Copyright law is entangled with the Romantic conception of the creative process. So is the music industry. This Romantic conception has been challenged more recently to the point where there has been a paradigmatic shift of the conception of creative activity within the research community. This change has not as yet occurred for popular conceptions of creativity, nor has the law changed its basis. Once these older views are substituted with the recent work on cultural production and confluence models of creativity, the implication for rights-holders in the music industry may be significant, yet remain dependent upon the industry and others' general acceptance of these recent creativity research findings. Examples of the changing structures of intellectual property and what this shift might mean for songwriters in particular can be drawn from the struggles of Lindy Morrison, former Go-Betweens drummer, and the attitude to songwriting developed by writers such as Paul Mac and Daniel Johns.
AmabileT.1983, The Social Psychology of Creativity, Springer-Verlag, New York.
3.
ArcherM.2003, Structure, Agency and the Internal Conversation, Cambridge University Press, Cambridge.
4.
ARIA2006, ‘Australian Recorded Music Sales for Six Months to 30 June 2006: Digital Music and Strong Album Sales Drive Local Music Market’, ARIA News, www.aria.com.au/pages/news-ARIAhalfyearResults.htm.
5.
BailinS.1988, Achieving Extraordinary Ends: An Essay on Creativity, Kluwer Academic, Boston.
6.
BarthesR.1977, ‘The Death of the Author’, in Image, Music, Text, Noonday Press, New York, pp. 142–53.
7.
BentlyL.1994, ‘Copyright and the Death of the Author in Literature and Law’, Modern Law Review, vol. 57, November, pp. 973–86.
8.
BodenM.2004, The Creative Mind: Myths and Mechanisms, 2nd edn, Routledge, London.
9.
BourdieuP.1990, The Logic of Practice, Polity Press, Cambridge.
10.
BourdieuP.1993, Field of Cultural Production, Columbia University Press, New York.
11.
BourdieuP.1996, The Rules of Art: Genesis and Structure of the Literary Field, Polity Press, Cambridge.
12.
CsikszentmihalyiM.1988, ‘Society, Culture and Person: A Systems View of Creativity’, in SternbergR. (ed.), The Nature of Creativity: Contemporary Psychological Perspectives, Cambridge University Press, New York, pp. 325–39.
13.
CsikszentmihalyiM.1997, Creativity: Flow and the Psychology of Discovery and Invention, HarperCollins, New York.
14.
CsikszentmihalyiM.1999, ‘Implications of a Systems Perspective for the Study of Creativity’, in SternbergR. (ed.), Handbook of Creativity, Cambridge University Press, Cambridge, pp. 313–35.
15.
DemersJ.2006, Steal This Music: How Intellectual Property Law Affects Musical Creativity, University of Georgia Press, Athens, GA.
16.
FreudF.1976, ‘Excerpts from “The Relation of the Poet to Daydreaming”’, in RothenbergA.HausmanC. (eds), The Creativity Question, Duke University Press, Durham, pp. 48–54.
17.
FoucaultM.1979, ‘What is an Author?’ in HarareJ.V. (ed.), Textual Strategies: Perspectives in Post-Structural Criticism, Cornell University Press, New York, pp. 141–60.
18.
FrithS.1978, The Sociology of Rock, Constable, London.
19.
FrithS.1990, ‘What is Good Music?’, The Canadian University Music Review, vol. 10, no. 2, pp. 93–94.
20.
FrithS.2001, ‘The Popular Music Industry’, in FrithS.StrawW.StreetJ. (eds), The Cambridge Companion to Pop and Rock, Cambridge University Press, Cambridge, pp. 26–52.
21.
GardnerH.1993, Creating Minds: An Anatomy of Creativity Seen Through the Lives of Freud, Einstein, Picasso, Stravinsky, Eliot, Graham and Gandhi, Basic Books, New York.
22.
GiddensA.1979, Central Problems in Social Theory: Action, Structure and Contradiction in Social Analysis, Macmillan, London.
23.
GruberH.1988, ‘The Evolving System Approach to Creative Work’, Creativity Research Journal, vol. 1, pp. 27–51.
24.
HaralambosM.HolbernM.1995, Sociology: Themes and Perspectives, 4th edn, Collins, London.
25.
HesmondalghD.NegusK. (eds) 2002, Popular Music Studies, Arnold, London.
26.
HoweM.1999, Genius Explained, Cambridge University Press, London.
27.
JenkinsJ.1994, Ego is Not a Dirty Word: The Skyhooks Story, Kelly and Withers, Melbourne.
28.
MacMillanF.2002, ‘Copyright and Corporate Power’, in TowseR. (ed.), Copyright in the Cultural Industries, Edward Elgar, Cheltenham.
29.
McIntyreP.2001, ‘The Domain of Songwriters — Towards Defining the Term “Song”’, Perfect Beat: The Journal of Research into Contemporary Music and Popular Culture, vol. 5, no 3, pp. 100–11.
30.
McIntyreP.2003, Creativity and Cultural Production: A Study of Contemporary Western Popular Music Songwriting, unpublished PhD Thesis, Macquarie University, Sydney.
31.
McIntyreP. [writing as Johnnie Clott] 2004, ‘The Dissociatives: Somewhere Down the Barrel’, Uturn, no. 49, 17 March, pp. 6–7.
32.
McIntyreP.2006, ‘Paul McCartney and the Creation of “Yesterday”: The Systems Model in Operation’, Popular Music, vol. 25, no. 2, pp. 201–19.
33.
NegusK.1996, Popular Music in Theory: An Introduction, Polity Press, Cambridge.
34.
NegusK.PickeringM.2002, ‘Creativity and Musical Experience’, in HesmondhalghD.NegusK. (eds), Popular Music Studies, Arnold, London, pp. 178–90.
35.
NegusK.PickeringM.2004, Creativity, Communication and Cultural Value, Sage, London.
36.
PetrieD.1991, Creativity and Constraint in the British Film Industry, Macmillan, London.
37.
Plato1937, The Dialogues of Plato, trans. JowettB., Random House, New York.
38.
PopeR.2005, Creativity: Theory, History, Practice, Routledge, New York.
39.
Recording Industry Association of America2003, ‘Tracking Music Trends in America’, www.riaa.com/MDTracking.cfm.
40.
RothenbergA.HausmanC.1976, The Creativity Question, Duke University Press, Durham.
41.
RuncoM.PritzkerS.1999, Encyclopedia of Creativity, Academic Press, San Diego.
42.
SamuelsE.2000, The Illustrated Story of Copyright, Thomas Dunne Books, New York.
43.
SawyerK.2006, Explaining Creativity: The Science of Human Innovation, Oxford University Press, Oxford.
44.
ShukerR.1994, Understanding Popular Music, Routledge, London.
45.
SmiersJ.2002, ‘The Abolition of Copyrights: Better for Artists, Third World Countries and the Public Domain’, in TowseR. (ed.), Copyright in the Cultural Industries, Edward Elgar, Cheltenham.
46.
SternbergR. (ed.) 2004, Handbook of Creativity, 2nd edn, Cambridge University Press, Cambridge.
47.
SternbergR.LubartT.1991, ‘An Investment Theory of Creativity and its Development’, Human Development, no. 34, pp. 1–32.
48.
StillingerJ.1991, Multiple Authorship and the Myth of Solitary Genius, Oxford University Press, Oxford.
49.
StokesM. (ed.) 1994, Ethnicity, Identity and Music: The Musical Construction of Place, Berg, Oxford.
50.
ToynbeeJ.2000, Making Popular Music: Musicians, Creativity and Institutions, Arnold, London.
ToynbeeJ.2006, ‘Copyright, The Work and Phonographic Orality in Music’, Social & Legal Studies, vol. 15, no. 1, pp. 77–99.
53.
VaidhyanathanS.2001, Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity, New York University Press, New York.
54.
WatsonP.2005, Ideas: A History from Fire to Freud, Weidenfeld and Nicolson, London.
55.
WeisbergR.1993, Creativity: Beyond the Myth of Genius, W.H. Freeman and Co, New York.
56.
WickeP.1990, Rock Music: Culture, Aesthetics and Sociology, trans. FoggR., Cambridge University Press, Cambridge.
57.
WolffJ.1981, ‘Social Structure and Artistic Creativity’, The Social Production of Art, Macmillan, London, pp. 9–25.
58.
WolffJ.1993, The Social Production of Art, 2nd edn, Macmillan, London.
59.
ZolbergV.1990, Constructing a Sociology of the Arts, Cambridge University Press, Cambridge.
