Derechos de propiedad intelectual en la industria musical ecuatoriana: Medios digitales
| Autor | Juan Aguirre Navarrete |
| Cargo | https://orcid.org/0000-0001-7857-3632 |
| Páginas | 249-267 |
249
Revista Facultad de Jurisprudencia RFJ No.8 Dic. 2020 Vol.II pp. 249-267
Aguirre, J. Intellectual property rights in the Ecuadorian music industry
Intellectual property rights in the Ecuadorian
music industry: digital media
Derechos de propiedad intelectual en la industria
musical ecuatoriana: Medios digitales
Juan Sebastián Aguirre Navarrete
Independent researcher
City: Quito
Country: Ecuador
Original article (research note)
RFJ, No. 8, 2020, pp. 249-267, ISSN 2588-0837
ABSTRACT:Inside the panorama of the music industry have
been generated by several legal relationships. Generally, the
artist is only concerned with expressing his ideas through
songs, based on deep feelings or experiences that have marked
him, but he does not realize that he is in a very complicated
legal relationship when privatizing his creations. Many artists
throughout their careers legal issues related to the use of
copyrights in their discography; a very recent case is that of
the famous artist Taylor Swift where the problem lies in the
snatching of their copyright author. This miscellaneous
article focuses on identifying the regulations with which the
Ecuadorian government protects intellectual property rights in
the Ecuadorian music industry in the current digital era. As a
final result, we state that Ecuadorian legislation has an optimal
regulation that encourages the operation of the intellectual
property regime in Ecuador. However, artists do not choose to
enter this industry due to the low performance it has in our
country.
KEYWORDS: Digitization, recording industry, music,
copyright, intellectual property
DOI 10.26807/rfj.v2i8.296
250
Revista Facultad de Jurisprudencia RFJ No.8 Dic. 2020 Vol.II pp. 249-267
Aguirre, J. Intellectual property rights in the Ecuadorian music industry
RESUMEN: Dentro del panorama de la industria musical, se ha
generado un sin número de relaciones jurídicas. Generalmente,
el artista solo se preocupa por expresar sus ideas a través de
canciones, basándose en sentimientos profundos o experiencias
que lo han marcado, pero no se percata de que se encuentra
en una relación legal muy compleja al momento de privatizar
sus creaciones. Muchos artistas a lo largo de su carrera se han
visto envueltos en diversos problemas sobre el uso de derechos
de autor en su discografía, un caso muy reciente es el de la
famosa artista Taylor Swift en donde el problema radica en el
arrebato de sus derechos de autor. Este artículo se enfoca en
identificar las regulaciones con las que el estado ecuatoriano
protege los derechos de propiedad intelectual en la industria
musical ecuatoriana, que se desarrollan en el entorno digital.
Como producto de esta investigación se puede deducir que
la legislación ecuatoriana cuenta con una regulación optima
que incentiva el funcionamiento del régimen de propiedad
intelectual en el Ecuador, sin embargo, los artistas no optan por
introducirse a esta industria por el bajo rendimiento que esta
tiene en nuestro país.
PALABRAS CLAVE: Digitalización, industria discográfica,
música, derecho de autor, propiedad intelectual.
INTRODUCTION
Musical works are undoubtedly one of the essential
categories of works for copyright. For many years, musical
authors have exercised high power in the process of claiming
copyright. However, recognition was granted to the authors
by the Berne Convention for the protection of literary and
artistic works of 1886. Then, only the authors of the lyrics
and the music of the songs were sheltered, leaving aside the
interpreters of musical works, who from the signing of the 1961
Rome Convention recognized these rights with the name of
neighbouring rights or neighbouring rights. (Ríos, 2011)
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