M. Fletcher Reynolds
B. Mus., Louisiana State University, 1973
M. Mus., Louisiana State University, 1974
M. Phil., University of Kansas, 1977
J.D., Tulane Law School, 1990
Submitted to the Department of Music and Dance
and the Faculty of the Graduate School of the
University of Kansas in partial fulfillment of the
requirements for the degree of Doctor of Philosophy
(Music Theory)
CH1-LEGNEW.DRF CH1-LEGNEW.DRFDissertation Committee:
Stanley N. Shumway, Chairman
Stephen C. Anderson
J. Bunker Clark
Anne Kimberley Dayton
Charles K. HoagDissertation defended: March 1991
© 1991 M. Fletcher Reynolds
Patents and copyrights approach, nearer than any other
class of cases belonging to forensic discussions, to what
may be called the metaphysics of the law, where the
distinctions are, or at least may be, very subtle and
refined, and, sometimes, almost evanescent.Justice Joseph Story*
TABLE OF CONTENTS
List of Illustrations
Acknowledgements
Preface
CHAPTER 1: Historical and Philosophical Bases of Copyright Law
CHAPTER 2: Introduction to Copyright Ligitation
CHAPTER 3: Overview of Music Analysis
CHAPTER 4: Presentation of Evidence: Exemplary Cases
CHAPTER 5: Methods of Reduction: The Search for Musical Significance
CHAPTER 6: Methods of Comparison: The Search for Similarities
CHAPTER 7: Copying: The Substantiality of Similarities
CHAPTER 8: Misappropriation: Substantiality of the Taking
CHAPTER 9: Proposals for More Effective Use of Music Experts
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* Folsom v. Marsh, 9 F. Cas. 342, 344 (C.C.D. Mass. 1841) (No. 4,901).