. Posebej je obravnavan avtorskopravni položaj glasbenega aranžerja, ki je v literaturi običajno obravnavan kot predelovalec obstoječega glasbenega dela, v praksi slovenske zabavne glasbe pa pogosto nastopa že kot soavtor izvirnega glasbenega dela. Zadnji del članka prikazuje pravila o trajanju pravic na glasbenih delih več avtorjev in preučuje, kako na pripadnost in na trajanje avtorskih pravic na glasbenih delih vpliva Direktiva 2011/77/EU, ki določa pravilo o enotnem trajanju pravic na glasbi z besedilom.

The creation of the final form of a piece of popular music usually involves several people: the composer, the lyricist, the music arranger, performers, sound engineers, etc. The article explores under what conditions the contributions of these persons constitute co-authorship of a piece of music and discusses in which phase a musical work can be considered finished. The copyright status of a music arranger is discussed in particular, whose work is usually defined in theory as adaptation of existing musical works, whereas in the practice of Slovenian popular music, arrangers often act as co-authors of new original music. The last part of the article examines the rules on the duration of rights in musical works produced in co-authorship and discusses in what way the ownership and the duration of copyrights in musical works is affected by Directive 2011/77/EU, which sets out unified rules on the duration of rights in musical compositions with words.