Editing Ethnomusicology (section)

=== Intellectual property ===
[[Copyright]] is the "exclusive right to make copies, license, and otherwise exploit a literary, musical, or artistic work, whether printed, audio, video, etc."<ref>"Copyright." Dictionary.com. Dictionary.com, n.d. Web. 13 Dec. 2017.</ref> Copyright dictates where credit and money are allocated. While ethnomusicologists conduct fieldwork, they interact with indigenous people. Once complete, they leave with material including interviews, recordings, and text. Copyright protects both researchers and creators. However, legal matters are country-specific, for instance in China<ref>Li, Juqian (2022). ''China's Legal Framework for Supporting Protection and Sustainability of Artistic Heritage''. In David G. Hebert and Jonathan McCollum, (Eds.), [https://rowman.com/Action/SERIES/_/LEXSHE "Ethnomusicology and Cultural Diplomacy"]. Lexington Books (Rowman & Littlefield), pp.297-311. {{ISBN|978-1-7936-4291-2}}</ref> and India.<ref>Choudhary, Karan (2022). ''Cultural Heritage and Music Diplomacy: The Legal Framework in India''. In David G. Hebert and Jonathan McCollum, (Eds.), [https://rowman.com/Action/SERIES/_/LEXSHE "Ethnomusicology and Cultural Diplomacy"]. Lexington Books (Rowman & Littlefield), pp.277-295. {{ISBN|978-1-7936-4291-2}}</ref>

In other cultures intellectual property is a matter of tradition. The Suyá people in Brazil root ownership in the animals, spirits, and entire communities. US  copyright law invests named individuals (e.g., [[Lennon–McCartney|Lennon and McCartney]]) with ownership, not animals, spirits, or communities. In some cases copyright is granted instead to the informant-performer, the researcher, the producer, or the funding organization.<ref name="Seeger, Anthony 1992">{{Cite book |last=Seeger |first=Anthony |url={{google books|plainurl=y|id=JviwpZeH984C}} |title=Why Suyá Sing: A Musical Anthropology of an Amazonian People |date=2004 |publisher=University of Illinois Press |isbn=978-0-252-07202-4 |language=en}}</ref>{{Rp|pages=xiii-xvii}}

In [[Senegal]], copyright benefits such as music royalties are allocated to the [[Government of Senegal|Senegalese government]], which hosts a talent competition, where the winner receives the royalties. Scherzinger stated that spiritual inspiration did not prevent composers from copyrighting their creations. Furthermore, he draws a paralle between group ownership of a song is not significantly and the influence in Western classical music of multiple composers on any individual work.<ref name="Scherzinger, Martin 1999"/>