Current Status of Copyright in Carnatic Music
Carnatic music often doesn't prioritize copyright, with many believing it doesn't apply to the genre.
Copyright law traditionally focuses on music compositions, following Western classical ideas, which overlook elements unique to Indian music like improvisation and performance.
While some music is in the public domain, performers' rights to their improvisations, renditions, and adaptations are not clearly defined under current laws.
Issues with Copyright Protection for Performers
Performers have the right to prevent unauthorized recordings, but this is rarely enforced, especially in concert spaces where performances are often shared online without consent.
Performers should have the right to claim royalties from streaming or sale of their performances, but this is often not realized in practice.
The law struggles to address the complexities of Carnatic concerts, especially when songs are in the public domain but performed with personal interpretation or improvisation.
Improvisation and Creativity in Carnatic Music
Improvisations by performers, such as changing ragas or adding personal touches to traditional songs, may not be recognized as creative work eligible for copyright.
Examples like Pandit Bhimsen Joshi's adaptations of Purandara Dasa's compositions highlight how these additions shape the music, yet go unprotected under current law.
The lack of protection for these spontaneous and creative modifications is a significant gap in copyright law.
Need for Legal Reform
There is a growing need for copyright laws to adapt to the realities of Carnatic music, recognizing performers' contributions and protecting their rights.
Musicians should be able to claim ownership over their unique renditions and improvisations, ensuring they can financially benefit from their work.
Changing the law to better protect these rights would help Carnatic musicians maintain control over their creative work and promote fairness in the industry.
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