樂曲抄襲之著作權法問題研究

Abstract

音樂是一種綜合的概念，包含了作曲者所創作的樂曲、表演者所表演的聲響、及聽眾聆聽所感受到的聲響。音樂創作為音樂實踐的前提，是表演與欣賞的基礎。如何利用有限的音符創作具有原創性的音樂著作，並非易事，不同音樂著作間難免出現相似的感覺，因而在著作權意識高漲的時代，樂曲抄襲的爭議層出不窮。不同樂曲之間是否構成抄襲，在判斷上有其困難。本論文試圖結合法律與音樂領域之觀點，以音樂著作中樂曲抄襲之著作權法問題為研究對象，並深入討論樂曲抄襲判斷要件中的「實質相似」。 本論文之研究有如下結論與建樹：一、整理音樂著作樂曲之內容與保護要件，以及美國司法實務對於樂曲「原創性」之認定標準。二、首次以音樂借用的觀點檢視樂曲抄襲，討論創作階段所涉及的著作權人之權利。三、首次歸納音樂借用的類型為嘲諷模仿、數位取樣、音樂改編與不當借用，並借鏡美國實務對借用容許性之判斷標準，此分類有助於樂曲抄襲爭議之初步判斷，進而限縮樂曲抄襲的類型。四、整理分析美國實務對音樂著作抄襲之判斷要件，有系統的介紹Arnstein原則之判斷步驟、修正理論與重要案例。五、提出適用於我國樂曲抄襲爭議之判斷準則，以簡化的Arnstein原則之接觸與實質相似兩要件為架構，首次從判斷主體、比較基準與應用方法三方面對實質相似提出深入論述與建議，並結合音樂分析與頻譜分析之運用。六、整理音樂上可能構成實質相似的情形，可作為日後實務分析之參考。 綜上所述，本論文的研究結果可作為日後相關研究的基礎，並作為實務操作的參考標準，希冀藉此使各界更重視音樂著作之相關問題與研究。

Music is a concept of combined elements, which exists not merely in the form of musical notations written by composers, but also in the form of sounds made by performers as well as sounds felt by the audience. The composition of music is a prerequisite for music realization, and is fundamental to music performance and appreciation. The limitation of musical notes, however, results in the difficulty in achieving originality in a musical work. Therefore, when similarities between different musical pieces are noticed, controversies about whether unlawful appropriation is established tend to be provoked following a growing awareness of copyright protection. It is, by no means, easy to ascertain whether a work has been illicitly copied. In view of this, the study, combining the perspectives of law and music, works on a probe into “substantial similarity,” which plays a crucial role in the assessment of unlawful appropriation. Copyright issues concerning unlawful appropriation in musical works are the targeted subjects. Conclusions and contributions are outlined as follows: 1. The study summarizes the elements needed for music compositions and the conditions concerning music composition protection, as well as the standards for “originality” acknowledged by the U.S. judicial cases. 2. The study is the first one to examine unlawful appropriation from the viewpoint of music borrowing, to discuss the copyright involved in the process of music production. 3. The study, resorting to the U.S. judicial cases as standards, is the first one to categorize music borrowing into four types, namely parody, digital sampling, arrangement, and improper borrowing. The categorization, when controversies arise, is of great help in the primary step of assessment, in turn restricting the categories of unlawful appropriation. 4. The study reviews and analyzes the requirements for unlawful appropriation actions in the U.S. judicial cases. It is also a systematic introduction of the assessment steps, the revised theories, and the significant judicial cases involved in the copyright infringement principles of Arnstein. 5. The study imposes guidelines applicable to our nation in the determination of unlawful appropriation. Within the framework of access and substantial similarity, as are involved in the simplified principles of Arnstein, the study is also the first one to propose detailed discussions and suggestions for the determination of substantial similarity in terms of participants for assessment, standards for comparison, and methods for application. Music analysis and Spectrum analysis are employed as well. 6. The study reviews cases likely to constitute substantial similarity, which can serve as references for future analyses. In sum, the study is not only the basis for related researches in the future, but also the guidelines for practical uses in judicial cases. Hopefully, more emphases will be placed on the related questions and studies concerning music compositions.