music plagiarism essay

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Knowing how to write a college essay is a useful skill for anyone who plans to go to college. Most colleges and universities ask you to submit a writing sample with your application. As a student, you’ll also write essays in your courses. Impress your professors with your knowledge and skill by using these great essay writing tips.

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Most college essays ask you to answer a question or synthesize information you learned in class. Review notes you have from lectures, read the recommended texts and make sure you understand the topic. You should refer to these sources in your essay.

Plan Your Essay

Many students see planning as a waste of time, but it actually saves you time. Take a few minutes to think about the topic and what you want to say about it. You can write an outline, draw a chart or use a graphic organizer to arrange your ideas. This gives you a chance to spot problems in your ideas before you spend time writing out the paragraphs.

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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.

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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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First Prize Essay - Plagiarism In Music

Frederick George Lippert, of Phoenixville, Pa., was born in 1851, in Leipsic, Germany. He grew up in a musical atmosphere, which developed in him early an intense love for music. He writes of himself: “When but a small boy, I was allowed, one Good Friday, to help with my soprano voice to swell the great chorus of 400 voices performing in grand old St. Thomas’ Church, under Carl Reinecke ’s baton, Bach ’s “Passion music according to St. Matthew,” from the same gallery where, more than a hundred years before, the immortal Johann Sebastian Bach himself used to preside at the organ. Here, too, I saw Franz Liszt conduct his oratorio, “Die heilige Elisabeth,” and every Saturday afternoon that I could free myself I came here to listen to the motet-singing of the famous boys’ choir of St. Thomas’ School under the direction of its venerable cantor, Moritz Hauptmann.”

After graduating from the preparatory school, Mr. Lippert went to Dresden. Here, too, he put himself in touch with a circle of music-loving people, central among whom was Edmund Kretschmer, court organist and composer of the opera “Die Folkunger” and many choral works, who, at the same time, conducted the academic glee club, “Erato,” of the Polytechnic students, of which Mr. Lippert was an enthusiastic member.

In 1873 Mr. Lippert came to this country, in which he has remained up to the present time. Mr. Lippert, assisted by his wife, some years ago founded the “Euterpean Club,” an organization for the cultivation of high class music, vocal and instrumental. During several seasons, the “Euterpean” recitals, held at the Phoenix Club House once a month, have proved a signal success, both musically and socially.

“Thou shalt not steal!”

It is much easier to raise the charge of plagiarism than to substantiate it. For are we not all plagiarists in our sayings and doings? Do we not, through early education and association, through reading, nay, through the visible example of our elders, imbibe ideas which we do not hesitate to express as our own? Do we not unconsciously reflect the opinion of our daily paper, whether in politics, sporting matters, the drama, art, or music,—little thinking that we are mere plagiarists of an editor who, in turn, may be plagiarizing some one else? We can not ignore the fact that, owing to our human organization, we stand on the shoulders of our fathers, just as they stood on those of preceding generations.

All knowledge is handed down continually by older heads to younger ones. In the world’s libraries are stored up the accumulated knowledge and experience of bygone generations and eras, furnishing us with innumerable suggestions. The easier the access is made

to the means of absorbing the ideas and opinions of those gone before us, the less frequent becomes real originality of thought and speech. The same is true of music. When we reflect what an immense variety of musical ideas the student has to assimilate in his studies, the wonder is not that there should be so much plagiarism, but that there is so little!

The old adage, “There is nothing new under the sun,” has a good deal of truth in it. This we realize when, in listening to a new work of music, we encounter ideas in it that seem quite familiar to some of us, because those ideas have dwelt, in a semi-conscious existence, in our brains before, without being given utterance by us. It is the prerogative of genius, to voice and waken to life what has lain dormant in the minds of the noblest and best of our race.

How a suggestion is sometimes taken up by a master mind may be shown by the following example: A Beethoven hears, somewhere in early youth, a folk song, leaving a faint impression upon his mind. Many years have elapsed, when the “giant” needs a theme for the andante of his Second Symphony (in D major). Suddenly that long-forgotten bit of melody rises up in his memory. It is seized and worked up into an immortal orchestral movement of transcendent beauty. Is there any one who would, for a moment, question Beethoven ’s ability to invent a theme when he needed one? Was composer ever possessed of a more robust originality?

The identical old folk-song may have hovered about Moritz Moszkowski’s brain when he wrote his tender melody, “Deutsch,” in the suite, “Aus aller Herren Landern.” And yet, who would call him a plagiarist for that? Do we not admire Edvard Grieg for the use he makes in his compositions of his native Norwegian folksongs that supply him with suggestions for his melodies, and his harmonies as well?

What is it that makes Chopin , with all his elegant grace, so powerful, if not the fact that his art is the reflection of the innermost soul of the Polish race? Should we charge him with plagiarism because he worked into some of his “Valses” and into his First Concerto (in E-minor) little bits of Swiss airs which had delighted his ear? Certainly not. But where should the line be drawn?

When a composer appropriates a suggestion emanating from some outside source, and, after digesting it, so to speak, stores it away in his memory with the thousands of other ideas which he holds as his inalienable mental property, to be drawn upon at will; when, in the act of mental production, he searches the recesses of his memory for an idea that will meet the immediate want, and his mind then yields up that long-treasured impression which has become thought of his thought, must we not accord him the untrammeled use of such an idea, especially when he clothes it in his own language, his own musical coloring or harmony?

We claim that the adoption of an outside suggestion does not necessarily imply the lack of imaginative power in an artist. The important point, upon which the question of plagiarism hinges, seems to us to be this: If you prove yourself a master in the utterance of musical ideas, you may undertake to express any kind of an idea, whatever its source may be, so long as you handle it with a supreme command of the means of musical expression.

Did not Mozart acknowledge a debt of gratitude which he owed to Palestrina for suggestions received from his works? Did not Mendelssohn attest a similar gratitude with regard to Johann Sebastian Bach ? Spohr and Gounod with regard to Mozart ? Marschner with regard to Weber ? Berlioz and Wagner with regard to Beethoven ? and many of our living composers with regard to Wagner ? Let it not be forgotten that all development in music is governed by the all-embracing law of evolution, and that every eminent composer builds upon the foundation prepared by his predecessors, taking up the thread where they have left it, to evolve the art-work one step further.

When Schumann introduces the “Marseillaise,” half disguised yet distinctly recognizable, into his “Faschingsschwank aus Wien,” just to poke a little fun at the Vienna police, which had forbidden that stirring air to be played within the Austrian capital; or when, as a personal compliment to his friend, Sterndale Bennett, he builds up the incomparable finale of his “Études Symphoniques” upon an English ballad in praise of Richard Cœurde Lion (sung by Ivanhoe in Heinrich Marschner’s opera, “Knight Templar and Jewess”), we pronounce such proceeding not only perfectly legitimate but highly commendable, because of its ingenuity and fitness. In a similar manner, we think Meyerbeer entitled to praise for building up his overture to “Les Huguenots” upon the great Lutheran hymn, “A Mighty Fortress is Our God.”

In all the cases cited so far the charge of plagiarism can not be sustained, it being evident that the design to appear as the originator of the respective air or theme was foreign to the composer’s mind. The case is different, however, when the composer would make us believe that he originated the themes or phrases which, in reality, owe their origin to some one else. Here, again, we distinguish between two categories: First, where the high grade of ability of the composer precludes the idea that he could not have himself produced what he borrowed, from reasons of convenience, elsewhere; secondly, where it is plainly apparent that the composer purloined a thing he was incapable of creating.

One of the most notable instances of the first order, in musical history, is afforded in the person of Händel. It can not be denied that this great master pilfered the scores of contemporary and preceding brother-composers for themes and suggestions. Yet, when we consider that there was, among the musicians of his time, hardly one who could express and clothe musical ideas in such masterful form as did Händel, and that he undoubtedly improved upon his models, we carry away from the study of his works the conviction that, had he so desired, he could have created original ideas in place of those borrowed,—a conviction inclining us to condone his offense, if such it must be called.

Among operatic composers of distinction, Meyerbeer has been very generally accused of the theft of the mental property of others. No less a one than Richard Wagner , his bitter antagonist, has, on that account, heaped abuse upon Meyerbeer in terms fitting for the most depraved criminal; but, we think, without sufficient justification. Meyerbeer was an eclectic, following no one school in particular, but ready to assimilate everything good, no matter where he found it. He was by no means scrupulous in borrowing ideas from the scores of great masters, living or dead. His “Robert le Diable” and “Les Huguenots,” as well as others of his operas, teem with passages that will convince the critic that Rossini ’s “Tell,” Auber’s “La Muette,” Weber ’s “Der Freischütz” and “Euryanthe,” and Beethoven ’s “Fidelio” were too well known to Meyerbeer. But what of that? We owe the latter a lasting debt of gratitude for giving to the world a series of most effective and attractive operas which, to this day, despite the almost universal sway now held by the Wagner ian muse, have not lost their hold upon the habitués, be it in Europe or in this country.

If it be urged that Meyerbeer stole the theme for the trio of the Coronation March, written for his opera “The Prophet,” from a Mass by Schneider, a noted organist of Dessau, Germany, let us be thankful that by merging it into his opera he rescued a distinctly charming air from oblivion, and gave delight to thousands of lovers of music who, but for Meyerbeer, would never have heard it.

The question may be raised whether a musician in the act of composing is at all times conscious of the “whence” of the ideas crowding in upon him; whether he realizes fully when he is making use of an idea of some brother-composer. To answer this one would have to be himself a creator of music, and even then he could only speak for himself individually and not for others. Still, the inference would be that during the process of enthusiastic production the master-mind is prone to lose sight of petty considerations anxiously separating the meum and tuum.

So far we have considered the use of foreign ideas by those in full possession and command of the means of their art. But a wholly different aspect is presented to us when the composer does not possess technical mastery; when crude, commonplace detail characterizes his work, he being a mere tyro in his profession. To such a one the purloining of musical ideas from superior minds often becomes a trap, into which he falls; for what is not his own becomes easily apparent by the contrast it evokes when compared with the inferior product of his brain.

When we have unmistakable evidence that a composer has arrayed himself in a brother-composer’s cloak to cover his nakedness; when we feel that, without such help from outside sources, a production would be utterly without value and insignificant, then we feel called upon to enter a vigorous protest against such practice, and hesitate not to stamp the perpetrator of such an act as a bold plagiarist.

Still more reprehensible than the purloining of a phrase or “motiv,” appears to us the servile imitation of the style of a composition,—a practice attempted only by composers of inferior rank, lacking in self-respect and dignity, as well as in originality of thought. We remember, to cite an example, hearing a piece for the piano not long ago that turned out to be, in conception, phrasing, harmonization, and what not, a slavish counterfeit of Schumann ’s lovely “Blumenstück”; and yet, how far it fell short of its graceful prototype!

Such an attempt is, to our feeling, the worst type of plagiarizing. It reminds us forcibly of the sarcastic lines from Schiller’s “Wallenstein,” addressed by the chasseur to the cavalry sergeant, whom the former charges with aping the great general:

“How he hawks and spits, indeed, I may say, You’ve copied and caught in the cleverest way. But his spirit, his genius—oh, these, I ween, On your dress-parade are but seldom seen.”

Of course, we should not be supposed to include in our condemnation such isolated cases as that of Schumann ’s “Carnaval,” in which one number is a deliberate imitation of the style of Chopin —intended, however, as a graceful compliment to the great Pole.

To sum up: Let us not judge too severely what over- zealous critics are pleased to call plagiarisms. Let us bear in mind that, as all human productions are necessarily imperfect to a greater or lesser degree, perfect originality in musical ideas is a thing next to impossible, owing to the constitution and development of the human mind.

While we would condone a plagiarism that attests the presence of an abundant fund of musical ideas pouring in nolens volens upon a composer from his stored-up reminiscences; while we feel disposed to pardon him for the use of a theme or phrase not strictly original with him, provided he show, by the general treatment, that he could have created a substitute for the former if he so wished; the interest of music as a fine art demands, on the other hand, that we condemn and unmask him who tries to shine with a false luster on account of the utter absence of any light of his own.

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New Research Reveals the Patterns of Plagiarism in Music

21 Feb 2022

This article shows the trends in the most famous music plagiarism cases. This is a data supported study.

Key takeaways:

In 2017, over 200 artists signed an open letter that stated, “The verdict, in this case, threatens to punish songwriters for creating new music that is inspired by prior works. All music shares inspiration from prior musical works, especially within a particular musical genre.”

This came after the Blurred Lines lawsuit of 2015, when Robin Thicke ended up paying $5.3 million for plagiarizing Marvin Gaye’s track, Got to Give it Up .

Plagiarism in music has a lot of different opinions, and nobody can quite decide what should count as inspiration and what should be labeled a rip-off. We at FixGerald aim to help writers and creatives avoid these issues where writing is concerned because plagiarism seems to be a common problem in most creative fields.

To understand the implications of plagiarism, we decided to study the most well-known cases of plagiarism in the music industry and analyze their success, or in some cases, failure.

Methodology

We studied 237 cases of plagiarism in music and compared their YouTube view counts: originals versus plagiarized tracks. To avoid wrongful accusations, we have picked cases that were studied, settled, and proven to have been plagiarized.

We also studied public data about the settle price of these cases to find the most expensive ones.

All the numbers mentioned in the study were collected, validated and analyzed on Jan 28 2022.

Plagiarized Songs Tend Get More Popular than the Original Ones

Many of pop culture’s favorite tracks have elements plagiarized from influences that weren’t as popular—case in point, Bruno Mars and Mark Robinsons’ Uptown Funk . The track sounds too much like The Gap Band’s Oops Upside Your Head . The original song has 7.1 million views on YouTube, while the plagiarized song has a staggering 4.4 billion views.

Here are some other famous examples of plagiarized songs in pop culture that have gone on to see more success than their original versions:

Based on the sample of 237 cases, it turns out that plagiarized songs get 211.3 times the views of their original counterparts on average.

If we consider the fact that every 1,000 views on YouTube equals at least $2 on average , settlements for a plagiarism lawsuit should be racking up millions.

Other times, they might get a credit, like in the case of Ed Sheeran’s Shape of You , where writers of TLC’s Scrubs got a writing credit for Sheeran’s song or even royalty compensation to get a certain % of the profits from the plagiarized songs.

Plagiarism Lawsuits and Money

Many of the world’s favorite artists have faced the wrath of lawsuits. Led Zeppelin is no stranger to them, with 6 already under his belt for plagiarizing Whole Lotta Love, Babe, I’m Gonna Leave You , and I Can’t Quit You, Baby . Similarly, Lauryn Hill has faced a lawsuit for 13 songs, Will.I.Am has met 5, and Bruno Mars and Oasis have had 3 each.

Even though many artists have settled for less than they deserve, many have taken the case to court to receive the settlements they deserve. Perhaps the largest we have on record is Robin Thicke’s $5.3 million to Marvin Gaye, but there are other large settlements worth noting.

Failed Plagiarism Cases

During our research, we also found that plagiarism can happen twice. Like in the case of Radiohead’s Creep , which was originally The Air That I Breathe , and Lana Del Rey’s copy of Creep became Get Free .

Interestingly, Creep received more views than the original The Air That I Breathe and the plagiarized Get Free .

So it seems not all copied songs go on to see wild success, either because they aren’t good or haven’t had the right kind of marketing and exposure.

Some of the ‘failed’ plagiarism cases YouTube wise include:

Music Plagiarism Detection

It’s easier to spot plagiarism in written work; you can use a plagiarism checker online to compare it and judge for yourself. However, with music, it gets tricky; several elements go into making a song, and it’s not possible to isolate them by simply listening to them.

There are two things artists need if they want to file a lawsuit against another artist for plagiarism:

Accessibility.

This means checking whether or not the plagiarizer had heard the music before writing their own.

Sustainable similarity.

This asks the question: “can the average listener tell?”. The more elements the two songs have in common, the greater the grounds for the lawsuit.

Music plagiarism lawsuits in the music industry have gone up, especially in the digital era. It has become easier to download tracks, strip them, and steal different elements to incorporate in another song.

A song comprises several instruments and goes through different processes, making it difficult for judges or jurors to spot any similarities. So, when a case like this is taken to court, a musicologist is called to strip the track down to make it easier to underscore the similarities between the two songs.

Recently, however, more and more plagiarism-checking software are cropping up that use A.I to detect similarities in music.

Final Chord

Maybe expecting all music to be 100% original is too much; any art form takes after the artist’s muses, inspirations, and influences. Therefore, it’s inevitable to find similarities between the two works of art.

However, it’s also essential we draw a line between inspiration and imitation. Contrary to popular belief, imitation is not the sincerest form of flattery… it simply opens you up to a lawsuit.

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