{"id":12342,"date":"2019-09-02T13:07:11","date_gmt":"2019-09-02T18:07:11","guid":{"rendered":"https:\/\/online.berklee.edu\/takenote\/?p=12342"},"modified":"2026-01-16T16:33:45","modified_gmt":"2026-01-16T21:33:45","slug":"video-tutorial-how-copyright-works-with-e-michael-harrington","status":"publish","type":"post","link":"https:\/\/online.berklee.edu\/takenote\/video-tutorial-how-copyright-works-with-e-michael-harrington\/","title":{"rendered":"How Music Copyright Works with E. Michael Harrington"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\" id=\"h-essential-music-copyright-rules-every-musician-should-understand-and-apply\">Essential Music Copyright Rules Every Musician Should Understand and Apply<\/h2>\n\n\n\n<div id=\"excerpt-callout-block_fddf768a111df95f4b7fc4cce316e5f9\" class=\"excerpt-callout style-default\">\n    <div class=\"excerpt-content\">\n        <p>As a musician, it&#8217;s important to know how copyright law affects your work. Dr. E. Michael Harrington is an instructor of <em><a href=\"https:\/\/online.berklee.edu\/courses\/music-business-law?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-link-from-article\" target=\"_blank\" rel=\"noopener\">Music Business Law<\/a><\/em> and <em><a href=\"https:\/\/online.berklee.edu\/courses\/music-licensing?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-link-from-article\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Music Licensing<\/a><\/em> at Berklee Online. In this series of videos, he dives into the specifics of music copyright and how you can protect yourself as an artist.<\/p>\n    <\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-copyrights-trademarks-and-patents\">Copyrights, Trademarks, and Patents<\/h2>\n\n\n\n<p>In the music business we talk a lot about copyrights, trademarks, and patents. Before we get too deep into it let\u2019s go over some definitions. Patents last for a shorter amount of time than copyrights, but they are very powerful. While trademarks work well, he suggests that you research other trademarks to make sure elements, like your color scheme and logo, aren\u2019t too similar to another trademark.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"How Copyright Works: What is the Difference Between Copyrights, Trademarks, and Patents?\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/h1zcbjeH9dY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-exclusive-rights\">Exclusive Rights<\/h2>\n\n\n\n<p>Now let\u2019s discuss the six exclusive rights of copyright law in detail. The first is the right to copy a work. The second is the right to make a derivative work\u2014a work derived from something you\u2019ve already done. This could mean someone wants to make a movie out of your song, and you, as the songwriter, have the right to approve or decline. The third is the right to distribute your work to the public. This means you are in control of selling\/renting your product and how it gets sold\/rented. The fourth is the right for you to perform your work in public, meaning when your song is played in public, you are paid for it. You can also decide that you don\u2019t want it performed by other people. The fifth is the right to display your work in public, such as lyrics. This can pertain to putting lyrics on clothing or other visual objects. The sixth is that you have the right to exclude anyone from broadcasting or streaming the recording.<\/p>\n\n\n\n<p>The fourth is the right for you to perform your work in public, meaning when your song is played in public, you are paid for it. You can also decide that you don\u2019t want it performed by other people. The fifth is the right to display your work in public, such as lyrics. This can pertain to putting lyrics on clothing or other visual objects. The sixth is that you have the right to exclude anyone from broadcasting or streaming the recording.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"How Copyright Works: The Six Exclusive Rights of Copyright Law | Berklee Online\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/E5r6TDDhVTw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-co-writing-and-performance-rights-organizations\">Co-Writing and Performance Rights Organizations<\/h2>\n\n\n\n<p>Next, let\u2019s go over co-writing and how performance rights organizations (PROs) like ASCAP, BMI, and SESAC pay songwriters for their music. In a co-writing arrangement, the payment is automatically split equally unless otherwise stated in a written agreement. This next video delves into issues such as each person contributing equally to the song. ASCAP, BMI, and SESAC all have one thing in common: they\u2019re trying to get their members paid! While you as a songwriter reap rewards and benefits, there can also be issues. It&#8217;s possible to be sued for infringement. Make sure you think before you get into a co-writing situation. There are many advantages, but you have to think about the mistakes that could occur as well.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"How Copyright Works: Co-Writing &amp; Performance Rights Organizations (PROs) | ASCAP BMI SESAC\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/sHDfpq6diyU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-fair-use\">Fair Use<\/h2>\n\n\n\n<p>You may have heard the term \u201cfair use,\u201d but do you know what it means? Basically, when you quote someone, or take material that is not yours and use it in your writing, you must cite the source. It\u2019s more complicated than that, however. In this next video we detail the ins and outs of fair use in songwriting.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"How Copyright Works: Fair Use Copyright Law | Berklee Online\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/qRQk8MD0u5M?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-fair-use-and-copyright-infringement\">Fair Use and Copyright Infringement<\/h2>\n\n\n\n<p>So now that we know what fair use means, how do we distinguish between fair use and copyright infringement? Let\u2019s go through some popular examples involving artists like the Beatles, James Taylor, the Chicks, Miles Davis, and Jimi Hendrix, specifically in instances of parody. Even though a title is not copyrightable, if the title is also a lyric, then it is copyrightable. Parody, according to the Supreme Court, means you have to take from the heart of the song because the listener has to be reminded of what the song is about. If you state a melody the same way another artist did, the same number of times, this is direct copying. It is debatable whether or not this is fair use.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"How Copyright Works: Fair Use, Parody, and Copyright Infringement | Berklee Online\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/0i-I_NxJSgU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-independent-creation\">Independent Creation<\/h2>\n\n\n\n<p>Next, we\u2019ll use patents to explain the concept of independent creation. Independent creation means that if you write a lyric that is the same or similar to a previously written lyric, you are not obligated to change it. \u201cI think about you\u201d is an example of a lyric used in multiple songs. However, using the same chords and similar melody in two different songs is cause for music copyright infringement. Another music copyright issue that revolves around independent creation is a song that Carrie Underwood did with Ludacris, with the lyrics, \u201cI\u2019m invincible, I\u2019m unbreakable, I\u2019m unstoppable.\u201d Countless other artists have used these exact words. However, lyrics can be created independently, so don\u2019t worry if you have words common with other songs\u2014it\u2019s part of language.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"How Copyright Works: Independent Creation | Berklee Online\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/QckBwOXXz1U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-public-domain\">Public Domain<\/h2>\n\n\n\n<p>In the next video, we go over what public domain means. For something to be considered in the public domain, it has to have been created before 1923. For example, anything that Bach wrote is public domain, so his music can be used as inspiration and portions can be changed. In the twentieth century, copyright law changed from 28 years to having automatic renewal. I have served as an expert witness in high-profile court cases regarding infringement, so I am always excited to share examples when people thought a certain song was in the public domain, only to be sued after finding out that the song was protected by copyright.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"How Copyright Works: Returning Works to Public Domain | Berklee Online\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/h_UDHi-k0R4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-composition-and-sound-recording-copyrights\">Composition and Sound Recording Copyrights<\/h2>\n\n\n\n<p>Next, we\u2019ll go over the difference between composition copyright and sound recording copyright. A song will always have these two copyrights and a musician will get paid royalties for every use of a recording: vinyl, digital, etc. He details some of the unusual specifics, like if another artist covers your song and posts it online, theoretically, the composer and record label will all get paid. If it\u2019s played on FM radio, only the composer gets paid.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"How Copyright Works: Musical Composition Copyright and Sound Recording Copyright | Berklee Online\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/pOVlkoi_8FI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-sampling-in-a-sound-recording\">Sampling in a Sound Recording<\/h2>\n\n\n\n<p>In this video, we\u2019ll discuss the concept of sampling. Sampling is basically taking something that previously existed and repurposing it to use in your own work. The idea that sampling is \u201cstealing\u201d was once the prevalent thought in the music industry, but as the art evolved and more musicians used sampling to create something new and original, that idea has faded.<\/p>\n\n\n\n<p>However, there are still music copyright considerations. An individual must ask for permission from the songwriter, publisher, and record label to sample another artist\u2019s composition and sound recording. This means that the songwriter, publisher, or record company could deny permission. Dr. Harrington talks about the case of Gilbert O\u2019Sullivan and Biz Markie, which set precedent in asking permission to use a sample in a composition.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"How Copyright Works: How Sampling is Different from Stealing | Berklee Online\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/RwR5PcddsIc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-replay-and-interpolation\">Replay and Interpolation<\/h2>\n\n\n\n<p>Let\u2019s talk about replay and interpolation, and how they\u2019re different from sampling. The terms \u201creplay\u201d and \u201cinterpolation\u201d are used interchangeably, and both mean that you are re-performing the music rather than sampling it. Though this concept still involves a music copyright issue\u2014you need to seek permission from the original artist in order to use the material\u2014it\u2019s less difficult to obtain permission than it is with sampling.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"How Copyright Works: Interpolation vs. Sampling | Michael Jackson and Manu Dibango | Berklee\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/fzYz-Vmkx7s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Let\u2019s start something by talking about Michael Jackson\u2019s \u201cWanna Be Startin\u2019 Somethin\u2019,\u201d the leadoff track on his smash album, <em>Thriller<\/em>. In the last 89 seconds of the song\u2014the \u201cmama-say, mama-sa, ma-ma-ko-ssa\u201d part\u2014the song interpolates a 1972 song called \u201cSoul Makossa\u201d by Cameroonian artist Manu Dibango. Jackson used the song without permission, Dibango sued, and the two settled out of court. The Black Eyed Peas and Rihanna have also interpolated the phrase \u201cmama-say, mama-sa, ma-ma-ko-ssa\u201d in their music and had varying consequences.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"How Copyright Works: Sugarhill Gang vs. Busta Rhymes | Replay and Interpolation Has Its Day in Court\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/0PXdzmxMIMU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p>Next, we\u2019ll discuss a case of replay interpolation that went to court: The Sugarhill Gang and Busta Rhymes. In his 1996 song, \u201cWoo-hah!! Got You All in Check,\u201d Busta Rhymes says the title line, which was argued was an interpolation of the Sugarhill Gang\u2019s 1980 song, \u201c8th Wonder,\u201d which features the line, \u201cWoo-ha, got them all in check.\u201d Scholars will also note that the original line was sampled in the Beastie Boys\u2019 1989 song, \u201cShake Your Rump,\u201d which was released before sampling cases began entering the courthouse. The Sugarhill Gang sued Busta Rhymes in 2012, and Busta Rhymes sued back, stating that the phrase was unique. The parties reached an undisclosed settlement in 2015.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-circuit-split\">Circuit Split<\/h2>\n\n\n\n<p>In this next video about music copyright, we\u2019ll get into the music of George Clinton, specifically his song \u201cGet Off Your Ass and Jam.\u201d He argues that if there is a part of a song that sounds as if it was copyrighted from another song, it is not copyright infringement if one cannot recognize the similarities between the two songs. The song has been sampled by artists like Public Enemy, Tone L\u014dc, A Tribe Called Quest, and Tupac Shakur, but it was most notably sampled by N.W.A. in the song \u201c100 Miles and Runnin\u2019,\u201d which led to a lawsuit. The law then became, as ruled by the Supreme Court, that if an artist wants to sample part of another person\u2019s work, they must obtain a license.<\/p>\n\n\n\n<p>In contrast, Madonna sampled a horn hit from Salsoul Orchestra\u2019s song \u201cLove Break,\u201d in her song \u201cVogue,\u201d without asking permission, and was sued. The court, in this case, ruled the horn hit was not original, therefore, Madonna\u2019s use of it was justified in the eyes of the law. The fact that certain court circuits have different views regarding the need for a license when sampling is referred to as the \u201ccircuit split.\u201d Whether or not you can use a sample without permission depends on what state you record the song in, and how the courts view it there.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"How Copyright Works: Courts and the Circuit Split Regarding Sampling without a License\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/RQ2o9E6MPfU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-freeing-we-shall-overcome\">Freeing &#8220;We Shall Overcome&#8221;<\/h2>\n\n\n\n<p>In this last video, I detail my involvement in helping free the Civil Rights anthem \u201cWe Shall Overcome\u201d <a aria-label=\"into the public domain (opens in a new tab)\" href=\"https:\/\/www.nytimes.com\/2018\/01\/26\/business\/media\/we-shall-overcome-copyright.html\" target=\"_blank\" rel=\"noreferrer noopener\">into the public domain<\/a>. Working as an expert witness for lawyers Mark Rifkin and Randall Newman, I helped show that publishers Ludlow Music and the Richmond Organization should no longer receive royalties on a song that dates back to the 1780s, when Beethoven had originally written a harmony for it. In my view, the most popular recording of \u201cWe Shall Overcome\u201d is probably Pete Seeger\u2019s.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"\u201cWe Shall Overcome\u201d: E. Michael Harrington on Freeing a Civil Rights Song to Public Domain | Berklee\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/HEgODLVT3q8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p><em><a href=\"https:\/\/online.berklee.edu\/music-degrees\/graduate\/music-business?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-link-from-article\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">LEARN ABOUT BERKLEE ONLINE&#8217;S MUSIC BUSINESS MASTER&#8217;S PROGRAM<\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In a series of video tutorials, Berklee Online instructor E. Michael Harrington explains the specifics of copyright law as it applies to music. <\/p>\n","protected":false},"author":107,"featured_media":15435,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":true,"footnotes":""},"categories":[1,35,7579,9568,9560],"tags":[6589,6596,152,6585,6587,6595,6581,351,6564,352,6583,470,6563,578,6584,6565,732,6582,859,6586,911,971,984,6590,6562,1168,6592,6566,6588,6593,1254,6594,6561,6591,1593],"class_list":["post-12342","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-instructor-profiles","category-lesson-content","category-music-business-articles","category-spotlight","tag-a-tribe-called-quest","tag-beastie-boys","tag-beatles","tag-biz-markie","tag-black-eyed-peas","tag-busta-rhymes","tag-carrie-underwood","tag-copyright","tag-copyright-infringement","tag-copyright-law","tag-dixie-chicks","tag-e-michael-harrington","tag-fair-use","tag-george-clinton","tag-gilbert-osullivan","tag-interpolation","tag-jimi-hendrix","tag-ludacris","tag-madonna","tag-manu-dibango","tag-michael-jackson","tag-music-business","tag-music-industry","tag-n-w-a","tag-patents","tag-public-domain","tag-public-enemy","tag-replay","tag-rihanna","tag-salsoul-orchestra","tag-sampling","tag-sugarhill-gang","tag-trademark","tag-tupac-shakur","tag-we-shall-overcome"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.8 (Yoast SEO v25.8) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>How Music Copyright Works with E. Michael Harrington - Berklee Online Take Note<\/title>\n<meta name=\"description\" content=\"In a series of video tutorials, Berklee Online instructor E. Michael Harrington explains the specifics of music copyright law.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/online.berklee.edu\/takenote\/video-tutorial-how-copyright-works-with-e-michael-harrington\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How Music Copyright Works with E. Michael Harrington\" \/>\n<meta property=\"og:description\" content=\"In a series of video tutorials, Berklee Online instructor E. 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