For each module you will be expected to complete a short writing concerning the topics covered by the lecture and readings for that module and insert it as a text entry below. Please do not put your name in the text box with your writing. Writings are to be no less than 300 words, and no more than 400 words, in length, and will be assessed taking into account five areas: 1) word count; 2) summarize the key changes in scholarly perspective over time on the particular topic for each module; 3) critical compare and contrast opposing claims; 4) clear expression of your perspective on the subject matter; and, 5) use of proper grammar and punctuation.
For module 3, your paper should reflect your knowledge of the issues, for copyright holders and bootleggers, particularly involving fake books.
Module 3 covers events that occurred between the 1930’s and 1990’s. Of primary interest will be the production and distribution of Fake Books and how music photocopying impacted these music books.
After successful completion of this module you will be able to:
synthesize your knowledge of bootlegging and illegal activity involving Fake Books
organize and discuss the implications surrounding the legal and illegal use of Fake Books
Introduction to Module 3
Module 3 is devoted only to chapter 4 from our class text. And there are two primary interests in
this chapter. First, is the production and distribution of fake books. These books had, and
continue to have, a very different role within the music distribution industry than that which
songs sheets have. However, you will find some amazing similarities as the story of fake books
plays out in the chapter.
You will want to make sure you understand the importance of fake books to the music industry
and musicians. The second interest of chapter 4 involves the physical photocopying of music on
paper. This is a disobedient practice that began with the advent of photocopying machines, or
Xerox machines, and continues to today. Just like with fake books, illegal photocopying of music
has primarily involved a pretty specific audience.
But how the music industry has reacted to photocopying, has been quite different than any other
disobedient practice we’ve looked at so far. You will want to understand these differences.
Chapter 4 also contains some discussion concerning the continued decline of sheet music, as well
as the eventual decline of song sheets. One of these, as you will see, has experienced something
of a revival.
There is one sentence in chapter 4 that really caught my attention. And I’m wondering if it will
do the same for you. There is mention of the internet as a modern method of song lyric
distribution. This is compared in the same sentence to the original bootleg sheets of the 1930s.
However, the author does not comment any further on this practice. I found this an interesting
omission. I’m curious if you feel the same way. Anyway, I hope you enjoy working through this
I download the book you can look up for chapter 4