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Music plagiarism - why do we witness copying in music+cases.

14 Dec 2021

The purpose of this article is to discuss why plagiarism in music has increased recently and explain some ways to identify it.

Music plagiarism is when a musician or artist uses or closely imitates another author's music when representing their original work. It may occur either as a copied melody or motif or in the context of reusing the already recorded sound in a different song (also known as sampling). In the article below, we’ll try to explain why more music plagiarism cases appear nowadays and present you with a guide on identifying plagiarism in music.

Plagiarism Cases in Music

First of all, to say that a particular song is an example of copying, it must include one of the following instances:

  • A copied melody from the work of an original creator which is used in someone else’s work and claimed to be an original melody;
  • Portions or parts of a melody from original authors mixed and incorporated into a new one;
  • Use of lyrics that aren’t authorized;
  • Copying of a musical idea or a motif intentionally;

All examples of plagiarism in music mentioned above may look harmless at first glance, but they are all significant occurrences of deliberate copying in the music industry. In the remainder of the text, we’ll try to get the idea of music plagiarism closer to your understanding.

We’ll delve into the notion of why more and more artists plagiarize in the music industry. Also, we’ll present you with some tips on how to identify plagiarism in the music industry yourself. Finally, at the end of the article, you’ll find a list of the seven most famous cases where music borrowing allegedly took place.

Why Has Plagiarism Increased in the Music Industry?

If we go back in time a little, we’ll reach a time when people couldn’t listen to whatever music they want online. The only way to listen to music was by buying plates, cassettes, and later — CDs. But with the advancement of digital media, listening to music online as well as uploading and downloading songs became possible.

Not only did it become possible for some, but it also became possible for all, and as a result piracy came into practice and gave rise to unauthorized usage of other people’s content without giving credit.

Naturally, this is how numerous cases of music plagiarism took place in the music industry at large. To create a unique song, one must go through a time-consuming process, have talent and artistic exploration. Most find this a daunting task and hurry to prosper through simply copying.

It’s important to understand what plagiarism vs. copyright infringement is. If someone notices the song is plagiarized, the creator can take legal action against the one who plagiarized their original because the law protects their rights to the original.

How to Identify Plagiarism in Music

As we’ve mentioned, the advancement of our technology made music more accessible and started the trend of plagiarism; not everything about its advancement is bad. One beneficial trait of technology made identifying copying in music possible in the following ways:

  • With the aid of the plagiarism checker - the so-called copyright checkers have made it possible to identify plagiarism online through apps on our computers. They work efficiently and are very close to skillful musicians with exquisite hearing;
  • Through the listeners’ ears - the listener’s ears are probably the best way to find out whether the song is a case of plagiarism or not. If it is, the first step is to report copyright infringement. Sometimes, the original creators won’t notice it, but the listeners will;

Of course, there are examples of unintentional copying, but more often, it’s deliberate. The listeners and plagiarism checkers should be enough to notice cases of copying. To further dig into how common plagiarism in music is, we’ll list some of the most popular cases.

How the Original Creator can Protect their Music Property

Actually, every song or melody created and recorded is protected by a form of intellectual property law that is called Copyright. It covers literary, dramatic, artistic, and musical works, architecture and computer software.

To protect a musical work, a musician can apply for a copyright for a composition, sound recording or an album containing several of them. Having a copyright means a person claims sole rights to the music and prevents others from copying the particular songs and its elements.

Famous Music Plagiarism Cases

Though you can come across numerous examples of plagiarism in music with a bit more thorough research, we’ve chosen the seven most famous cases. From John Lennon, through The Strokes, to George Harrison, you may find some of the examples surprising.

  • “Last Nite” by The Strokes. Enthusiasts of classic rock were set on fire in 2001 when “Last Nite” appeared on the FM radio. However, there were many comments like “Hey, doesn’t that sound a lot like ‘American Girl’ by Petty?” but the truth is that it’s not a case of plagiarism.
  • George Harrison’s “My Sweet Lord”. George Harrison, the ex-Beatle member, came out with “My Sweet Lord” in 1970, which soon appeared to have an uncanny resemblance with the “He’s so fine” from 1962 written by The Chiffons. Like many other cases, this one reached the court.
  • John Lennon’s “Come Together”. John Lennon’s “Come Together” from the Abbey Road album falls under the category of copyright violation. The reason is that it has a very similar rhythm pattern to the “You can’t catch me” written by Chuck Berry. The case, though with efforts to be stopped, ended in court.
  • “Viva La Vida” by Coldplay . Joe Satriani, a guitar legend, accused Coldplay of “Viva La Vida” as being a case of plagiarism. The same song caused a quarrel between Coldplay and Creaky Boards, a band from the US. However, this case didn’t take place in court, and everything was settled outside its walls.
  • “Shakermaker” by Oasis. “Shakermaker” was released in 1994. It took people little time to see that the melody sounds very familiar. The similarity is evident in “I’d like to teach the world to sing” by The New Seekers. The settlement took place outside the court and was worth half a million dollars (as sources say).
  • The controversial collaboration between Robin Thicke and Pharell Williams. Their collaboration had a massive opening but didn’t remain popular for a long period. The family of Marvin Gaye reacted soon after the release of the duet’s video, saying that the song has a lot in common with Gaye’s “Got to give it up.” The case ended in the report of copyright infringement.
  • The self-plagiarism of John Fogerty. You may have thought that people only plagiarize by taking ideas from other artists. But, strange as it may seem, John Fogerty plagiarized his creations, and his creations only. He won the case at the court and defended himself from accusations by his record label.

There are, of course, numerous other instances of plagiarism in music you can find if you are interested in finding out more. The truth is, however, that plagiarism cases are common and usually deliberate. Luckily, there are ways we can detect them and report them.

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The Complex History of Plagiarism in Music

07.02.18 Words by: Tom Watson

As far as dysfunctional relationships are concerned, art and commerce is a broken marriage. And yet one begrudgingly depends on the other for protection of assets and a steady income. Artists uphold the right to defend the worth of their original ideas. Similarly, barons of big business uphold the right to defend their clients in cases where original thought has been appropriated or, at worst, pirated. But how do we define originality in a time where the culture of perpetual reproduction and emulation is universally accepted as the norm?

When pressed on matters of an artist’s creative estate, peace-mongering pacifist, Wayne Coyne put it best. “There is obviously a fine line between being inspired and stealing,” he conceded when asked about the audial similarities between The Flaming Lips’ single Fight Test from the band’s 2003 breakthrough record Yoshimi Battles the Pink Robots and Cat Stevens’ song Father and Son , which was released over three decades prior. Sonically, the parallels are not only explicit but reportedly non-coincidental. The estate of Cat Stevens put forward the case that segments of Fight Test overtly plagiarised the original intent of Father and Son while the Flaming Lips claimed ignorance over not seeking clearance from the singer-songwriter’s record label before releasing the track. 75% of Fight Test ’s royalties are now beelined directly to Stevens and Coyne admittedly suffers from mild embarrassment over the accusation.

Cases such as this make up the rippled muscles of the music industry’s business arm. Coyne held no malicious intent when unconsciously referencing Cat Stevens in a song. But the similarity was arguably too unsubtle to ignore. This, as we’re currently enduring with Radiohead and Lana Del Rey in the latest of an attention-sapping sprawl of plagiarist accusations, is where the waters between law and artistry are muddied. Where does the fine line that Coyne speaks of sit? Should an artist or musician still be formally penalised if semblance between their art is an unconscious coincidence? And if so, how can an artist vindicate themselves from such accusations?

As history dictates, no matter how trivial the matter, it’s actually easier to incriminate artists over their alleged theft of creative property than it is to absolve or exonerate them from legal action. In most publicly recognised scenarios, the lawsuits are not only justified, but hold the potential to generate tectonic paradigm shifts in the ownership of music. Essentially, if a re-appropriated sample or sound is not cleared by the bodies that own the rights to the original score, levies will be persistently applied to those involved with the theft. Mammoth commercial lawsuits against some of pop’s most successful chart hits seem to have multiplied over the past decade on both a micro and macro scale. Back in 2015, Tom Petty was awarded songwriting royalties and co-writing credits for Sam Smith’s Stay With Me . While regarded as “nothing more than a musical accident,” by the amicable rockstar in an online statement, 12.5% of Stay With Me ’s royalties are now owned by Petty’s estate.

Habitually, as soon as names are made public in copyright infringement cases, suits are settled outside of the courtroom. But sometimes these honest musical mistakes can be financially immobilising. One of pop’s most innocuous songwriters, Ed Sheeran has faced legal action on multiple occasions due to assumed plagiarist activity. A $20million lawsuit for the song Photograph was settled outside of court following accusations the song copied a ‘note-for-note’ (39 to be precise) chordal progression of X-Factor winner, Matt Cardle’s song, Amazing . Writing accreditation was also offered to TLC last year following the success of Sheeran’s record breaking single Shape of You , which mimicked the group’s melodious vocal hook. And now, only within the past weeks, Sheeran faces further accusations of plagiarism by Sydney songwriters Sean Carey and Beau Golden for The Rest of Our Life ; a song the British singer co-wrote for Tim McGraw and Faith Hill. Again, the representatives of Carey and Golden have deemed Sheeran’s track to be almost a note-for-note rehash of country song When I Found You and claim that the “copy…is obvious to the ordinary observer.”

This notion of the ‘ordinary observer’ is a cryptic and uncertain definition for a majority verdict in which one piece of music has categorically copied another. Does the ‘ordinary observer’ take note of the similarity between emotive dynamics of songs? In some cases, such as the ongoing battle between Pharrell Williams, Robin Thicke and the Marvin Gaye estate, plagiarism extends beyond that of the original sheet music. In the most high-profile music plagiarism lawsuit since George Harrison was accused of copying elements of his rock ballad My Sweet Lord from The Chiffons track He’s So Fine , this embittered entanglement between Williams and Gaye’s heirs has presented musicologists and lawyers alike to establish whether a sound and groove of a track holds enough legal gravitas to prove copyright infringement. “We owe it to the creative world to make sure this verdict does not stand,” said attorney Howard King when appealing against the $7.4million jury verdict in support of the Gaye estate.

But despite those willing to fight against the ambiguity of unconscious creative ownership, many cases, especially in the realm of hip-hop, are due to sheer negligence to clear samples with labels. From Biz Markie being sued in 1991 for not receiving permission to use a sample from Gilbert O’Sullivan’s Alone Again , to Raekwon, Ghostface Killah, Method Man and RZA being hit with a lawsuit in 2009 for New Wu’s illegal use of The Magitone’s 1971 song I’ve Changed , sampling without the creator’s consent is ubiquitous throughout the genre.

The general rule of thumb is for musicians to give credit where credit is due or suffer the repercussions in or out of court. Yet this was not the case for the most heavily sampled measure of music to enter a producer’s creative consciousness. The four-bar drum solo commonly known as the Amen Break garnered attention from DJs and turntablists from the 1980s onwards and became the staple sound of hip-hop breakbeat, hardcore, drum’n’bass and jungle. Originally performed by Gregory Sylvester G. C. Coleman in the 1960s funk song Amen, Brother , the drummer’s percussive break unknowingly conceived entire subcultures having been sampled over 2200 times. Neither Coleman, nor the song’s copyright owner Richard L. Spencer received any royalties for the sample’s use, inspiring DJs Martyn Webster and Steve Theobald to set up a GoFundMe campaign to raise money for the owner as a humbled thank you. The Amen Break has been a gift to the world that realigned the trajectory of contemporary music for free. And while many of the sample’s abusers have profited from its addition in their compositions, there exists an immorality in the knowing that its creators failed to reap the benefits.

For the most part, songwriters today are incessantly cautious and protective over their ideas. This is what makes the outcome of Radiohead vs. Lana Del Rey equally as tenuous as it is tense. Whether or not the chord progression to Del Rey’s album closer, Get Free , replicates, copies, steals or simply sounds similar to that of Creep (and by default, Albert Hammond Sr and Mike Hazelwood’s song for The Hollies, The Air That I Breathe ), the extremities of copyright infringement in the music industry seem to not only resonate louder upon each passing year but become all the more dubious. If the Amen Break acts as a gross oversight by both the original writers and its plagiarists, then the dilute similarities between a familiar chord progression should hold no grounds for such severe legal action.

That fine line between flattering inspiration and career flattening infringement that Coyne spoke of has become all the more blurred.

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Led Zeppelin performing live on stage in 1975.

A hit, a writ: why music is the food of plagiarism lawsuits

With Katy Perry and Led Zeppelin’s recent judgments reversing previous rulings, musicians don’t know which way to tread

H ave you written a song? A song so memorable that everyone who hears it starts humming it? A song so good it feels as though it has been around forever and you simply plucked it from the ether? Then a word of advice: get an expert to listen to it. Because somewhere, someone is going to be sure your song was copied from theirs.

An old music industry adage holds that “where there’s a hit, there’s a writ”. It was true in 1963, when the Beach Boys released Surfin’ USA, and Chuck Berry duly noted that the song was simply his own 1958 hit Sweet Little Sixteen with new lyrics (Berry’s publisher, Arc Music, was granted the publishing rights, and from 1966 Berry was listed alongside Brian Wilson as a writer of the song). And it’s especially true now after several recent cases.

March alone saw two important judgments about music theft in appeals courts in California. First the ninth circuit court of appeals ruled that Led Zeppelin’s Stairway to Heaven did not crib from Taurus by Spirit. Then a federal court overturned last year’s jury verdict that Katy Perry’s Dark Horse had stolen from the song Joyful Noise by the Christian rapper Flame.

Katy Perry performing Dark Horse in Los Angeles in 2014. A federal court in March overturned a 2019 verdict that the song had stolen from Flame’s Joyful Noise.

What’s important, though, is not whether anyone was plagiarised, but whether a copyright was infringed. Plagiarism and copyright infringement “are related but they are distinctly different”, says Peter Oxendale, who has been a professional forensic musicologist – someone who offers expert analysis of compositions for legal purposes – for more than 40 years.

“Copyright, for example, does not protect ‘ideas’ but rather the fixed ‘detailed expression’ of those ideas. Copyright infringement is a legal matter known as a tort,” he says. “Plagiarism, on the other hand, is an ethical matter and occurs when someone uses the ideas or works of someone else in their own work without giving the appropriate credit to the original source.” The cases that come to court are not about plagiarism; they’re about infringement of copyright.

Some members of Led Zeppelin pictured in 1970.

The Zeppelin and Perry cases have been hailed as important because they appear to offer songwriters the latitude they seemed to have been denied by a crucial earlier trial. In December 2018 the long-running and highly controversial case involving the song Blurred Lines came to a close, when Robin Thicke and Pharrell Williams, two of the song’s writers, were ordered to pay just short of $5m to the estate of Marvin Gaye, for Blurred Lines’ similarity to Gaye’s 1977 song Got To Give It Up.

“Blurred Lines certainly stirred up the music community,” says Joe Bennett, a forensic musicologist based at Berklee College of Music, in Boston. “The reason it had so many musicians concerned is that the two songs are demonstrably different in their melodies, lyrics, and underlying chords. It hasn’t set a legal precedent exactly, because every plagiarism case is judged on its individual merits, and every comparison is different, but it certainly has shifted the culture among songwriters, and made many worried about unintentional similarity leading to unfair accusations of copyright infringement.”

What the Blurred Lines case did was to allow something previously unheard of: the notion that the “feel” of a record could be copyrighted. Given that the musician who didn’t want to replicate the feel of a beloved record, if not its chords and melody, has yet to be born, the verdict sent shudders through the industry.

“Much of the feel of a song is created by instrumentation, production techniques and other elements that many people consider to not be part of the ‘song’ itself,” says Peter Mason, a music law expert at the solicitors Wiggin LLP. “The difference is starkly demonstrated by comparing Blurred Lines to the Stairway to Heaven case, in which the jury was limited to considering only the notes of the composition, as registered at the US copyright office.

Robin Thicke and Pharrell Williams performing at Miami Beach, Florida, in 2013

“Taking away the similarities in ‘sound’, ‘feel’ or ‘playing style’ reduced the similarity between the compositions. Importantly, much of what remained was commonplace and therefore not protected by copyright.”

Nevertheless, says Oxendale, “We are aware of a number of well-known clients who have been told to never cite the source of their inspiration in public or in print. This, in my view, has resulted in the stifling of creativity to the extent that inspiration is now being confused with appropriation.

“Conversely, we are also seeing a growing number of instructions from clients who wish to pursue claims for infringement of copyright based on the use of nothing more than similar musical or lyrical ‘ideas’. I believe the Blurred Lines verdict has had a significant impact on the music industry as a whole and this is reflected in the number of cases coming into our office.”

For all the high-profile court cases, though, many music copyright infringement claims never see the light of day. One major star – who must remain nameless – employed a musicologist for the specific purpose of listening to new releases in order to note any resemblance to their own works. The writer of any offending song received a polite note expressing the desire to avoid any embarrassment, and suggesting the whole matter might be resolved by a payment, without the need to shame the writer by going public or forcing a change to the songwriting credits.

Since the Blurred Lines case, notes Mason, other songwriters have pre-empted litigation by adding writers who might conceivably have had a claim to writing credits – famously, Mark Ronson ’s worldwide hit Uptown Funk ended up with 11 writers. “The average number of writers on hit songs has increased dramatically over the last five years or so,” Mason says, “and part of this is due to composers agreeing to add the authors of past songs that are somewhat similar.”

Why, though, do all the best-known copyright infringement cases come from the worlds of pop and rock? After all, one rarely hears of classical composers fighting it out in court, or jazz players arguing furiously about whether one has ripped off the other’s saxophone solo.

“I think there are two reasons,” Bennett says. “First, popular song is a constrained art form, with a palette of statistically predictable phrase lengths, song forms, scale and chord choices, lyric tropes and song durations. These norms are largely defined by market forces, through massed listener preferences over time affecting the kind of creative decisions that songwriters are likely to make.

Beyonce presenting the award for the Record of the Year, Uptown Funk, to Mark Ronson during the 2016 Grammy music awards

“It’s a type of cultural Darwinism, in a sense, but that’s not to diminish the songwriter’s art – writing a world-class hit is incredibly difficult, and needs everyone in the artist’s production team to excel.

“Second, pop is where the money is. A plagiarism lawsuit is a financial matter – party A is pursuing party B for compensation, so there’s little point in going after someone whose work has not generated significant income.”

You might think, of course, that musicians and songwriters are pinching from each other all the time – we’ve all listened to songs and been reminded of something else. There are some artists, in fact, who seem to have made careers out of sounding like someone else: neither ELO nor Oasis would deny their respective debts to the Beatles.

Sometimes, though, musicians don’t even realise they are borrowing. On a recent edition of the Reply All podcast, Prince’s longtime recording engineer Susan Rogers remembered him sitting at the piano and picking out a melody. He liked it, he noted. But had it already been written?

Subconscious recollection is called cyrptomnesia, and it has been responsible for some notable copyright infringements: in the 1976 case where George Harrison was sued for the similarity of My Sweet Lord to the Chiffons’ He’s So Fine, the judge described the similarity as an example of unconscious copying. Sam Smith’s Stay With Me ended up getting Tom Petty and Jeff Lynne added to its writing credits, because of its similarity to their song Won’t Back Down, and Petty observed, without rancour: “All my years of songwriting have shown me these things can happen. Most times you catch it before it gets out the studio door but in this case it got by.”

As Bennett puts it: “Most melodic similarity is coincidental, and most accusations of melodic plagiarism are unfounded. In the rare cases when the similarity is so striking that it appears to be evidence of plagiarism, then yes – it’s usually unintentional. Songwriters have almost zero incentive to copy melodies verbatim, and enormous economic disincentives to do so.”

The miracle, perhaps, is not that there are so many accusations of musical copyright infringement, but so few. Consider that thereare just 12 semitones in an octave. Or think about how many songs that derive from the blues use the 1-4-5 chord progression (Twist and Shout; Blitzkrieg Bop; Louie Louie and Wild Thing – and thousands more). What makes a song special is not its chords, or its top-line melody, or its lyrics, or its feel. It is how it combines all those elements.

“Listeners don’t hear songs as simple linear sequences of pitches – they hear everything all at once, and it’s that combination of elements, in a recording or at a live show, that produces the powerful emotional response that we find so intoxicating,” Joe Bennett says. “If the cultural value of a song subsisted only in its melody, the world wouldn’t need performers, lyricists, producers, or artists.”

And, as everyone sitting in their living room gazing at the empty world outside knows, the word really does need all those people, for the sake of its sanity.

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What Constitutes Music Plagiarism? The Sam Smith and Robin Thicke Trials

music plagiarism

Music plagiarism is a hot topic in the music industry these days. From Sam Smith to Bruno Mars to Beyonce, artists seem to be being accused of music plagiarism more than ever.

As the old saying goes: there is no such thing as an original thought. Everyone from Shakespeare to the Beatles to Zeppelin has been accused of stealing ideas from those that came before them. We are all influenced by the world around us, and songwriters are no exception. But where is the line drawn between being influenced by something, and plagiarizing it?

What is the Legal Test for Music Plagiarism?

The law states that anything that reflects a “minimal spark” of creativity and originality can be copyrightable, including melody, chord progression, rhythm and lyrics. In the event of a trial, the person claiming infringement must prove two things:

1) Access – that the infringer had heard, or could reasonably be presumed to have heard, the original song prior to writing their song; and

2) Substantial Similarity – that the average listener can tell that one song has been copied from the other. The more elements that the two works have in common, the more likely they are substantially similar.

Music plagiarism lawsuits in the music industry generate a lot of press, and seem to be more common in the digital era, where sampling, snipping and outright stealing parts of songs has never been easier.

Two of the most publicized cases of music plagiarism occurred in the last few years, involving Robin Thicke’s ‘Blurred Lines’ and Sam Smith’s ‘Stay With Me’.

music plagiarism

The Sam Smith Music Plagiarism Case

In October 2014, Tom Petty’s publisher contacted Sam Smith’s publisher about similarities in melody found in the choruses of Petty’s ‘I Won’t Back Down’ and Smith’s ‘Stay With Me’. Smith and his co-writers claimed that they were not previously familiar with ‘I Won’t Back Down’, but after listening to the two songs, acknowledged the similarity. Smith commented at the time: “it was a complete accident. I am 22 years old. I’ve never listened to that song.” ( Author’s note : I don’t care if you’re 22…my 4-year-old niece has heard the song. I’m judging you Sam Smith).

Petty’s response was thoughtful and intelligent: “Let me say I have never had any hard feelings toward Sam. All my years of songwriting have shown me these things can happen. Most times you catch it before it gets out the studio door, but in this case it got by. Sam’s people were very understanding of our predicament and we easily came to an agreement. The word lawsuit was never even said and was never my intention. How it got out to the press is beyond Sam or myself. A musical accident, no more, no less. In these times we live in this is hardly news.”

In the end, Smith and his co-writers settled the dispute, accepting the similarities and giving Petty and co-writer Jeff Lynne writing credit on ‘Stay With Me’, along with 12.5% of the royalties from the song, which was one of the biggest singles of 2014.

music plagiarism

The Robin Thicke Music Plagiarism Trial 

In March 2015, a Los Angeles jury awarded Marvin Gaye’s children nearly $7.4 million after determining that Robin Thicke and Pharrell Williams plagiarized Gaye’s song ‘Got to Give It Up’ to create ‘Blurred Lines’, the biggest song of 2013.

The Gayes’ lawyer characterized Thicke and Williams as liars who went beyond merely being influenced by Marvin Gaye, and instead crossing the line into outright music plagiarism.

Williams testified that he created the music for ‘Blurred Lines’ in an hour in 2012, and that Thicke added vocals afterward. Williams told jurors that Gaye’s music was part of the soundtrack of his youth, but that he didn’t use any of this music to create ‘Blurred Lines’.

An expert “musicologist” for the Gaye family (where are these jobs posted??) said there were eight distinct elements from ‘Got to Give It Up’ that were used in ‘Blurred Lines’, including melody, lyrics, bass line, and rhythm.

For me, while I hear the similarities between ‘Blurred Lines’ and ‘Got to Give It Up’, they have less in common to my ear than ‘Stay With Me’ and ‘Won’t Back Down’. The melodies, chords, and bass line are all different. The feel is different.

By this logic, the Beatles can sue the Gallagher brothers for every Oasis hit, the Woody Guthrie estate can sue Bob Dylan for most of his catalog, and the Bob Marley estate can sue nearly every reggae artist of the last four decades.

For me, ‘Blurred Lines’ is not substantially similar to ‘Got to Give It Up’. Not enough to warrant a $7.4M decision.

music plagiarism

Where Did Thicke and Williams Go Wrong?

The outcomes from the two cases could not be more different. Where did the Thicke camp go wrong?

1) Admitted Access and Influence.

What really hurt Thicke was his own press interviews before trial, in which he admitted ‘Got to Give It Up’ was a template for ‘Blurred Lines’. His attempts to backtrack from these statements at trial hurt his credibility, and I imagine turned the jury against him. Williams also admitted that he knew the song well and was attempting to emulate its “vibe”.

2) Putting Thicke in front of the jury.

Months before the trial, revelations of Thicke’s infidelity were all over the news, complete with the infamous photo of his hand up a stranger’s skirt. His lawyers were wrong to put him in front of a jury. If anything, I would have had only Williams testify, as he is the main songwriter (and he makes everyone Happy!).

3) Less Litigious Parties.

Thick and Williams were actually the first to bring this issue to trial, filing a pre-emptive lawsuit against the Gaye family after they made comments in the press about the similarities between the songs. They started the fire, and the Gaye family was game. Both sides were far more litigious than Petty/Smith…there are reports that the children are currently fighting amongst themselves over the settlement money, and might be commencing lawsuits against each other for it. Also, the day after the decision was reached, the Gaye children suggested that they might sue Williams for this song ‘Happy’, which apparently plagiarizes the Gaye song ‘Ain’t That Peculiar’.

music plagiarism

Will This Result in More Music Plagiarism Suits Going Forward?

There are a lot of music industry commentators suggesting that the ‘Blurred Lines’ decision will have a chilling effect on creativity in the business. I disagree. While I think the jury got it wrong, I don’t think the verdict will have catastrophic effects on the industry.

First:  jury verdicts have very little precedential value, and findings of actual infringement in the music business tend to be rare and fact specific. This is because there must be evidence that the infringer had heard the song in question; otherwise any similarities would be coincidence. In other words, courts accept the fact that two songs can be composed in isolation of each other, and yet be substantially similar.

Second:  creative people will continue to create, as always. One doesn’t stop being a creative person because of a court decision.

Third:  the only cases that will get anywhere near a courtroom are those that have lot of money at stake. There will continue to be “musical accidents” to use Tom Petty’s words, and there will be those that intentionally lift parts from existing songs. But it will only become an issue if the song hits. ‘Blurred Lines’ and ‘Stay With Me’ are two of the biggest songs of the last five years. If they were mere album cuts that got no radio, this story would hardly be news. In the ‘Blurred Lines’ case, there was plenty of money involved. Evidence presented at trial showed that the song had generated around $17M since its release. ‘Stay With Me’ is likely in the same range.

If an independent artist plagiarizes a song and sells a few hundred singles, nobody will notice. It’s only when that song becomes a worldwide hit that the original writer (or more likely, their lawyer) becomes interested.

As Isaac Newton famously said: “If I have seen a little further, it is by standing on the shoulder of giants”. As they have done since music was first created, musicians will keep drawing from their influences and continue standing on the shoulders of giants. Once in a while, the giants will sue.

music plagiarism

  • music plagiarism , robin thicke , sam smith , tom petty

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Kurt Dahl Entertainment Lawyer

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Thanks Kurt for your deep insights on these matters. As a beginner drummer who listens to a lot of music, I really appreciate hearing from other drummers who understand the way a persons creative ideas can get lifted. Could you write an essay on why and how drummers get plagerised and also what drummers can do to make sure they are protected? Does sampling a john Bonham drum solo and looping it and speeding it up and then adding effects to create a new drum sound like bass and drum constitute plagarism in a way? Also could you write an essay on how drummers have been treated by the industry from the days of big band through rock n roll too now rap? Thanks for your consideration and I will be reading your work with pleasure.

Many thanks for the kind words Larry! I will definitely try to write something that is drummer-focused. Thanks for reading

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I’ve always been sorry that David LaFlame and It’s a Beautiful Day were taken to task so harshly by Deep Purple. Beautiful Day never fully recovered from it, and they were such accomplished musicians.

I agree Carolyn!

Hello there lm wondering who to contact regarding a recent discovery. I was researching old fm when suddenly l began to hear a hauntingly familiar score. Then l realised it is the score for a Major current TV series. Out of interest l wanted to research who had wriiten the score. The score is decades old but evidently was claimed as written by someone who was not even born when l sourced the original. He won an award for Outstanding Original Score. I don’t know who to contact. I’ve contacted the so called award winning composer with no response. Can you suggest who l should contact. I have a copy of the original piece it’s melody and themes are identical except for the addition of some orchestral additions. This isn’t a case of being similar, this entire theme and movements have been Plagiarised

Good question. The original writer and perhaps his publisher would be a good starting point. But there’s no “melody police” out there as of yet 😉

A search of ASCAP, BMI or SESAC would probably find the publisher if you know the original piece’s name. The record company releasing the original might have info on the label/cover. Very interesting, I’m curious what theme.

Some television commercials have a recognizable series of notes that one might suspect pushes the limit of plagiarism. It might be familiar notes from, say, Beethoven’s fifth or ninth symphony, or a series with even more punch like bump bump bump another one bites the dust. Is there a legal limit on how many consecutive notes can be appropriated?

I don’t think there is a specific rule in that regard, but it’s a combination of similarities that can lead to a finding of plagiarism

My wife just pointed out to me that “Coldplay’s” song “Yellow” seems to have been a direct lift from Andrew Lloyd Weber’s showtune “Unexpected Song” from “Song and Dance” 1984. I recall how the haunting melody stirred memories in my mind, but never connected the two until she pointed it out. (Her name is Lisa, by the way, to give her full credit). I have found no other mention of this in all the plagiarism articles I have found.

Very interesting Kerry. I should start a website that chronicles all of these. I hear a few every week and forget to write them down. Thanks for this one.

Thanks to Lisa, my wife with the magical ear and an unnatural love for show songs.

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Hey Kurt I have a situation just wanted your input, so I used a free loop off looperman it’s a royalty free loop based website, I composed a song a production using that loops , 5 months later NETFLIX drops a Tv series called Rhythm and Flow, some producer used the loop in the same pattern and rhythm as me same vibe and all, NETFLIX purchased the track from the artist and producer to be published on the show, would this be considered plagiarism ?

Hmm, I guess it depends if the loop you bought was exclusive or not?

Marvin Gaye’s case is the wrong thing because the melody is not the same at all. Only feeling and rhythm have a resemblance, but then we could write out millions of songs because there are only a few possible rhythm moods in the existence.

Court has done an injustice to authors, the music industry, and listeners by judging mood and rhythm instead of melody. In that case, nobody is allowed to make a rock song anymore because that mood is already occupied by former artists.

I agree that it’s a balancing act but politely disagree on the Gaye case – when I play those songs side by side, it is very clear to me that Pharrell/Thicke were lifting many elements of the Gaye song (which they admitted in public, which really hurt their case). However, I don’t think the court’s decision in terms of how much of the composition belonged to Gaye was accurate. Anyhow – makes for healthy debates for sure! And yes, I don’t want the pendulum to swing so far that nobody can release music without being sued. It’s not there now but it could go there, which is why we need judges/musicologists/juries to consider these cases carefully.

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can you sue for lyrical plagiarism and is there a site that will double check the lyrics?

plagiarism and is ther

rical plagiarism and is there

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Thank you for such a helpful, riveting and insightful article. Also, what a beautiful ending, “once in a while, the giants will sue.” Love it!

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music plagiarism essay

Music Plagiarism – How It Is Detected & Consequences

There is a lot to be talked about when it comes to music copyright laws . It’s important to learn all the rules so you don’t mistakenly engage with music plagiarism. You have to understand how to detect it and the consequences of going forward without proper clearance. Good thing we are here to help you navigate this complex subject. Keep on reading to get the full scoop on everything about music plagiarism.  

What is music plagiarism?

Legal aspects.

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What constitutes music plagiarism?

Consequences to music plagiarism, work within the law.

Retrospective Analysis of Plagiaristic Practices within a Cinematic Industry in India – a Tip in the Ocean of Icebergs

  • Open access
  • Published: 24 January 2020
  • Volume 18 , pages 143–153, ( 2020 )

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  • Paneerselvam Umamaheswaran 1 ,
  • Sharavan Ramachandran 2 &
  • Shivadas D. Sivasubramaniam   ORCID: orcid.org/0000-0001-7014-5000 3  

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Music plagiarism is defined as using tune, or melody that would closely imitate with another author’s music without proper attributions. It may occur either by stealing a musical idea (a melody or motif) or sampling (a portion of one sound, or tune is copied into a different song). Unlike the traditional music, the Indian cinematic music is extremely popular amongst the public. Since the expectations of the public for songs that are enjoyable are high, many music directors are seeking elsewhere to “ borrow ” tunes. Whilst a vast majority of Indian cinemagoers may not have noticed these plagiarised tunes, some journalists and vigilant music lovers have noticed these activities. This study has taken the initiative to investigate the extent of plagiaristic activities within one Indian cinematic music industry. A list of plagiarised songs was produced by using YouTube® searches for “comparative videos” made by the vigilant music lovers about accused/detected music plagiarism. Some of these individuals were also interviewed to understand their views on this. During the investigation, it was possible to identify a vast number of plagiarised tunes, snippets, or even the full songs. In fact, some of these examples’ dates to 1954, during the era when no one would have noticed plagiarism. The paper would highlight the similarities of these music files. It will also show some examples of the excuses/denial given by the composers and would try to highlight the attitudes of general public towards these types of activities.

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Avoid common mistakes on your manuscript.

Introduction

From the beginning of this century, public awareness on “academic integrity” and avoiding plagiarism has considerably increased. The concept is wilfully embraced by academics around the world and governments are in consultation with respective higher education organisations to curb this academic offence (Glendinning 2014 ). However, it is not clear whether similar focus has been made in the music industry. For many years, music industry is controlled by “customary laws”, which are not obligatory and therefore subject to violation (Stav 2014 ). In contrast, as a “creative art”, music is subject to Intellectual Property, and Copyright Laws. Music plagiarism is defined as using tune, or melody that would closely imitate with another author’s music without proper attribution (Keyt 1988 ; Stav 2014 ). Plagiarism is relevant to different musical styles in different ways. It may occur either by stealing a musical idea (a melody or motif) or sampling (a portion of one sound, or tune is copied into a different song). Melody (or motif) is a linear succession of musical tones which are composed of pitch (or memorable series of pitches) and rhythm (or even tone) (Music-Dictionary – www 1 n.d. ). Therefore, the listener would easily detect the “melody”, if it is plagiarised to produce another song. However, it is worth noting that melodies are often re-written in another language via collaborative partnerships. For example, in 2014, Indian music composer AR Rahman collaborated with American recording artist will.i.am and singer Cody Wise, to produce a single called “ It’s my birthday ” (www 2 n.d. ) which is based from a 1994 Tamil song “ Urvasi Urvasi ” (www 3 n.d. ) by AR Rahman, from the soundtrack of an Indian film. Although, it was alleged that will.i.am had plagiarised the song, it was later revealed (by both parties) as a collaborative effort.

One the other hand, sampling is simply using portions of one recording into another or clipping (removing) out portions, rearranging them to produce new music (Stav 2014 ). – Something similar to “patch-work” plagiarism. It would be often difficult to detect by common listeners. The latter is usually governed by agreements such as the Berne Convention for the Protection of Literary (BCPL), or Performances and Phonograms Treaties Implementation Act (PPTI) (found within World intellectual property organisation (WIPO) Copyright treaty- www 4 n.d. ). These treaties provide creators the means to control how artists creations (including musicians) are used, by whom, and on what terms. According to these conventions any artists may obtain prior authorisation for sampling usually by paying an upfront fee and/or agreeing to share the royalties to the original artist (Keyes 2014 ; McDonagh and Luke 2012). A good example of such agreements is the Holly Valances “ Kiss Kiss ”, (www 5 n.d. - released in 2002) an English language rewrite of Tarkan’s (Turkish singer) “ Şımarık ” (www 6 n.d. - originally composed by Sezen Aksu in 1997). Likewise, there is exemption for reusing/copying similar rhythm (known as “chord progression”), the order in which the base, chords and beats are played in a song. In other words, the base beat and chords can be nearly identical, and this would not be an issue. This is especially true in Carnatic music as it is based on different “ Thalas ” (i.e. rhythmic beat or strike) (Nettl 2010 ; Behrens 2004 ). As can be seen above, like any other copyright regulations, there is room for collaborative, pre-arranged sampling in music industry.

However, the act of music plagiarism is committed, if a composer (or artist) copies the melody or carries out unauthorised sampling; especially when two or more songs are matching with melody. In fact, several world-famous names within English pop, such as George Harrison (The Beatles), and the Gallagher brothers (Oasis) have been accused of “borrowing” musical tone, and/or rhythms from others (Matt Melis and Michael Roffmanon, January 2018 – www 7 n.d. ). There were some, memorable lawsuits against many American pop stars (www 7 n.d. ). Unlike the Western countries, the music industry in the East, especially in India has different domains. Those based on traditional music rhythms that are believed to be originated in ancient times. These include Carnatic (Southern India), folk (culture-specific) and Hindustani (Northern India) music. On other hand, music that is inter-woven within cinematic industry. This second type is mostly a mix of traditional and Western music.

Film industry has been thriving in India better than the Hollywood industry (The Indywood report, September 2016 ). The industry has been well established in different cities based on the languages (such as Hindi, Tamil, Telegu, Kannada Malayalam etc.). Almost all the Indian films have at least 4 to 8 songs, may they be duet, or be the ones with philosophical message. Unlike the traditional music, the cinematic music is extremely popular amongst the people. The industry has become profitable and many new (so called) “music directors/composers” are being born almost every year. Since the expectations of the general public for songs that are enjoyable and/or would make everlasting impressions are high, many music directors are seeking elsewhere to “borrow” tunes. Whilst a vast majority of Indian cinemagoers may not have noticed these plagiarised tunes or “songs that were written inspired by another tune”, some journalists and vigilant music lovers have started noticing these activities and publicising these on main media including YouTube®. In fact, the accusations within the social media and YouTube® covers songs (and composers) of entire cinema industry (including Hindi, Tamil, Telegu, Kannada, Malayalam etc.) However, these types of small-scale publicising have not resulted in a mass propaganda against these rogue music directors. Therefore, this study aims to investigate the extent of plagiaristic activities within Indian cinematic music industry. Since this is an initial study, we focussed on songs within one language.

Methodology

This retrospective study was carried out using YouTube® searches for “comparative videos” made by the vigilante music lovers and published news articles about accused/detected music plagiarism. The YouTube® searches were conducted from February 2018 to January 2019. Some of the vigilantes, music lovers, and sources closed to some composers were also interviewed to understand their reflective conscious views on this. Personal opinions about music plagiarism (within South-Indian Tamil) of 15 vigilantes/music lovers and 3 individuals from the music industry itself are reported herein (as phenomenology inspired analysis). This, together with authors own research on the extent of this theft, forms the basis of this initial study. In addition, as an investigative journalist, the first author carried out research on the extent of this music theft (rip-offs and sampling) within cinematic industry of India.

Although this type of music plagiarism is widespread within Indian cinematic industry, due to time constraints, this initial paper has focussed on one specific industry (one language - Tamil). The study was conducted under UNESCO’s ‘Norms of Journalistic Conduct’ (Press Council of India - UNESCO 2010 ).

Results and Discussion

A collection of cases (songs) that have been plagiarised by different music composers within Tamil cinema are summarised in Tables  1 and 2 with YouTube® links to original songs for comparison. Table 1 contains a compendium of plagiarised (or heavily sampled) songs after 1990 (recent songs). Likewise, Table 2 contains plagiarised Tamil songs from before 1990. As mentioned in methodology, the data was collected via YouTube® searches. As all authors do not have music expertise, we concentrated on songs that are easily recognisable similarities (i.e. for blatantly obvious ripped off music) by the listeners. In other words, we are not claiming this is an exclusive list of all plagiarised songs. Instead, the data presented here are the results of an initial attempt to highlight the extent of this unethical practice with Tamil cinema. Interestingly, we managed to discover songs from the famous and well-respected music composers namely Harris Jayaraj (HJ), Ilayaraja (IR), AR Rahman (ARR), Deva (D), MS Viswanathan (MSV) who have been historically known as “ creators of music in Tamil cinema ”. In fact, IR and ARR received an honorific title of “Music maestro”. IR is recognised as the first Asian to compose a full symphony with the Royal Philharmonic Orchestra in London (Symphony of Success – www 8 n.d. ). Yet, our research has shown similarities in their early melodies with other international songs. Equally, many upcoming music composers like Yuvan Sankar Raja (son of Ilayaraja), Anirudh Ravichander, and Iman have used other melodies (or samples) as the base for several of their compositions. Due to the fact this manuscript is intended to attract international audience and highlight the plagiaristic activities within Indian cinematic industry, we are discussing songs that are plagiarised (or sampled) from famous Western and other melodies and songs. This would aid the audience to understand the similarities between original and plagiarised versions. Readers are urged to compare the originals and plagiarised (sampled) version by listening to the links provided (in the online version of this manuscript).

Starting from the melody of a recent Tamil music video composed and released by HJ called ‘ Anange Sinungalama ’ (the first song highlighted in Table 1 ) on 14th of December 2018 (for a film called Dev), this resembles the 1983 hit ‘Billie Jean’ by Michael Jackson. In fact, different Indian stand-up comedians have ridiculed HJ’s copying of famous melodies to produce his own songs (www 8 n.d. ). The extent of his plagiaristic activities is so high that one stand-up comedian Alexander from Evam has joked that “ the music director is capable of being influenced by even the choir songs during Sunday mass ” (Indian Express, 2019 – www 9 n.d. ). HJ’s other hit song called “ June Ponal ” featured in Tamil film called “ Unnale unnale ” in 2007, which was simply copied from “ All Rise ” by Blue, a Western music group in 2001 (second song in Table 1 ). In addition, HJ is also famous for sampling; his sampling activities are so high that the beats of his own songs resemble each other. This was in fact ridiculed by another stand-up comedian called Jagan Krishnan, who went to the extent of sending his comedy video to the composer (www 10 n.d. ).

Our conversations with the whistle-blowers revealed that most of the mainstream media are turning a blind eye to his “ pathological plagiaristic behaviour ” (as put by one interviewee). We have also managed to study one of the videos in which HJ was interviewed (www 11 n.d. ), in which the interviewer questioning him about his high level of “sampling” within his own songs. His reply was “ that is my style, my trademark; people recognise me with that style……you can even call this as my own brand ”. Interestingly, the interviewer never questioned anything about the blatant plagiarised songs from several Western (and other) music artists. Main reason may be the fact that HJ has gained a reputation amongst general public. Many of his songs are hit records, not only due to the fact that the original melodies themselves were attractive but also many Indian cinema goers are prepared to overlook his plagiaristic activities and accept his music. Questioning a musician who is highly reputed and worshiped by millions of the cinemagoers would result in serious repercussions from his fans.

This is true for other famous music directors like IR, ARR and MSV. One music critic stated, “ our people are not that stupid, they all know these songs are copied from world famous melodies, yet they enjoy the satisfaction of listening them in their own language ” “ this is the reason they are ‘tolerating’ plagiarised music ”. One of HJ’s fans stated “ entertainment is different from scholarly activities ” he further warned us, “ cinema is an entertainment (so is the music), so treat them as they are; do not expect integrity; just enjoy the songs (or let us enjoy it) ”. Another HJ’s fans said, “ music is a global language, and there is always a possibility of similarities the melodies of two different songs, these are accidental – just enjoy the music ”. From these conversations it was clear that many of his fans are prepared to overlook plagiaristic activities. In fact, it was difficult for them to understand the integrity as well as copyright issues behind this theft.

Amongst the four famous Tamil music composers (namely HJ, IR, ARR and MSV), the latter two were careful when they mix or sample other music (their songs are listed in Tables 1 and 2 highlighted as blue and purple respectively). They either slightly changed the rhythm incorporating their own ideas or incorporated other tune in the middle of the song. The music maestro ARR has also copied from famous English and Arabic songs. The extent of his plagiaristic activities is limited, and he is clever enough to incorporate music “ripped off” from other songs. Therefore, it is difficult to prove with pinpoint accuracy. Yet our research has shown that some of his songs are created beyond sampling activity. On the other hand, Ilaiyaraja (IR), another music Maestro , has been in cinematic music industry since 1970’s. He has earned followers and fans from all over the world. In 2015, he has secured a court order against others using his works without his consent (www 12 n.d. ). Also, in 2017, IR went to such as extent of serving a legal notice (reminding copyright law) to one of his singers, Mr. SP Balasubramanian (SPB) for performing his (IR’s) compositions without his permission (Hindu 2017 ). Whilst IR is too careful about protecting his composition, he never bothered about copyrights of melodies that he copied from international artists. Our research has shown several of his early songs have been plagiarised from Western and other music videos and songs (highlighted in green in Tables 1 and 2 ).). One of our interviewees said, “ he was notorious in stealing two or more songs and mixing to avoid detection ”. He further added “ there are no internet those days, and the world were not as close as now ” “ This together with limited availability of international music to general public made it easier for these composers to get away with plagiarising ”. We also searched for plagiarised songs before 1990. In fact, we were able to detect plagiarised songs as far as 1954 onwards. Although the extent of plagiarised music was not found to be that widespread, which may be due to the fact that many of these songs were composed before the internet era, and we may not be able to detect them in the YouTube®.

Looking at the famous composers in previous era, we also managed to select some songs composed by the veteran music director late MSV (highlighted in purple in Table 2 ). He composed songs for over 700 Tamil films during his music career between 1960 and 2013.

As can be seen from the examples given in Table 2 , potentially plagiarised songs by MSV only contain a portion of the original melody; he then incorporates his own tune for the rest of his song, makes it difficult to prove. Apart from these, we have identified some plagiarised ancient songs by various composers when the Indian cinema was at its infancy. The oldest evidence of music plagiarism was detected in a film released in 1954 in a film called “ Rajee en Kanmani ” (the last song in Table 2 ). Its original song was originally composed in 1914 by a Spanish artist called José Padilla. It was interesting to note the melody is cleverly copied in the age when gramophone was the only source for music. Overall, within the duration of this study, we identified several different plagiarised (or heavily sampled) Tamil songs from different eras. We also checked to see whether any of these identified songs were either mere coincidence, reproduced with permission, or composed by obtaining exclusive rights or collaborations. Our searches have not produced any evidences for these. As stated in the introduction, some (but not all) of these composers have claimed that they have been influenced by the original tune. Indeed, we do accept the fact that the resemblances of two melodies are mainly because the combination of chords (or “ Thalas ” in Carnatic music) are limited (McDonagh 2012 ; Stav 2014 ). In fact, our analysis of notes and melodies shows that the songs listed herein resemble in substantial parts of the original music. It is also worth noting that in India, there are established laws on originality requirement and copyright within India (Nehaluddin and Chaturvedi 2013 ). However, it is not clear whether these laws are being abided by these composers. Therefore, we intend to bring public awareness by publishing this study, and indirectly show to those composers that the focus on music plagiarism is increasing.

As for “excuses” given by these composers, they varied from mere denial to blatant acceptances claiming, “ Nothing really comes from scratch ”. General public and investigative journalists have questioned these artists about some of these activities. Yet these incidences were either unreported or blacked out by the media. The most popular excuse is “ the director wanted me to use that melody, so I used it ”. Accused of blatant plagiarism, another artist tweeted “ I work with a lot of music producers worldwide and therefore I am influenced by their music ” (www 12 n.d. ). In fact, one interviewee noted many accused artists come with the excuse as “ I was inspired by the original song and it has affected my thoughts ”. Another contributing factor for this misconduct is the original Western artists, may never even know that their songs are being copied; making it easier to continue with these activities without any lawsuits.

None of the composers we contacted replied with any justification. It is understandable that their songs are popular amongst music lovers because they either do not know these songs being plagiarised (or sampled) or are happy to overlook this. Due to this fame, these composers are getting away with plagiarism.

Lastly but most importantly, we would like to point out, Dravidian culture has long standing esteem of producing original songs. Several cinema songs themselves were praised for their authenticity and obtained international awards. Quoting a Tamil cinema sources, the Wikipedia® has estimated over 5000 Tamil films were produced in the twentieth century alone (www 14 n.d. ; See also Velayutham 2008 ). Also, one of our interviewees estimated approximately 40 Tamil films per year are being released in the twenty-first century. Each film would usually have at least 4 to 5 songs. On the basis of this estimation, the proportion of plagiarised songs presented herein are negligible (roughly 0.6%). Therefore, these songs can only be considered as exception than norm. While authors agree that there may be other songs undetected for plagiarism, it is not fair to accuse all composers for plagiarism. We also wish to point out, that there are at least 20 different cinematic industries established in respective languages in India. Therefore, addressing the issue in all these industries would be a Herculean task. Therefore, this study only investigated the cinema music in one language. However, this does not mean there is no plagiarism in cinema music of other languages. As individuals who strongly believe in academic integrity and fair play, we felt, it is our duty to highlight these activities and we do believe this manuscript would enhance public awareness by highlighting the issue of “music plagiarism”.

Concluding Remarks

This preliminary investigation has identified an extensive list of plagiarised songs within one cinematic industry in India from 1954 until now. These songs have shown “beat-by-beat” similarities to the tones, and/or rhythms of the original songs. Whilst agreeing to the fact that some of these might be mere coincidences, or produced by inspirational impacts, the sheer similarities of these songs and their extent warrants further investigations. We have also highlighted the similarities of these music files (videos and/or audio recordings for comparison) and provided links (in the online version) for the readers/listeners to come to their own conclusions.

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www 5 (n.d.). https://www.youtube.com/watch?v=o3wS2tdlZtE – Accessed on 10 January 2019.

www 6 (n.d.). https://www.youtube.com/watch?v=c9r1Vfb51X8&list=RDc9r1Vfb51X8&start_radio=1 – Accessed on 10 th January 2019.

www 7 (n.d.). https://consequenceofsound.net/2018/01/10-famous-instances-of-alleged-music-plagiarism/ - Accessed on 10 March 2018.

www 8 (n.d.). https://rajasmusic.wordpress.com/2013/12/11/a-symphony-of-success-ilaiyaraaja-interview-in-1993/ - Accessed on 30 March 2019.

www 9 (n.d.). http://www.newindianexpress.com/entertainment/tamil/2019/jan/17/this-harris-jayaraj-song-from-dev-may-sound-familiar-to-a-michael-jackson-fan-1926352.html - Accessed on 12 March 2019.

www 10 (n.d.). https://www.youtube.com/watch?v=n0xhIlOJ-JQ – Accessed on 10 February 2019.

www 11 (n.d.). https://www.youtube.com/watch?v=cmpO%2D%2D7LADw - Accessed on 24 February 2019.

www 12 (n.d.). https://www.thehindu.com/news/cities/chennai/ilayaraja-asserts-his-copyright-over-songs/article6960931.ece - Accessed in India on 10 December 2018.

www 13 (n.d.). https://regional.pinkvilla.com/tamil/news/kalyanu-vayasu-copy-sannans-dont-lie-anirudh-ravichander-hits-back-haters/ - Accessed on 30 March 2019.

www 14 (n.d.). https://en.wikipedia.org/wiki/Tamil_cinema - Accessed on 30 March 2019.

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Acknowledgements

Authors wish to thank all vigilantes who have directly or indirectly contributed to this article by highlighting the issues and taking part in the interviews.

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Umamaheswaran, P., Ramachandran, S. & Sivasubramaniam, S.D. Retrospective Analysis of Plagiaristic Practices within a Cinematic Industry in India – a Tip in the Ocean of Icebergs. J Acad Ethics 18 , 143–153 (2020). https://doi.org/10.1007/s10805-020-09360-7

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Ed Sheeran Wins ‘Shape of You’ Plagiarism Case

The singer “neither deliberately, nor subconsciously” stole from another songwriter when writing his 2017 hit, a British judge ruled.

music plagiarism essay

By Alex Marshall

LONDON — Ed Sheeran did not steal from another songwriter when he wrote his 2017 megahit “ Shape of You ,” according to a highly anticipated court ruling here on Wednesday.

Justice Zacaroli, the judge overseeing the case, said “Mr. Sheeran neither deliberately nor subconsciously copied” the track “Oh Why,” by the British songwriter Sami Chokri, who records as Sami Switch.

There was “no more than speculative” evidence that Mr. Sheeran had even ever heard “Oh Why,” Justice Zacaroli added, dismissing Mr. Chokri’s claim of copyright infringement.

The plagiarism case was only the latest involving a prominent songwriter , but recording industry executives have been watching the case closely, because of its potential to bolster other claims. Mr. Sheeran still faces a pending trial in New York over another of his hits, “Thinking Out Loud,” which won song of the year at the 2016 Grammys; some of the owners of the rights to Marvin Gaye’s song “Let’s Get It On” accuse Mr. Sheeran of copying it.

At the heart of the case in London was a short passage in “Shape of You,” which topped charts worldwide and currently stands as the most streamed song on Spotify, with over three billion plays. In the track, Mr. Sheeran repeatedly sings the hook “Oh, I,” in a rising pentatonic melody, which Mr. Chokri claims was based on a section of his song “ Oh Why ,” which was released in 2015 but had comparatively little success.

Justice Zacaroli’s ruling came after an 11-day trial at the High Court in London in March, which was followed closely by the news media. Mr. Sheeran was in court throughout, and sang from the witness stand while giving evidence. At one point in the trial, Mr. Sheeran’s legal team accidentally played one of his unreleased songs, prompting Mr. Sheeran, shocked, to ask his lawyers, “How did you get that?” according to a BBC News report .

The case dates to May 2018, when Mr. Sheeran and his “Shape of You” co-authors, who include Johnny McDaid of the band Snow Patrol, asked the High Court in London to declare that they had not copied Mr. Chokri’s work. Their claim arose after Mr. Chokri and a co-author notified the Performing Rights Society, a British body that pays song royalties, that they should be credited as songwriters on “Shape of You.” The society then suspended all payments to Mr. Sheeran and his co-writers.

Soon after Mr. Sheeran took action, Mr. Chokri and his co-author introduced their own legal claim, accusing Mr. Sheeran of copyright infringement.

During the hearing, Mr. Chokri’s legal team tried to portray Mr. Sheeran as a habitual plagiarist. Andrew Sutcliffe, a lawyer for Mr. Chokri, said Mr. Sheeran was “undoubtedly very talented,” according to a report in The Times of London , but added: “He is also a magpie. He borrows ideas and throws them into his songs.” Mr. Sutcliffe claimed that Mr. Sheeran only sometimes credited the songwriters that he borrowed from.

After “Shape of You” was released, for example, the song’s credits were amended to add the three writers of TLC’s 1999 hit “No Scrubs,” whose melody, as fans noted at the time, bore a resemblance to parts of “Shape of You.”

A lawyer for Mr. Sheeran told the court that Mr. Chokri’s song had received only 12,914 plays on YouTube in the two years following its release, and had been played only twice on British radio, meaning few people had a chance to hear it.

But Mr. Chokri, during testimony, claimed that he knew Mr. Sheeran personally and that he had once met him at a branch of Nando’s, a chicken restaurant. Mr. Sheeran must have heard the song “through the many points of access that me and my team have shared,” Mr. Chokri said, according to The Times of London .

Mr. Sheeran, in his own evidence, denied having met Mr. Chokri or copying the song. At one point in the trial he sang parts of Nina Simone’s “Feeling Good” and Blackstreet’s “No Diggity” to demonstrate that the disputed melody in “Shape of You” was common in pop music.

In his ruling, Justice Zacaroli wrote that while Mr. Chokri’s shock at hearing “Shape of You” was understandable, given the similarities between the two songs, such coincidences “are not uncommon.” Even if Mr. Sheeran had been looking for inspiration for the track, he added, Mr. Chokri’s track was “far from an obvious source.”

Shortly after the ruling, Mr. Sheeran posted a clip to his Instagram account saying that as much as he was “happy with the result,” he felt “claims like this are way too common now.”

“There’s only so many notes and very few chords used in pop music,” Mr. Sheeran said, adding that, given that, “coincidences are bound to happen if 60,000 songs are released every day on Spotify.” The culture of lawsuits, Mr. Sheeran said, “really does have to end.”

Ben Sisario contributed reporting from New York.

Alex Marshall is a European culture reporter, based in London. More about Alex Marshall

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  • Knowledge Base

What Is Plagiarism? | Definition & Examples

Plagiarism means using someone else’s work without giving them proper credit. In academic writing, plagiarizing involves using words, ideas, or information from a source without citing it correctly. In practice, this can mean a few different things.

Table of contents

Common questions about plagiarism, more tools and resources for avoiding plagiarism, frequently asked questions about plagiarism.

It’s easy to understand why you shouldn’t buy essays, but students often struggle with the details of quoting , paraphrasing , and citing sources . Below, we address some questions and misconceptions students often have about plagiarism.

I need to quote and paraphrase a lot. Won’t my paper be full of distracting citations?

It’s true that some papers do feature a lot of citations. There are ways to reduce clutter by citing more efficiently, such as:

  • Combining multiple citations into one set of parentheses (usually separated by semicolons )
  • Not repeating the full citation when you cite the same source multiple times in a row
  • Using “ ibid. ” to indicate a repeated citation (in certain styles)
  • Omitting citations for information that is common knowledge

Do I need to cite a certain number of sources? Can citing too much be a bad thing?

There’s no fixed number of sources you should cite. Your use of sources should be based on strengthening your argument, not meeting a quota. A high number of citations isn’t inherently a good or bad thing. Some types of academic text (e.g., a literature review ) are more likely to cite a lot of sources than others.

When you do think you’ve cited too much, it’s worth considering whether you need all the information you’ve included. All information should directly contribute to your argument, not just be tangentially related.

One thing you should avoid is quoting too much. If large portions of your text consist of someone else’s words, it distracts from your own arguments. It’s usually better to paraphrase unless you’re specifically analyzing the language of the source (e.g., in literary analysis ).

Is it better to just avoid using sources so I don’t risk accidental plagiarism?

No, using sources is an essential part of academic writing . Academic research is an ongoing conversation between researchers. Drawing on other sources, and positioning your own ideas in relation to them, is not optional.

But it’s understandable to be concerned about plagiarism. If you’re worried about the possibility of accidental plagiarism, make sure to:

  • Quote and paraphrase sources correctly
  • Manage and cite your sources using a citation generator
  • Use a plagiarism checker before submitting your work to detect any problems
  • Use generative AI tools responsibly (outputs may be detected by an AI detector )

Is paraphrasing a kind of plagiarism?

No, paraphrasing is just a way of incorporating information from a source into your text by putting it into your own words. As long as you cite the source correctly, paraphrasing is the best way to incorporate information in most cases.

However, paraphrasing can be considered plagiarism if you:

  • Don’t cite the source of the information, or cite it incorrectly
  • Phrase the information in a way that’s too close to the original (e.g., just swapping out a couple of words instead of reformulating the sentence)

Prevent plagiarism. Run a free check.

Scribbr offers a variety of tools and services designed to help you with citations and plagiarism checking, including the best plagiarism checker available.

Plagiarism Checker

Citation Generator Citation Checker Citation Editing

And you can check out the in-depth articles below to learn more about the different kinds of plagiarism, its consequences, and how to avoid it:

  • Types of plagiarism
  • Self-plagiarism
  • How to avoid plagiarism
  • Consequences of plagiarism
  • Academic integrity vs. academic dishonesty
  • Common knowledge
  • How plagiarism checkers work
  • Examples of plagiarism
  • Plagiarism resources for educators

The consequences of plagiarism vary depending on the type of plagiarism and the context in which it occurs. For example, submitting a whole paper by someone else will have the most severe consequences, while accidental citation errors are considered less serious.

If you’re a student, then you might fail the course, be suspended or expelled, or be obligated to attend a workshop on plagiarism. It depends on whether it’s your first offense or you’ve done it before.

As an academic or professional, plagiarizing seriously damages your reputation. You might also lose your research funding or your job, and you could even face legal consequences for copyright infringement.

Paraphrasing without crediting the original author is a form of plagiarism , because you’re presenting someone else’s ideas as if they were your own.

However, paraphrasing is not plagiarism if you correctly cite the source . This means including an in-text citation and a full reference, formatted according to your required citation style .

As well as citing, make sure that any paraphrased text is completely rewritten in your own words.

Accidental plagiarism is one of the most common examples of plagiarism . Perhaps you forgot to cite a source, or paraphrased something a bit too closely. Maybe you can’t remember where you got an idea from, and aren’t totally sure if it’s original or not.

These all count as plagiarism, even though you didn’t do it on purpose. When in doubt, make sure you’re citing your sources . Also consider running your work through a plagiarism checker tool prior to submission, which work by using advanced database software to scan for matches between your text and existing texts.

Scribbr’s Plagiarism Checker takes less than 10 minutes and can help you turn in your paper with confidence.

Plagiarism can be detected by your professor or readers if the tone, formatting, or style of your text is different in different parts of your paper, or if they’re familiar with the plagiarized source.

Many universities also use plagiarism detection software like Turnitin’s, which compares your text to a large database of other sources, flagging any similarities that come up.

It can be easier than you think to commit plagiarism by accident. Consider using a plagiarism checker prior to submitting your paper to ensure you haven’t missed any citations.

The accuracy depends on the plagiarism checker you use. Per our in-depth research , Scribbr is the most accurate plagiarism checker. Many free plagiarism checkers fail to detect all plagiarism or falsely flag text as plagiarism.

Plagiarism checkers work by using advanced database software to scan for matches between your text and existing texts. Their accuracy is determined by two factors: the algorithm (which recognizes the plagiarism) and the size of the database (with which your document is compared).

Is this article helpful?

Other students also liked.

  • How to Avoid Plagiarism | Tips on Citing Sources
  • Types of plagiarism and how to recognize them
  • What Is Self-Plagiarism? | Definition & How to Avoid It

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  • Comparing Plagiarism Checker Tools | Methods & Results
  • Consequences of Mild, Moderate & Severe Plagiarism
  • Examples of Plagiarism & Tips for Avoiding It
  • How Do Plagiarism Checkers Work?
  • What Is Common Knowledge? | Definition & Examples

What is your plagiarism score?

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How Can I Check Music For Plagiarism?

Music will most likely be part of your course if you are a literature or art student. Whether analyzing or learning its style, you will interact with the different song genres. And with music being universal, you may find yourself plagiarizing it either knowingly or unknowingly.

But how can you check music for plagiarism as a student? And are there any tools that can help you avoid being labeled a plagiarist when writing your essays and research paper?  

This article will show you the how and other related aspects of music plagiarism and help you avoid falling into the ditch of plagiarists.

How Can I Check Music For Plagiarism?  

There are several ways to check if a song exists or not. After carrying out your research or writing a piece of music, follow these tips to know if a song s original or not;

Listen Closely

It might seem obvious, but one of the simplest ways to check for plagiarism is simply by listening closely to the song. Are there any unique elements? Is there anything that sounds like it was lifted from another song? If so, that could mean the piece or parts of it exists, and you must cite it and not pass it off as yours.

Use a Music Software Program

Several software programs available today allow you to search through thousands of songs at once to see if yours was copied or vice-versa. These programs can scan hundreds of thousands of songs per second to compare them against one another using computer algorithms.

Plagiarism Checker Software

Several online tools allow you to check whether a song is original. These tools check for similarities between two songs and determine whether they are too similar for coincidence.  

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Some of these tools also analyze the lyrics and determine whether they contain similar words to those in other songs. If so, this could indicate possible plagiarism as well.

How Can You Avoid Plagiarism In Music?

To avoid plagiarism in music, you should pay attention to the following;

Get permission

Before using someone else’s content, seek their permission or quote them. This will help you avoid the consequences of plagiarism if your professor notes you have used someone’s music but not acknowledged them.

Do your research

The first thing you need to do is research the music’s composer or owner. This will help you when quoting it correctly.

Don’t copy other people’s work

One way to avoid plagiarism in music is not to copy other people’s work and pose it as yours. Music is an art, and it is a very personal one. If you must copy, use quotation marks. You can also paraphrase but avoid doing it too closely. Instead, quote directly from a source when possible with proper citation

If your professor has asked you to compose a draft piece of music, you can avoid plagiarism through;

  • Not using the same chords.
  • Not using the same melody.
  • Not using the same lyrics.
  • Not using the same rhythm.

How Do You Check If A Song I Wrote Already Exists?

If you’re writing a song and want to know if it already exists, there are a few different ways to check.

The first is to do a Google search for your song title and your artist name. Ensure it’s an exact match since other variations might not appear in the results. If you find a song that is similar to yours, then you might have some legal issues to deal with. You can also search databases like BMI and ASCAP, which list songs registered with them.

Many websites allow users to upload music and find song matches automatically. MusicXray, MusicBrainz, SongKong and more. These sites provide free access to their services but only offer basic features unless you upgrade to one of their paid plans or memberships, so make sure before jumping in headfirst.

Another way is to check the Copyright Office website, which lists all songs registered. You can search by title, author and record label. If your title appears in this database, someone else has already written that song.

You can also search YouTube for videos of people singing their versions of your song idea. If any of them have published their videos online, they have had their music copyrighted.

Can You Accidentally Plagiarize A Song?

It is possible to accidentally plagiarize a song if you do not perform all the necessary searches to determine existing ones.

You might be surprised to learn that it is possible to plagiarize a song accidentally. A songwriter can plagiarize a piece when they are writing their song accidentally. This happens because many times, songs sound similar. This is because there are only so many ways that music can be written. So, if you are writing your original music and taking it from an existing song, there is a chance that you will accidentally use some of the same elements as other songs.

If you have been accused of plagiarizing a song and have done nothing wrong, then it may be time to contact your professor. However, you must prove that your work was not copied from another source. It is also vital to show that each element of your work was unique and original.

If you want to ensure that your research on music is original, we recommend checking for plagiarism before sending the paper to the professor. Plagiarizing a song will hurt its creators and their reputation and damage yours, especially if you are part of an established artist or band.

Education Blog

Avoiding unintentional plagiarism: common pitfalls and how to escape them.

music plagiarism essay

Source: https://unsplash.com/photos/person-sitting-front-of-laptop-mfB1B1s4sMc

Plagiarism, the act of using someone else’s work or ideas without proper acknowledgment, is a serious offense in the academic world. It can tarnish a student’s reputation, result in failing grades, and even lead to disciplinary action. While most students understand the importance of avoiding deliberate plagiarism, unintentional plagiarism can be a trickier beast. 

It often sneaks up on students unaware of the nuances of academic integrity or how to cite sources properly. Understanding what constitutes unintentional plagiarism and how to avoid it is crucial for anyone in secondary education, pursuing a master’s, or navigating the complexities of college.

The Essay Writer’s Role

The role of an essay writer , be it a student crafting a college essay or a professional offering guidance, is not just to produce text but to weave in the ideas, data, and voices of others in a way that respects the principles of academic integrity. 

This includes understanding how to navigate the Apple education store for apps that can help manage citations or looking at essay examples to see how seasoned essay writers incorporate and credit sources. The goal is to build upon what has been done before without falling into the trap of unintentionally claiming it as one’s own.

What Is Unintentional Plagiarism and When Does It Occur?

Unintentional plagiarism typically occurs when students fail to paraphrase, quote, or cite their sources properly. This can happen for several reasons, such as misunderstanding the rules of citation, poor note-taking, or simply not realizing that a specific idea requires attribution. 

For students transitioning from secondary education to the demands of a college of education or any higher education institution, the expectations around academic writing and integrity significantly increase. The shift requires a deeper understanding of engaging with and referencing existing knowledge within one’s work.

music plagiarism essay

Source: https://unsplash.com/photos/person-using-laptop-computer-Hcfwew744z4

Common Pitfalls in Avoiding Unintentional Plagiarism

  • Poor Paraphrasing: Simply changing a few words from a source does not constitute proper paraphrasing. Effective paraphrasing involves completely rewriting the source material in your own words while fully understanding and conveying the original meaning.
  • Overlooking Citations: Whether it’s a direct quote, paraphrase, or summary, failing to cite your source is a path to unintentional plagiarism. Each educational institution, whether it’s a secondary school or college, typically adheres to specific citation styles (APA, MLA, Chicago, etc.) that guide how to properly credit sources.
  • Mismanaged Notes: During research, it’s easy to mix up your ideas with those you’ve read about. Keeping detailed notes and clearly marking where ideas are sourced can help prevent this mix-up.
  • Over-reliance on Sources: While research is foundational to academic writing, leaning too heavily on the ideas of others without providing your analysis or synthesis can lead to a paper that lacks original thought and inadvertently plagiarizes.

Strategies for Escaping These Pitfalls

  • Educate Yourself: Familiarize yourself with what constitutes plagiarism and the specific citation rules for your field of study. Many colleges offer resources and workshops on academic writing and integrity.
  • Use Technology Wisely: Leverage tools available through the app store or other platforms that can help you organize your research, manage citations, and check your work for potential plagiarism.
  • Practice Paraphrasing: Regularly practice rewriting sentences and paragraphs in your own words. This not only helps avoid plagiarism but also strengthens your overall writing skills.
  • Seek Feedback: Don’t hesitate to ask for advice or feedback. Whether it’s from peers, tutors, or professional essay writers, getting a second opinion can help you spot and correct unintentional plagiarism before submission.

Embracing Originality in Your Work

The journey from what is secondary education to higher levels, like a college of education or a master’s program, is filled with opportunities to develop and express your original thoughts. Embracing originality isn’t just about avoiding plagiarism; it’s about pushing the boundaries of your knowledge and contributing new ideas to your field. 

Start by engaging deeply with your subjects, asking questions, and allowing your curiosity to guide your research. This approach not only enriches your learning experience but also naturally steers you away from unintentionally mimicking others’ work.

Building Confidence in Citation

Many students fear the citation process, worrying that a mistake could lead to accusations of plagiarism. However, citation is simply a skill, and like all skills, it improves with practice. Begin by exploring resources offered by your institution, such as the college essay examples provided by many colleges, which can serve as practical guides for proper citation. 

Additionally, consider using citation management tools recommended by your institution’s library. These tools can simplify the process, ensuring that you give credit where it’s due accurately and consistently.

Developing a Research Strategy

A solid research strategy is your best defense against unintentional plagiarism. This involves more than just gathering sources; it requires a systematic approach to note-taking, organizing your thoughts, and distinguishing between your ideas and those you’ve read about. 

Techniques such as color-coding notes or maintaining separate digital folders for different projects can help organize your research. Moreover, regularly reviewing your notes and sources can reinforce your understanding of the material, reducing the likelihood of unintentional plagiarism.

Seeking Support When Needed

There’s no shame in seeking support when you’re struggling with academic writing. Whether it’s a tutor, a mentor, or an essay writer service, getting help when you need it is a sign of responsibility, not weakness. 

For instance, if you’re grappling with how to integrate sources into your paper without plagiarizing, a session with a writing tutor can provide clarity and build your skills. 

Similarly, if you’re overwhelmed with coursework and concerned about meeting deadlines without compromising integrity, exploring services that offer guidance on structuring and developing essays can be invaluable.

Final Thoughts

Unintentional plagiarism is a common hurdle for students at all levels of education, from those completing their secondary education to even those enrolled in a master’s of education program. However, it is entirely avoidable with awareness, diligence, and the right strategies. 

By educating yourself on the rules of academic integrity, meticulously managing your research and citations, and seeking out resources and support, you can ensure your academic work is ethical and original. Remember, the aim of academic writing is not just to showcase what you’ve learned from others but to contribute your own voice to the ongoing academic conversation.

Plagiarism Examples and Music Plagiarism Laws

Music plagiarism is when copyrighted music, beats, chorus or lyrics without the consent of the legal copyright holder are used without permission. Plagiarism is the legal term for copying another person’s or an entity’s creative work and passing it off as original material. The central topic in the music industry is copyright law. I agree that copyright law is valuable because it sheds light on the difficult problem that artists are having when a copyright is infringed by plagiarism.

There have been several lawsuits from the past and present. Each lawsuit is similar with the nature of the infringement, why it is or is not plagiarism, and what the consequences were if it was plagiarized. Those unfamiliar with infringement cases may be interested to know that it basically shows that the defendant not only had access to the song, but also that the two songs are substantially similar.

The same is when you’re writing your academic paper. So, don’t forget to check if an essay is plagiarized!

One of the hardest parts of creating a hit single is laying down a catchy melody.

Some of the most popular bands in music history have recycled some of their melodies and used them in many songs. The melodies may be repeated, but the artist who owns the copyright to a song can alter it in any way they want. The problems is when bands sample another group’s music without their permission. It can be hard to determine if a song has been violated but, in other songs the rip off is clear.

music plagiarism essay

Proficient in: Communication

“ Really polite, and a great writer! Task done as described and better, responded to all my questions promptly too! ”

 When it comes to the topic of musical plagiarism, most of us will agree that it is the theft of another person’s writings or ideas. According to Washington State University Publishing, “Composing a song that is substantially similar to another song you have heard and representing to others that it is your original work is considered plagiarism”. The essence of this quote argument is that when someone is taking a portion of one sound recording and reusing it while representing it as their own original work, that is considered musical plagiarism.

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  • 05 February 2024

First passages of rolled-up Herculaneum scroll revealed

  • Jo Marchant 0

Jo Marchant is a science journalist based in London.

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Three rows of yellow papyrus with black writing in columns, on a black background.

Text from the Herculaneum scroll, which has been unseen for 2,000 years. Credit: Vesuvius Challenge

A team of student researchers has made a giant contribution to solving one of the biggest mysteries in archaeology by revealing the content of Greek writing inside a charred scroll buried 2,000 years ago by the eruption of Mount Vesuvius. The winners of a contest called the Vesuvius Challenge trained their machine-learning algorithms on scans of the rolled-up papyrus, unveiling a previously unknown philosophical work that discusses the senses and pleasure. The feat paves the way for artificial intelligence (AI) techniques to decipher the rest of the scrolls in their entirety, something that researchers say could have revolutionary implications for our understanding of the ancient world.

music plagiarism essay

AI reads text from ancient Herculaneum scroll for the first time

The achievement has ignited the usually slow-moving world of ancient studies. It’s “what I always thought was a pipe dream coming true”, says Kenneth Lapatin, curator of antiquities at the J. Paul Getty Museum in Los Angeles, California. The revealed text discusses sources of pleasure including music, the taste of capers and the colour purple. “It’s an historic moment,” says classicist Bob Fowler at the University of Bristol, UK, one of the prize judges. The three students, from Egypt, Switzerland and the United States, who revealed the text share a US$700,000 grand prize.

The scroll is one of hundreds of intact papyri excavated in the eighteenth century from a luxury Roman villa in Herculaneum, Italy. These lumps of carbonized ash — known as the Herculaneum scrolls — constitute the only library that survives from the ancient world, but are too fragile to open.

The winning entry, announced on 5 February, reveals hundreds of words across 15 columns of text, corresponding to around 5% of a scroll. “The contest has cleared the air on all the people saying will this even work,” says Brent Seales, a computer scientist at the University of Kentucky, Lexington, and co-founder of the prize. “Nobody doubts that anymore.”

Twenty-year mission

In the centuries after the scrolls were discovered, many people have attempted to open them, destroying some and leaving others in pieces. Papyrologists are still working to decipher and stitch together the resulting, horribly fragmented, texts. But the chunks with the worst charring — the most hopeless cases, adding up to perhaps 280 entire scrolls — were left intact. Most are held in the National Library in Naples, Italy, with a few in Paris, London and Oxford, UK.

A carbonized scroll rests on weighing scales.

This Herculaneum scroll was burnt and buried by an eruption of Mount Vesuvius in AD 79. Credit: Vesuvius Challenge

Seales has been trying to read these concealed texts for nearly 20 years. His team developed software to “virtually unwrap” the surfaces of rolled-up papyri using 3D computed tomography (CT) images. In 2019, he took two of the scrolls from the Institut de France in Paris to the Diamond Light Source particle accelerator near Oxford to make high-resolution scans.

Mapping the surfaces was time consuming, however, and the carbon-based ink used to write the scrolls has the same density as papyrus, so it was impossible to differentiate in CT scans. Seales and his colleagues wondered whether machine-learning models might be trained to ‘unwrap’ the scrolls and distinguish the ink. But making sense of all the data was a gigantic task for his small team.

Seales was approached by Silicon Valley entrepreneur Nat Friedman, who had become intrigued by the Herculaneum scrolls after watching a talk by Seales online. Friedman suggested opening the challenge to contestants. He donated $125,000 to launch the effort and raised hundreds of thousands more on Twitter, and Seales released his software along with the high-resolution scans. The team launched the Vesuvius Challenge in March 2023, setting a grand prize for reading 4 passages, of at least 140 characters each, before the end of the year.

Key to the contest’s success was its “blend of competition and cooperation”, says Friedman. Smaller prizes were awarded along the way to incentivize progress, with the winning machine-learning code released at each stage to “level up” the community so contestants could build on each other’s advances.

The colour purple

A key innovation came in the middle of last year, when US entrepreneur and former physicist Casey Handmer noticed a faint texture in the scans, similar to cracked mud — he called it “crackle” — that seemed to form the shapes of Greek letters. Luke Farritor, an undergraduate studying computer science at the University of Nebraska–Lincoln, used the crackle to train a machine-learning algorithm, revealing the word porphyras , ‘purple’, which won him the prize for unveiling the first letters in October . An Egyptian computer-science PhD student at the Free University of Berlin, Youssef Nader, followed with even clearer images of the text and came second.

A team of researchers used machine learning to image the shapes of ink on the rolled-up scroll. Credit: Vesuvius Challenge

Their code was released with less than three months for contestants to scale up their reads before the 31 December deadline for the final prize. “We were biting our nails,” says Friedman. But in the final week, the competition received 18 submissions. A technical jury checked entrants’ code, then passed 12 submissions to a committee of papyrologists who transcribed the text and assessed each entry for legibility. Only one fully met the prize criteria: a team formed by Farritor and Nader, along with Julian Schilliger, a robotics student at the Swiss Federal Institute of Technology in Zurich.

The results are “incredible”, says judge Federica Nicolardi, a papyrologist at the University of Naples Federico II. “We were all completely amazed by the images they were showing.” She and her colleagues are now racing to analyse the text that has been revealed.

Music, pleasure and capers

The content of most of the previously opened Herculaneum scrolls relates to the Epicurean school of philosophy, founded by the Athenian philosopher Epicurus, who lived from 341 to 270 bc . The scrolls seem to have formed the working library of a follower of Epicurus named Philodemus. The new text doesn’t name the author but from a rough first read, say Fowler and Nicolardi, it is probably also by Philodemus. As well as pleasurable tastes and sights, it refers to a figure called Xenophantus, possibly a flute-player of that name mentioned by the ancient authors Seneca and Plutarch, whose evocative playing apparently caused Alexander the Great to reach for his weapons.

Lapatin says the topics discussed by Philodemus and Epicurus are still relevant: “The basic questions Epicurus was asking are the ones that face us all as humans. How do we live a good life? How do we avoid pain?” But “the real gains are still ahead of us”, he says. “What’s so exciting to me is less what this scroll says, but that the decipherment of this scroll bodes well for the decipherment of the hundreds of scrolls that we had previously given up on.”

There is likely to be more Greek philosophy in the scrolls: “I’d love it if he had some works by Aristotle,” says papyrologist and prize judge Richard Janko at the University of Michigan in Ann Arbor. Meanwhile, some of the opened scrolls, written in Latin, cover a broader subject area, raising the possibility of lost poetry and literature by writers from Homer to Sappho. The scrolls “will yield who knows what kinds of new secrets”, says Fowler. “We’re all very excited.”

The achievement is also likely to fuel debate over whether further investigations should be conducted at the Herculaneum villa, entire levels of which have never been excavated. Janko and Fowler are convinced that the villa’s main library was never found, and that thousands more scrolls could still be underground. More broadly, the machine-learning techniques pioneered by Seales and the Vesuvius Challenge contestants could now be used to study other types of hidden text, such as cartonnage, recycled papyri often used to wrap Egyptian mummies.

The next step is to decipher an entire work. Friedman has announced a new set of Vesuvius Challenge prizes for 2024, with the aim of reading 90% of a scroll by the end of the year. But in the meantime, just getting this far “feels like a miracle”, he says. “I can’t believe it worked.”

Nature 626 , 461-462 (2024)

doi: https://doi.org/10.1038/d41586-024-00346-8

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  1. Plagiarism Examples and Music Plagiarism Laws Free Essay Example

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