2021年3月21日日曜日

Who kills the Music? 『だれが「音楽」を殺すのか?』

Daisuke Tsuda, "Dare ga 'ongaku' wo korosu no ka? " (2004, Shoei-sha), p.328- 329. 


The title is "Who kills the Music?" in English.


If you upload a tune with CC license, "You can arrange and remix the tune freely." By doing this, "new creations are created by freely using someone else's creations" is "an interesting case study in terms of changes in the music production environment." Daisuke Tsuda was introducing like above.


Although there is a perception in the second half of the article that the BBC's library will be available on CC, as well, Tsuda and Lessig's assumption here is that music will complement music, and blogs will complement blogs.


As for me personally, when I was still a student and didn't know anything about doujin or the secondary creation world, I could only assume that it would be "hip-hop-like". The first edition of this book was published in the early autumn of 2004, but around 2007-08, a "cycle of creation" involving media like Hatsune Miku and Kagamine Rin/Len's "Road Roller" took shape, and appear to.


In his afterword (p. 341), Tsuda mentions: "I'd rather have a lot of people read my book, even if it's copied all over the place, than have a few people read it with a stiff copy protection system. The author would be happier if his work was read by many people, even if it was copied all over the place, than if it was read by only a few people with a stiff copy protection. On top of that, "it's better if you get royalties". I totally agree with this idea. Actually, that's what happened.


Now that I think about it, this idea is called “Freemium” later.


Thirteen years have made me realise that if you stay away from academia, eventually the "technical papers" will take precedence and the community and anthropology will take a back seat. My personal regret is that I still haven't been able to put together this kind of background properly.

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津田大介『だれが「音楽」を殺すのか?』(2004, 翔泳社)P.328- 329。CC (クリエイティブ・コモンズ)の「創造のサイクル」。MacのGarageBandで作ったオリジナルの曲がCCライセンスで公開されることによって「自由にアレンジしたり、リミックスすることができる」。これにより「誰かが創作した創作物を自由に利用することで、新たな創作物が生まれる」ことは「音楽制作環境の変化という意味でも興味深い事例」と紹介する。


ここでの津田さんやレッシグ教授の想定は、後半にBBCのライブラリがCCで公開されることへの期待は書かれているけれども、音楽なら音楽、ブログならブログ内部での相互補完。


私個人としては、まだ同人的なものや二次創作の界隈を知らなかった学生時代に「HIPHOP的なもの」くらいしか想定できていなかった。本書は2004年秋口に初版発行されているけれども、2007〜08ごろ初音ミク、鏡音リン・レンの「ロードローラー」のような、メディアを巻き込んだ「創造のサイクル」が形に。


津田さんは後書き(p. 341)にこう記す。「ガチガチのコピーガードをかけて少数の人にしか読まれないくらいなら、コピーされまくってでも、多くの人が読んでくれた方が、著者としてはうれしい」。その上で「印税が発生すればベター」。この考え方には全く同意。事実そうなった。