论文部分内容阅读
当前的音乐作品权利结构是创作者为著作权人,而表演者为邻接权人,这是一种在传统解释学下的“作者中心论”之权利结构模式。随着解释学本体论的转向,哲学解释学的兴起,以“读者为中心”的权利模式得以伸张。音乐乐谱是一个纲要式的草图,是未完成的作品,唯有在表演者的表演过程中音乐作品的本体性才得以呈现。表演者在音乐作品演绎的过程中不是对创作者意图的机械重构,而是一个表达艺术个性的创作过程。表演者在权利结构中不应当是传播作品的邻接权人,而是具有独创性贡献的著作权人。
At present, the right structure of music works is that the creator is the copyright owner and the performer is the neighboring rights holder. This is a right structure model of “author center” under the traditional hermeneutics. With the turning of hermeneutics ontology, the rise of philosophical hermeneutics and the mode of rights based on “reader ’s center ” can be extended. Musical score is an outline sketches, is an unfinished work, only in the performer’s performance in the process of musical works to be presented. Performer in the process of musical interpretation is not a mechanical reconstruction of the intent of the creator, but an expression of the artistic personality of the creative process. Performers in the rights structure should not be spread of works of neighboring rights holders, but with original contributions to the copyright owner.