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This article focuses on copyright and related rights related to music and near-music works (literary, scientific) in the media environment. The key legal issues of right holders and users are investigated on the basis of the modern Russian law (Civil Code), and on examples from practice of broadcasters, leading music education institutions and scientific databases. The emphasis is on the music art, literature and science in the digital space of Internet, which today is associated with the largest number of creative innovation, and in which accordingly, there is the greatest number of violations of copyright and related rights. In this regard, the author proposes to amend the current Russian legislation to allow the creation of the organization managing the intellectual property rights in the web on a collective basis.http://mediamusic-journal.com/Issues/4_6.html

The music-compositional principles of commercial and political advertising and also the self-promotion of electronic media (radio, television, Internet) are considered in this mediatext: from the elementary beeps, symbolic functions, emblems/logos and musical brands to the sound engineering technology to underscore the product's name and the complex synthesis between music and intra movements and color-light design of frames. Simultaneously examines, how the musical arrangement of ethereal advertising is involved in creation the emotional drama or bravado which reach the level of explicit or associative counterpoint 'music with the advertised object or subject' and which extend to expression of cultural image of all the broadcast channel. The article explores the works of the next genres like infomercial, teleshopping, film-ad, and autonomous commercials that have been produced in European countries or USA.http://mediamusic-journal.com/Issues/4_1.html

In media, static political media cartoons systematically began to appear in the first half of the 19th century. In the next century, it vividly showed itself in sound media works, into which it entered indirectly through the genre of art parody of literary, musical, cinematic or media sources. To understand the sound parody-with-caricatures, the authors noted the importance of the system of acquired semantic meanings formed by the viewer, primarily related to films and other popular genres. Among the significant Russian-language samples of the political sound media cartoons, the issues of the Russian TV-program Kukli (Puppets) and the German Internet project Zapovednik (Restricted Area with Special Legal Status) were separately analyzed. Zapovednik discovered a new milestone in the development of media genre in the XXI century. Using its issues, the functioning of music and other sounds was briefly reviewed in relation to the moving media cartoons and the parody scene in general. The authors of the study drew particular attention to the multi-level principle of the building a parody-with-caricatures.http://mediamusic-journal.com/Issues/10_6.html