The epiphanic moment in which a listener realizes that musical borrowing has taken place concerns not only the relation between two texts but also performance. Sources: George Gershwin and Ira Gershwin: “Summertime” from Porgy and Bess (1944), I Got Rhythm (1948-49) Ray Noble: Cherokee (1946) Vincent Youmans and Irving Caesar: Tea for Two (1948) Joseph Kosma and Jacques Prévert: Autumn Leaves (1948) Roy Orbison: Oh, Pretty Woman (1951) Cole Porter: Love for Sale (1951-52) Duke Ellington and Paul Francis Webster: I Got It Bad and That Ain’t Good (1959). Works: John Coltrane (performer): Summertime (1944) Art Tatum (arranger and performer): Cherokee (1946) Live Crew: Oh, Pretty Woman (1951) Miles Davis (arranger and performer): Love for Sale (1951-53) Keith Jarrett (performer): I Got It Bad and That Ain’t Good (1959). Moving forward, similar considerations may be applied to digital music compilation, since the ability to transform sources and create collages generates new modes of meaning in a similar way to jazz.
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Given the musical originality of many such interpolations, copyright law should consider these to be transformative, and thus not only protected under fair use analysis but also privileged as original compositions, protected under the law. Therefore, a narrower definition of what is legally “derivative” must be introduced into copyright law, in order to protect and valuate the highly original contributions of jazz musicians who generate new works and interpolations from existing music. Revisitation is essential to jazz, ranging from oblique reference to the arrangement and performance of standard songs. Within the framework of current copyright law, the kind of borrowing, referencing, and reworking of existing music that characterizes the evolution of jazz is considered unoriginal and thus not up to the standards required to adhere to the law. It privileges the composer of a borrowed work as the sole owner, regardless of the meaningful and original transformations a new musician may bring to or derive from an existing chord progression or tune. They seek the truth about their unknown past and most importantly, they would really like to know what their mission is.Current copyright law discourages the vital reinterpretation of existing music that defines jazz aesthetics. The seven members of this youthful crew strive to complete their mission, that is a stellar adventure, leading them across time and verse where they encounter friends and enemies. SlingStar 1 and twenty house-sized asteroids were now pointed directly at the third planet from the sun." Without a planet to call their home world, the SlingStar Asteroid miners live and work aboard their ships. The RD units attached to the asteroids felt it, but they just figured it was an intentional course change and happily repositioned their asteroids to the center along the new course. The two in the hangar bay were busy trying to shut down the device, so they didn't feel it either. Na was already asleep and he didn't feel it. "The ship changed course without anyone realizing it, and small course corrections like this were common. SlingStar 1 and twenty house-sized asteroids were now pointed directly at the third planet from.
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