6 research outputs found
3 Songs. Music by W.-K. Hamilton
No full textComprend : 1 - O were my love you lilac fair - 2 - Delia - 3 - She is a maid of artless grac
Three songs. [Chant et piano]. Music by W. K. Hamilton...
No full textComprend : 1 - O were my love you lilac fair. - 2 - Delia - 3 - She is a maid of artless grac
The National song folio. Volume I
No full textTitre uniforme : Händel, Georg Friedrich (1685-1759). Compositeur. [Theodora. HWV 68
International copyright and the challenges of digital technology
No full textPhDDigital technology is challenging traditional copyright principles. Despite suggestions
from a number of commentators that copyright cannot survive the challenge, this
thesis aims to demonstrate that copyright can evolve and adapt rather than face
elimination. This hypothesis is tested and illustrated by means of an examination of
law in conjunction with technology, and by means of concrete examples.
Analysis of the author's position in the face of digital technology requires firstly, an
investigation of the way in which the existence and exercise of the author's copyright
itself is affected by such technology, and secondly, an examination of how the
author's standing in relation to dissemination of works generally is concerned (e.g. as
regards freedom of speech). It is with the first of these aspects that this thesis is mainly
concerned, although, for the sake of a more comprehensive view, some considerations
on the second aspect are also advanced.
This thesis examines challenges raised in the copyright field by digital technology and
the consequential problems in relation to classification of subject matter, identification
of authors, fixation and reproduction, the criterion of originality, the meaning of
publication, recognition of moral rights, recognition of economic rights, exceptions
and limitations, liability of service providers, authenticity of works, infringement,
feasibility of enforcement and conflict of laws. Broader issues relating to Government
and private control of access to the new media are also analysed.
The analysis is focused on copyright subsistence as well as infringement. Furthermore,
both the legal and the technological aspects are considered (with the aid of a
comprehensive glossary of technological terms). The approach is one of law and
technology in equal measure.
In the context of these problems there follows a critical examination and comparison
of the main national systems, the main international instruments, and the main
regional instruments. This systematic survey seeks to encapsulate the work of learned
authors in a concise manner, leading to certain proposals. The approach is one of
criticism and selection of feasible and practical solutions. Nearly all elements of the
proposed solutions exist already, albeit in a fragmented way. These solutions are
based on law and on technology, and are formulated to apply in both the analogue and
digital worlds.
The thesis concludes that for an effective solution of the problems raised by digital
technology, an international standard for copyright protection must be adopted, one
apposite for the digital world. The thesis puts forward detailed suggestions towards
the adoption of an International Digital Copyright Protection System, in the form
of definitional, obligational, conflict of laws and technological proposals, whose
common denominator is the will to find new answers for the digital challenges. The
definitional proposals will clarify conceptual questions arising from the digital
revolution. The obligational proposals will regulate the issue of exemptions from
liability and duties of Internet service providers. The conflict of laws proposals will
address the problems arising in connection with jurisdiction and applicable law on the
Internet. The technological proposals will give practical effect to the system by
focusing on deterrence and tracing of copyright infringement
Anthony Poole (c.1629-1692), the viol and exiled English Catholics
No full textThe bass violist and composer Anthony Poole was educated in the network of Catholic Colleges that the English Jesuits kept in Europe. He went on to be ordained a Jesuit priest and to make an outstanding contribution to the musical
life of the institutions he lived and taught in, notably the English College at Saint-Omer, in Spanish Flanders. Poole’s output will be shown to be of importance in the history of seventeenth-century instrumental music, especially in the context of the development of the sonata in England and division-viol music in Europe. His music has not been collected, catalogued or studied before,
and this thesis presents it against the backdrop of several generations of English musicians who spent all or part of their working lives abroad. The significance of migrant musicians is often neglected by comparison with that of native musicians, perhaps because the latter fit our perceptions of national styles better, and this thesis goes some way towards appraising that contribution.
The bass viol, or the ‘Brittanica Chelys’ in the words of the expatriate Latin poet Dr John Alban Gibbes, was an instrument with strong Catholic and Royalist resonances in England, and extemporising divisions on it became in post-Thirty-Years-War Europe a quintessentially English art, as will be shown in chapter one. Chapter two presents as full a biographical account as is possible at present, and chapter three considers all extant sources of Poole’s music, exploring how his works made their way to the exiled court at Saint-Germain-en-Laye, the library of Phillip Falle, the viol-playing circle of William Noble in Oxford, and elsewhere in England. This thesis contains therefore a significant contribution to our understanding of the history of English Jesuit music, the court of James II,
and the circulation of Continental music in Restoration England. Chapter four is a stylistic discussion of the music, its influences and reception, and the appendix
consists of a thematic index of Poole’s works
