张金海

　　中国音乐学院讲师，北京市公派北京大学访问学者。发表论文若干，其中多篇被国际性会议录用，并受邀做大会演讲。主持市级课题四项，校级科研课题两项，校级教改课题两项，跨校合作课题多项。与北京大学、西城区法院、房山区法院合作编写“法律六进”普法系列丛书一套。目前主要研究领域为艺术法规、法社会学、娱乐法等。

　　本书精选国外14个与音乐作品及音乐著作权人相关的经典案例。这些经典案例极具代表性，堪称艺术法判例中的典范，且，判决均出自在国际上有重要影响力的著名大法官之手，让我们在了解艺术法规的同时，也欣赏到法官们的审判艺术。本书采用汉英双语对照的形式进行编排，希望它的出版能够对大家的学习和工作有所帮助。

446 F．2d 685

United States Court of Appeals, Second Circuit.

Timothy RICE et al., Plaintiffs－Appellees，

v.

AMERICAN PROGRAM BUREAU

et al., Defendants－Appellants.

Nos. 1032, 1041, Dockets 71－1483, 71－1538. |

Argued June 1, 1971. | Decided July 8, 1971.

　　Action for infringements of copyrights on rock opera entitled Jesus Christ Superstar. The United States District Court for the Southern District of New York, Constance Baker Motley, J．， entered a preliminary injunction enjoining defendants from advertising the presentation, presenting or performing the opera, save for singing not more than two of individual musical compositions which had been separately copyrighted as musical compositions or not more than two other individual songs from opera during any one concert, and defendants appealed. The Court of Appeals, Clark, Associate Justice, held that under license agreement which was entered into between defendants and the American Society of Composers, Authors and Publishers, which covered nondramatic renditions of separate musical compositions copyrighted by members of the society, but which did not extend to dramatico－musical works in their entirety, defendants could not perform overall opera nor advertise that their program consisted of that opera or any adaptation thereof, but defendants could present separate songs, fragments of songs, or excerpts from opera including lyrics and original words but could not accompany such songs or excerpts with words, pantomime, dance, costumes, or scenery that would lend a visual representation of work from which music was taken.

　　Modified and affirmed.

　　J. Joseph Smith, Circuit Judge, dissented.

　　Opinion

　　CLARK, Associate Justice：

　　This appeal tests the validity of a preliminary injunction enjoining alleged infringements of the copyrights on the rock opera entitled Jesus Christ Superstar and its separate musical compositions. The American Rock Opera Company (AROC) and its booking agent, American Program Bureau (APB) and Robert Walker, the latter's president, defendants－appellants, have been enjoined from advertising the presentation, presenting or performing the copyrighted opera Jesus Christ Superstar, save for ‘the singing of not more than two (2) of the individual musical compositions which have been separately copyrighted as musical compositions or not more than two (2) other individual songs from the opera during any one concert.’

　　Timothy Rice and Andrew Lloyd Webber, the composers of the opera, Leeds Music, Limited (Leeds), the publishers of it, the Robert Stigwood Group, Limited (Stigwood), who are licensed to perform it, and MCA Records, Inc., which has recorded it, have each filed cross appeals claiming that the appellants have no license and should be prohibited from presenting the opera in any form.

　　We have concluded that the injunction should be modified and that appellants be enjoined from presenting (1) the opera in its entirety; (2) the songs or excerpts therefrom when accompanied by either words, pantomime, dance or visual representation of the work from which the music is taken; and (3) fragments or instrumental selections when accompanied by words, dialogue, costumes, dramatic action or visual representation (such as motion picture) of the work of which the music forms a part. 

　　I.

　　The rock opera Jesus Christ Superstar presents the last seven days in the life of Christ, the lyrics and libretto being composed by Rice and the music by Webber. Rice and Webber secured copyrights on each of the twenty－two compositions of the opera and assigned them to Leeds, save and except ‘King Herod's Song.’ The performance and dramatic rights in the opera were also retained by Rice and Webber, who thereafter granted an exclusive license to Stigwood to perform the opera on the professional stage and a non－exclusive one at repertory concerts. Stigwood intends to perform the opera in New York City, London and elsewhere.

　　Leeds entered into the customary membership agreement with the American Society of Composers, Authors and Publishers (ASCAP). Pursuant to the membership agreement ASCAP provides a system for collecting royalties, and is given the right to license non－dramatic performances of the musical works of its members defined as：

　　1(b) ‘The non－exclusive right of public performance of the separate numbers, songs, fragments or arrangements, melodies or selections forming part or parts of musical plays and dramatico－musical compositions, the Owner reserving and excepting from this grant the right of performance of musical plays and dramatico－musical compositions in their entirety, or any part of such plays or dramatico－musical compositions on the legitimate stage.’

　　Leeds granted a license to Decca Records, a division of MCA Records, Inc., in November 1970, allowing it to release an album containing the opera. This album, carrying a cover with an original copyrighted design, has been highly successful commercially and has been widely circulated.

　　Early in 1971 appellant AROC applied to Leeds for a license to perform the songs in question but it was refused. APB — the booking agent of AROC— then requested ASCAP to issue it a concert promoter's license with regard to the collective musical works of all ASCAP members, known in the trade as the ASCAP repertoire. It also inquired whether it  might secure a license to perform Jesus Christ Superstar. ASCAP's Boston office replied, advising that ASCAP could not issue a license for performance of compositions from the opera ‘because the compositions are dramatico－musical ones to which the ASCAP license does not extend.’ This conclusion was later confirmed by ASCAP's New York office. However, on March 4, 1971, ASCAP entered into a license agreement with APB covering ‘non－dramatic renditions of the separate musical compositions copyrighted by members of the Society.’ Paragraph 3 of the standard license provided：

　　‘3. This license shall not extend to or be deemed to include.

　　(a) Oratorios, choral, operatic or dramatico－musical works (including plays with music, revues and ballets) in their entirety or songs or other excerpts from operas or musical plays accompanied either by words, pantomime, dance or visual representation of the work from which the music is taken; but fragments or instrumental selections from such works may be instrumentally rendered may be instrumentally rendered without words, dialogue, costume, or scenic accessory, and unaccompanied by any stage action or visual representation (by motion picture or otherwise) of the work of which such music forms a part. 

案号：446 F．2d 685 

美国第二巡回上诉法院

原告——被上诉人：蒂莫西·赖斯等

诉

被告——上诉人：美国项目局等

第1032，1041号，第71，－1483，71及－1538条  

1971年6月1日审理，1971年7月8日判决

　　侵犯名为《万世巨星》的摇滚音乐剧的著作权。美国纽约南区地方法院，康士坦丝·贝克·莫特雷法官， 发布预先禁令禁止被告在任何音乐会中利用该作品的任何展示和表演进行广告用途，除演唱不超过两个分别受版权保护的独立选段或不超过两首其他单独的歌曲以外。被告对此提出上诉。上诉法院陪审法官克拉克提出，被告与美国作曲家、作家和发行商协会间拥有在许可协议，其中囊括了协会成员单独的非戏剧乐曲片段表演版权，但并不包括全部戏剧性音乐作品的版权。被告无权表演所有歌剧，也无权对包含该戏剧或其改编版本进行广告用途。但是被告可以表演单独的歌曲，歌曲片段，或者歌剧中摘录的歌词和原创内容，但是不能同时带有使所用音乐能够视觉再现的词句、哑剧、舞蹈、服装或者舞台布景。

修改并确认。

　　约瑟夫·史密斯，巡回法官提出异议。

　　判决

　　克拉克，陪审法官：

　　本次上诉是为了测试宣称侵犯摇滚歌剧《万世巨星》及其独立的音乐作品版权的预先禁令的有效性。美国摇滚歌剧公司(AROC)及经纪人，美国项目局(APB)和罗伯特·沃克，美国项目局主席，被告——上诉人，被禁止将具有版权的《万世巨星》的展示和表演用于广告用途，除“在任何一场音乐会中演唱不超过两个分别受版权保护的独立选段或不超过两首其他单独的歌曲以外。”

　　蒂莫西·赖斯和安德鲁·洛伊德·韦伯，该剧作曲家，发行商利兹音乐有限公司(利兹), 拥有表演许可的罗伯特·斯蒂格伍德集团有限公司(斯蒂格伍德)，唱片发行商MCA唱片有限公司，均发起上诉表示被告没有获得任何许可，并应被禁止以任何形式表演该音乐剧。

　　对此我们得出结论：禁令应被修改，被告应被禁止表演(1)整部音乐剧；(2)带有使所用音乐能够视觉再现的词句、哑剧、舞蹈、服装或者舞台布景等形式的歌曲或选段；(3) 带有词句、对白、服装、戏剧表演或视觉化表现形式(如动图)的作品片段或演奏曲段。 (a) 关于任何作品(或其部分)的舞台展示和演唱权将被保留。

　　I. 

　　摇滚音乐剧《万世巨星》表现的是基督最后7天的生活，赖斯作词，韦伯作曲。赖斯和韦伯各自担保音乐剧122个段落的 著作权并且将他们委托给利兹公司，除歌曲《King Herod's Song》以外。该剧的表演权和戏剧权仍然归属赖斯和韦伯，他们像斯蒂格伍德公司授予了在专业舞台上表演该剧的独占性许可和剧目音乐会上表演的非独占性许可。斯蒂格伍德计划在纽约、伦敦等地表演该剧。

　　利兹加入了美国作曲家、作家和发行商协会(ASCAP)的会员协议。依照ASCAP的会员协议，其为会员音乐作品的收取版税和非戏剧性表演权授予的定义如下：

　　1(b) “单独的数字、歌曲、片段或编曲、旋律或作品选段或音乐剧和戏剧作品的公开表演非独占性权利，所有者保有除音乐剧和戏剧作品的全部表演权，或戏剧舞台上的任意部分表演权外的所有权利。”

　　利兹在1970年11月为Decca唱片公司，MCA唱片的下属公司授予了许可，允许其发行包括该剧的专辑。这张封面带有原创版权设计的专辑在商业上取得了巨大的成功并且流通广泛。

　　1971年初上诉人AROC向利兹申请讨论中歌曲的表演许可，但遭到拒绝。APB —  AROC的经纪人—  随后要求ASCAP对其发布一个关于所有ASCAP会员全部音乐作品的音乐会发起人许可，这些是ASCAP的保留曲目。同时对其是否有权表演《万世巨星》做出了询问。ASCAP位于波士顿的办公室回应道ASCAP不能够为该剧作品表演提供许可“因为这一作品是ASCAP许可并不包含的戏剧音乐作品”。这一结果随后被ASCAP纽约办公室确认。然而在1971年3月4日，ASCAP与APB达成了协议，其中包含了“协会成员对单独的音乐作品的非戏剧性演唱版权”。下面提供的是许可标准的第3段内容：

　　“3.这一许可中不包括。

　　(a)完整的演唱剧，合唱，歌剧或戏剧性音乐作品(包括带有音乐、表演和芭蕾舞的作品)或者歌曲和其他歌剧选段或带有词句、哑剧、舞蹈或者作品的视觉化表现形式；但是这些作品片段或者演奏选段可能是乐器演奏，没有词句、对白、服装或舞台布景，没有任何的舞台表演或者视觉化表现(如动图或其他)。

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怀特－史密斯音乐公司诉阿波罗公司案

Tisi v．Patrick 

蒂西诉帕特里克案

Herbert v．Shanley Co. 

赫伯特诉珊立公司案

Repp v．Webber 

雷普诉韦伯案

Marks v．Leo Feist, Inc. 

马克思诉雷欧·菲斯特有限公司案

Repp v．Webber 

雷普诉韦伯案

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弗雷德·费希尔公司诉迪林厄姆案

Intersong－USA v. CBS, Inc. 

美国音特送公司诉哥伦比亚广播公司案

Arnstein v．Edward B. Marks Music Corporation 

阿恩斯坦诉爱德华·B.马克思音乐公司案

MCA, Inc. v．Wilson 

MCA公司诉威尔森案

Robert Stigwood Group Ltd. v．O'Reilly 

罗伯特·斯蒂格伍德集团诉奥莱利案

Harms, Inc.v.Tops Music Enterprises, Inc., of Cal. 

哈姆斯股份有限公司诉加利福尼亚州顶峰音乐股份有限公司案

Rice v．American Program Bureau 

赖斯诉美国项目局案