【摘要】：隨著互聯(lián)網(wǎng)的普及,數(shù)字音樂日益興起,數(shù)字音樂作品傳播速度快且便于攜帶的特征深受廣大消費(fèi)者的青睞。在公眾從廣泛傳播的數(shù)字音樂作品中獲益的同時(shí),嚴(yán)重削弱了數(shù)字音樂作品權(quán)利人對作品的控制及獲益能力。盡管數(shù)字技術(shù)提升了音樂作品的傳播速度,但由于數(shù)字音樂作品的特殊性,對現(xiàn)有的立法產(chǎn)生了一定的沖擊與突破,故有必要完善對數(shù)字音樂作品著作權(quán)保護(hù)的相關(guān)立法。數(shù)字音樂作品著作財(cái)產(chǎn)權(quán)的突破主要集中在復(fù)制權(quán)和信息網(wǎng)絡(luò)傳播權(quán)上,我國應(yīng)該適度擴(kuò)張和限制復(fù)制權(quán)和信息網(wǎng)絡(luò)傳播權(quán)。對于復(fù)制權(quán),我國應(yīng)該借鑒美國、歐盟適用的“認(rèn)定加限制”模式,將暫時(shí)復(fù)制納入復(fù)制權(quán)的保護(hù)范疇,并在司法實(shí)踐中從暫時(shí)復(fù)制行為的行為類型和主體歸責(zé)兩個(gè)方面綜合判斷暫時(shí)復(fù)制行為是否構(gòu)成對數(shù)字音樂作品著作權(quán)人的侵權(quán)。對于信息網(wǎng)絡(luò)傳播權(quán),其本身是著作權(quán)在數(shù)字時(shí)代的權(quán)能擴(kuò)張,但是在適用中應(yīng)該將社會(huì)公眾之間特定的點(diǎn)對點(diǎn)之間的傳播排除在外,且對于獲取數(shù)字音樂作品的特定時(shí)間和空間也應(yīng)該進(jìn)行限制,從而達(dá)到多方主體利益之間的平衡。數(shù)字音樂作品的特殊性對侵權(quán)認(rèn)定也有一定的突破,其侵權(quán)行為不再局限于直接侵權(quán),而更多地表現(xiàn)為間接侵權(quán),然而我國立法并沒有明確的間接侵權(quán)制度,為了讓數(shù)字音樂作品著作權(quán)人合法利益得到有效保護(hù),我國應(yīng)該建立完善的間接侵權(quán)制度。在司法實(shí)踐中,對于不同的侵權(quán)主體,其侵權(quán)認(rèn)定也有所不同,對于網(wǎng)絡(luò)內(nèi)容服務(wù)提供者的侵權(quán)認(rèn)定應(yīng)該適用過錯(cuò)推定原則,對于網(wǎng)絡(luò)接入服務(wù)提供者的侵權(quán)認(rèn)定應(yīng)該適用過錯(cuò)原則,而對于網(wǎng)絡(luò)終端消費(fèi)者的行為,其大多數(shù)屬于合理使用的范圍,涉及的部分侵權(quán)行為應(yīng)采取過錯(cuò)原則對其進(jìn)行認(rèn)定。由于互聯(lián)網(wǎng)的出現(xiàn),數(shù)字音樂作品的私人復(fù)制行為讓合理使用的界限變得模糊,為了更好地平衡數(shù)字音樂作品著作權(quán)人與社會(huì)公眾之間的利益,立法上應(yīng)該將“三步檢驗(yàn)標(biāo)準(zhǔn)”上升為法律,置于著作權(quán)法的權(quán)利限制體系中,并將“個(gè)人欣賞”排除在私人復(fù)制合理使用的情形之外,同時(shí)結(jié)合我國的立法環(huán)境適當(dāng)?shù)囊氚鏅?quán)補(bǔ)償金制度,從而兼顧多方的利益。數(shù)字音樂作品網(wǎng)絡(luò)服務(wù)提供者最主要的免責(zé)事由就是避風(fēng)港原則,但我國引入的避風(fēng)港原則比較籠統(tǒng),不便于操作,導(dǎo)致避風(fēng)港原則在我國出現(xiàn)水土不服的現(xiàn)象。我國立法應(yīng)該規(guī)定舉證責(zé)任由權(quán)利人來承擔(dān),并且明確通知書的法律效力,只有合格的通知書才具有法律效力,不合格的通知書則視為未通知。同時(shí)應(yīng)該建立“避風(fēng)港登記”機(jī)制,對指定接受侵權(quán)通知的機(jī)構(gòu)進(jìn)行詳細(xì)的線上信息登記,促進(jìn)避風(fēng)港原則的有效運(yùn)行,除此之外,應(yīng)該將經(jīng)濟(jì)利益擴(kuò)展到與侵權(quán)作品有牽連關(guān)系的間接利益,如此方能構(gòu)建完整的數(shù)字音樂作品著作權(quán)的保護(hù)體系。
[Abstract]:With the popularity of the Internet, digital music is rising day by day. The characteristics of digital music works, which are fast and easy to carry, are favored by the majority of consumers. While the public benefits from the widely disseminated digital music works, it seriously weakens the control and benefit ability of the rights holders of the digital music works. Although digital technology improves the dissemination speed of music works, because of the particularity of digital music works, it has a certain impact and breakthrough on the existing legislation, so it is necessary to improve the relevant legislation on the copyright protection of digital music works. The breakthrough of the property right of digital music works mainly focuses on the right of reproduction and the right of information network dissemination. Our country should moderately expand and limit the right of reproduction and the right of information network dissemination. With regard to the right of reproduction, China should draw lessons from the United States and the EU's applicable "cognizance plus restriction" model, and bring temporary reproduction into the scope of the protection of the right of reproduction. In judicial practice, it is judged whether the temporary reproduction behavior constitutes an infringement on the copyright owner of digital music works from two aspects: the type of temporary reproduction behavior and the imputation of the subject. For the right of information network communication, it is the power expansion of copyright in the digital age, but in application, the dissemination between specific point-to-point among the public should be excluded. Moreover, the specific time and space of obtaining digital music works should also be limited, so as to achieve the balance between the interests of multiple subjects. The particularity of digital music works also has a certain breakthrough in the identification of tort. Its tort is no longer limited to direct infringement, but more manifested as indirect tort. However, there is no clear indirect tort system in the legislation of our country. In order to protect the legitimate interests of copyright owners of digital music works effectively, our country should establish a perfect indirect infringement system. In judicial practice, for different subjects of tort, the identification of tort is also different, and the principle of presumptive fault should be applied to the cognizance of tort by network content service providers. For the infringement identification of network access service providers, the fault principle should be applied, while for the behavior of network terminal consumers, most of them belong to the scope of reasonable use, and some of the violations involved should be identified by fault principle. Due to the emergence of the Internet, the private reproduction of digital music works blurs the boundary of reasonable use, in order to better balance the interests of copyright owners of digital music works and the public. In legislation, the "three-step test standard" should be raised into law, placed in the system of restriction of rights in copyright law, and "personal appreciation" should be excluded from the case of reasonable use of private reproduction. At the same time, combined with the legislative environment of our country, the copyright compensation system should be introduced appropriately, so as to take into account the interests of many parties. The most important reason for network service providers of digital music works is the principle of safe haven, but the principle of safe haven introduced in our country is relatively general and is not easy to operate, which leads to the phenomenon that the principle of safe haven is not satisfied in our country. The legislation of our country should stipulate that the burden of proof should be borne by the obligee, and make clear the legal effect of the notice, only the qualified notice shall have the legal effect, and the unqualified notice shall be regarded as unnotified. At the same time, the "safe haven registration" mechanism should be established to register the detailed online information of the institutions designated to accept the infringement notice, so as to promote the effective operation of the safe haven principle. The economic interests should be extended to the indirect interests related to infringing works, so as to construct a complete protection system of the copyright of digital music works.
【學(xué)位授予單位】：遼寧大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：D923.41

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 羅勇;;論“網(wǎng)絡(luò)服務(wù)提供者”的法律界定——以中日比較為中心[J];學(xué)術(shù)交流;2016年06期

2 孟兆平;;比較與選擇:互聯(lián)網(wǎng)環(huán)境中作品復(fù)制權(quán)的重構(gòu)——以臨時(shí)復(fù)制為視角[J];河北法學(xué);2016年05期

3 宋卉;鄧文武;;3G時(shí)代的移動(dòng)網(wǎng)絡(luò)臨時(shí)復(fù)制問題[J];編輯之友;2015年06期

4 馬寧;;我國避風(fēng)港規(guī)則的不足與完善——基于美國DMCA的通知—移除機(jī)制比較分析[J];知識(shí)產(chǎn)權(quán);2014年08期

5 于慧;;三網(wǎng)融合下數(shù)字音樂作品之版權(quán)保護(hù)[J];中國出版;2014年13期

6 溫欣;劉茲恒;;數(shù)字時(shí)代私人復(fù)制的版權(quán)補(bǔ)償金制度改革趨勢[J];圖書與情報(bào);2014年03期

7 宋迪;;三網(wǎng)融合下數(shù)字音樂作品著作權(quán)保護(hù)舉措探析[J];出版發(fā)行研究;2014年03期

8 王鑫磊;;淺析“避風(fēng)港”制度中“通知?jiǎng)h除”規(guī)則的司法適用及完善[J];出版發(fā)行研究;2014年03期

9 李玲;;數(shù)字時(shí)代版權(quán)補(bǔ)償金制度的正當(dāng)性及其引入[J];中國出版;2013年14期

10 譚誼;謝亞可;;數(shù)字音樂作品版權(quán)保護(hù)策略探析[J];出版發(fā)行研究;2012年10期

相關(guān)碩士學(xué)位論文 前7條

1 韓時(shí);數(shù)字音樂作品著作權(quán)法律保護(hù)機(jī)制研究[D];吉林大學(xué);2015年

2 劉奎慶;數(shù)字音樂作品的著作權(quán)保護(hù)研究[D];中國海洋大學(xué);2014年

3 趙臻;數(shù)字音樂作品著作權(quán)侵權(quán)責(zé)任研究[D];內(nèi)蒙古大學(xué);2013年

4 高鵬飛;P2P技術(shù)引發(fā)的網(wǎng)絡(luò)音樂作品著作權(quán)保護(hù)研究[D];河北大學(xué);2011年

5 梁飛;網(wǎng)絡(luò)環(huán)境下數(shù)字音樂作品著作權(quán)的法律保護(hù)[D];吉林大學(xué);2011年

6 殷健;數(shù)字音樂作品著作權(quán)侵權(quán)責(zé)任研究[D];大連理工大學(xué);2009年

7 張婭;數(shù)字音樂版權(quán)侵權(quán)問題研究[D];華中師范大學(xué);2007年

，

本文編號：2477684