The scope of legal protection in relation to sampled works

Tradicija ustvarjanja v umetnosti sloni na opazovanju že ustvarjenega, iz katerega avtor črpa navdih in imaginacijo za izdelavo in oblikovanje lastne stvaritve. Vzorčenje glasbenih del je proces (po)ustvarjanja glasbenih stvaritev in fonogramov, katerega se danes poslužuje že večina glasbenih ustvarjalcev v žanrih kot so, rap, hip-hop, »house«, elektronska in plesna glasba, prevladuje pa tudi že v rock glasbi. Osnova vzorčenega dela so z avtorskimi in sorodnimi pravicami varovana tuja glasbena dela in fonogrami, kar pomeni, da se z uporabo teh del (potencialno) posega v pravni položaj imetnikov pravic. Vzorčenje glasbenih del in fonogramov je sodoben način umetniškega izražanja, ki črpa iz obstoječe baze glasbenih stvaritev. Kljub temu trenutna pravna ureditev vzorčenja ne prepoznava kot kreativne metode, s katero se poglablja kulturni napredek, in mu ne priznava umetniške vrednosti. Po ZASP se vzorčenje šteje za predelavo in predstavlja potencialno kršitev avtorjevih moralnih avtorskih pravic in materialnih avtorskih pravic ter kršitev pravic proizvajalcev fonograma. Na svetovni in na evropski ravni ne obstoja akt, ki bi določal posebno izjemo kršitve avtorske pravice in sorodnih pravic za uporabo delov – vzorcev – prvotnega dela v novem delu. Z vidika posega v avtorsko delo je novo delo, ki vsebuje del originala izenačen s priredbo glasbenega dela. Monopolizacija intelektualnega vložka na majhnih delih celotne stvaritve oz. na predmetu varstva pravice je etično vprašljiva. Zdi se, da je zakon preveč restriktiven z vidika omejevanja manevrskega prostora ustvarjalcev oziroma povedano drugače, da pravica avtorjev glasbenih del in proizvajalcev fonogramov ter interes družbe po spodbujanju kulturnega ustvarjanja nista v ustreznem sorazmerju.The tradition of creation in art is based on observation of the already created, from which the author draws inspiration and imagination for the creation of his own work. The sampling of musical works is the process of recreating musical creations and phonograms, which are now used by most musicians in genres such as rap, hip-hop, house, electronic and dance music, and in rock music. The basis of the sampled work consists of musical works protected by copyright and phonograms protected by related rights, which means that the use of these works (potentially) interferes with the legal position of right holders. Sampling of musical works and phonograms is a modern way of artistic expression, which draws from the existing basis of musical creations. Nevertheless, the current legal regulation of sampling does not recognize it as a creative method that intensifies cultural progress and does also not recognize artistic value. According to Copyright and Related Rights Act, sampling is a derivative work and represents a potential infringement of the author\u27s moral rights and material copyrights and a violation of the related right of phonogram producers. There is no such act on the European as well as on the global level that would provide for a special exception to the infringement of copyright and related rights for the use of samples. From the perspective of intervening in the author\u27s work, the new work, which contains a sample is equated with the adaptation of the musical work. The monopolization of an intellectual input on small parts of the whole creation is ethically questionable. It seems that the law is too restrictive in terms of limiting the freedom of expression of creators or, in other words, the holders of copyright and related rights on one side and the interest of society in promoting cultural creation on the other side are not proportionate