{"id":13691,"date":"2019-10-01T09:15:09","date_gmt":"2019-10-01T14:15:09","guid":{"rendered":"https:\/\/online.berklee.edu\/takenote\/?p=13691"},"modified":"2025-11-19T11:14:28","modified_gmt":"2025-11-19T16:14:28","slug":"forensic-musicologists-need-to-know-these-5-things","status":"publish","type":"post","link":"https:\/\/online.berklee.edu\/takenote\/forensic-musicologists-need-to-know-these-5-things\/","title":{"rendered":"Forensic Musicologists Need to Know These 5 Things"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\" id=\"h-essential-skills-every-forensic-musicologist-needs-to-analyze-songs-and-help-resolve-copyright-cases\">Essential Skills Every Forensic Musicologist Needs to Analyze Songs and Help Resolve Copyright Cases<\/h2>\n\n\n\n<p>When you hear the term <em>forensic musicologist<\/em>, you might think of someone who investigates musical crime scenes\u2014which is actually not too far off. When Dr. Joe Bennett is not teaching in the Professional Music and Songwriting departments at Berklee College of Music, he investigates copyright infringement in the music industry as a forensic musicologist.&nbsp;<br><\/p>\n\n\n\n<p>\u201cI was always fascinated by songwriting creativity,\u201d says Bennett. \u201cAt the start of a three-hour songwriting session, there\u2019s nothing there, and then at the end, two or three hours later, a brand new song exists that wasn\u2019t before in the world? I find that a beautiful and mysterious process.\u201d<\/p>\n\n\n\n<p>As the owner of his private practice, <a href=\"https:\/\/joebennett.net\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Joe Bennett Music Services<\/a>, his job is to examine two pieces of music to determine the likelihood that one is copied from the other. Copyright infringement can take two forms: in the composition and recording of a song. Compositional copying is when somebody duplicates a section of a melody or a lyric. Sound record copying involves recorded musical, spoken, or other sounds, which is common in hip-hop.<\/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><figcaption class=\"wp-element-caption\"><br>Berklee Online instructor and course author Dr. E. Michael Harrington explains the difference between a composition copyright and a sound recording copyright. He has worked as a consultant and expert witness in hundreds of music copyright matters including efforts to return &#8220;We Shall Overcome&#8221; and &#8220;This Land Is Your Land&#8221; to the public domain. <\/figcaption><\/figure>\n\n\n\n<p>Bennett typically offers his professional opinion to lawyers and artists. To crack a case, he first listens to the two songs in question. He then writes a musicology report providing his opinion whether the song, or parts of the song, were copied. In a normal circumstance, Bennett turns the report around in about a week, but sometimes he has clients who require an answer as soon as possible. In those situations, he quickly listens to the audio, transcribes it, typesets it into music software, and fires off a report to his client.&nbsp;<br><\/p>\n\n\n\n<p>Bennett says that he prefers working for the defendants because there are many reasons why songs can sound similar that have nothing to do with copyright infringement.&nbsp;<br><\/p>\n\n\n\n<p>\u201cIn practice, songwriters generally don\u2019t steal melodies,\u201d says Bennett. \u201cIt\u2019s crass and it\u2019s unnecessary, and why would you do it when there\u2019s the threat of a lawsuit? For people just getting started in forensic musicology, I would say don\u2019t get too excited by potential plaintiff accusations because more often than not, there is no substance to them.\u201d<\/p>\n\n\n\n<p><em><a href=\"https:\/\/online.berklee.edu\/careers-in-music\/roles\/musicologist?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 more about a career as a Musicologist<\/a>. <\/em><\/p>\n\n\n\n<p>Forensic musicology is an extremely small discipline that requires expertise across a range of musical disciplines.&nbsp;Bennett shares five important skills you need to know as a forensic musicologist.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"3000\" height=\"2000\" src=\"https:\/\/online.berklee.edu\/takenote\/wp-content\/uploads\/2019\/09\/Long-shot.jpg\" alt=\"\" class=\"wp-image-13711\"\/><figcaption class=\"wp-element-caption\">Dr. Joe Bennett at Bath Spa University studios in the UK. <\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-copyright-law\"><strong>Copyright Law<\/strong><br><\/h2>\n\n\n\n<p>Forensic musicologists are not law specialists. They have the music qualifications and authority in a courtroom and therefore do not require a law degree (though it wouldn\u2019t hurt). However, you must have a deep understanding of the principles of copyright law, including subjects like independent creation, substantial similarity, the way royalties are distributed in the music industry, and knowledge of music publishing.&nbsp;<br><\/p>\n\n\n\n<p>\u201cI would suggest that it\u2019s important to any musician\u2019s career to have an understanding of copyright, because copyright generates royalties and royalties are income,\u201d says Bennett. \u201cIn my opinion\u2014and ergo bias\u201a everyone in the music industry should have a good working knowledge of copyright.\u201d<\/p>\n\n\n\n<p>Bennett highly recommends <a href=\"https:\/\/online.berklee.edu\/faculty\/dr-e-michael-harrington?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)\">E. Michael Harrington<\/a>\u2019s courses through Berklee Online. Harrington famously argued that \u201cWe Shall Overcome\u201d should be free from copyright and in the public domain\u2014he was successful. <\/p>\n\n\n\n<p><em><b><a href=\"https:\/\/online.berklee.edu\/courses\/copyright-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=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">STUDY COPYRIGHT LAW WITH BERKLEE ONLINE<\/a><br><\/b><\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-ear-training\"><strong>Ear Training<\/strong><br><\/h2>\n\n\n\n<p>In order to be a forensic musicologist, you must have the ear training chops to be able to critically listen for subtle differences in music and have the theoretical music knowledge to explain why two pieces are similar or different. Bennett says you need to be able to hear a melody, know what the notes are, and be able to transcribe the rhythmic values, harmony context, and more. He got his musical start playing in cover bands and bar bands as a teenager, then, went on to study music in college and built up his ear training skills transcribing guitar.&nbsp;<br><\/p>\n\n\n\n<p>\u201cWhat I really enjoyed in music college was transcribing and analyzing music,\u201d says Bennett. \u201cSo my first day job in music was music editor for <em>Total Guitar Magazine<\/em> in the UK,\u201d says Bennett. \u201cEvery day I had to listen to Jimi Hendrix riffs, and the like, and transcribe them as guitar tab for publication in the magazine. I\u2019ve always been interested in the notes of music\u2014the way music is built. When I got into music education many years later, that led me into the academic pursuit of musicology.\u201d<br><\/p>\n\n\n\n<p><em><b><a href=\"https:\/\/online.berklee.edu\/courses\/interest\/music-theory-harmony-and-ear-training?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)\">STUDY EAR TRAINING WITH BERKLEE ONLINE<\/a>&nbsp;<br><\/b><\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-music-history\"><strong>Music History<\/strong><br><\/h2>\n\n\n\n<p>To determine whether a piece of music is original or not, you need to have a large catalog of music history knowledge. Bennett specializes in pop music, therefore you could potentially be a forensic musicologist in a genre that you are most familiar. The idea is to be able to quickly pinpoint the derivation of a piece of music or style, and having a vast knowledge of music history on hand is helpful when getting to the bottom of a copyright case.&nbsp;<br><\/p>\n\n\n\n<p>\u201cYou need a good knowledge of music history, and music production processes, because a lot of the times you are researching whether something is original,\u201d says Bennett. \u201cYou have to figure out whether the thing you\u2019re hearing has been done before. So you need a really good knowledge of repertoire.\u201d<br><\/p>\n\n\n\n<p><em><b><a href=\"https:\/\/online.berklee.edu\/music-history-and-liberal-arts?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)\">STUDY MUSIC HISTORY WITH BERKLEE ONLINE<\/a><br><\/b><\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-writing-skills\"><strong>Writing Skills<\/strong><br><\/h2>\n\n\n\n<p>Of course, you must have good written English skills in order to be a forensic musicologist. Whether you start your own private practice or work in academia (or both, like Bennett), you must be able to write formal reports that could appear in research or in a court of law.&nbsp;<br><\/p>\n\n\n\n<p>\u201cYou need good written English skills because musicologists write reports for lawyers, and those documents can be used in courtrooms,\u201d says Bennett. \u201cYou have to be able to use language very, very precisely.\u201d<br><\/p>\n\n\n\n<p><em><b><a href=\"https:\/\/online.berklee.edu\/music-history-and-liberal-arts?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)\">STUDY WRITING WITH BERKLEE ONLINE<\/a><br><\/b><\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"h-music-production\"><strong>Music Production<\/strong><br><\/h2>\n\n\n\n<p>Part of Bennett\u2019s workflow involves using a DAW program to write his reports and conduct audio comparisons. Music production skills are so important to forensic musicology, that Bennett actually took a course through Berklee Online to learn <a href=\"https:\/\/online.berklee.edu\/courses\/ableton-live-techniques-sampling?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)\">Ableton Live<\/a>. For years, he used Logic, Pro Tools, and Finale as his programs of choice until taking a course with Berklee Online instructors, Erin Barra and Loudon Stearns.<br><\/p>\n\n\n\n<p>\u201cI wanted to have the Berklee Online experience,\u201d says Bennett. \u201cI learned so much about Ableton in that 12-week course that I now use Ableton exclusively for all of my audio-based forensic musicology work. So thanks to Berklee Online, it\u2019s changed the way I work with all my clients.\u201d<\/p>\n\n\n\n<p><em><a href=\"https:\/\/online.berklee.edu\/music-production?campaign_id=7010Z000001ZkQgQAK&amp;pid=&amp;utm_source=takenote&amp;utm_medium=blog&amp;utm_campaign=bol-gen-takenote-link-from-article\">STUDY MUSIC PRODUCTION WITH BERKLEE ONLINE<\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>When Dr. Joe Bennett is not acting in his position as a vice president for Berklee College of Music, he investigates copyright infringement in the music industry as a forensic musicologist. <\/p>\n","protected":false},"author":45,"featured_media":13696,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1,35,9571,9567,9560],"tags":[59,60,168,169,172,351,6564,352,470,6023,6608,6604,6606,6499,6607,991,6605,1318,1620],"class_list":["post-13691","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-instructor-profiles","category-music-history-and-liberal-arts-articles","category-music-theory-harmony-and-ear-training-articles","category-spotlight","tag-ableton","tag-ableton-live","tag-berklee","tag-berklee-college-of-music","tag-berklee-online","tag-copyright","tag-copyright-infringement","tag-copyright-law","tag-e-michael-harrington","tag-ear-training","tag-finale","tag-forensic-musicology","tag-joe-bennett","tag-logic-pro","tag-music-history","tag-music-production","tag-musicology","tag-songwriting","tag-writing"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.8 (Yoast SEO v25.8) - 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