At a time when intellectual property is the subject of a wide debate in France, and at the level of various international organizations, how does it crystallize in different societies of the world?
This issue questions the key notions of copyright and creation, based on music-centric analysis.
It recalls the historical conditions of emergence of the notions of work and author and the difficulty raised by their extension to other cultural frameworks. The studies collected in this issue constitute "ethnographies of copyright", in the sense that each one attempts, in its own way, to follow as closely as possible the vernacular principles of the ownership of musical ideas. They detail performance situations, concluded contracts or disagreements, in their cultural specificities, but also in their confrontation with the principles and practices, now globalized, of intellectual property.