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Introduction
Véronique Pouillard, Marius Buning, and Mala Loth
1. The drama of music: performance rights in the wake of industrial liberalisation, Paris 1851–1898
Anna Marie Skråmestø Nesheim
2. Confederation or corporation? Ideological and organisational visions in CISAC’s ‘Mechanical Rights Federation’ 1933–1939
Johan Larson Lindal
3 The politicization of copyright on the international stage: Fascist Italy and the foundation of CISAC
Malte Zill
4. Genealogies of copyright tariffs
Jose Bellido and Fiona Macmillan
5. The colonial expansion of the Belgian collective management society SABAM and music copyright in Congo, Rwanda and Burundi (1950s–1960s)
Véronique Pouillard
6. Collecting the traditional Kabyle music of Algeria in decolonisation time: Taos Amrouche, Yvette Grimaud and UNESCO (1950s–1960s)
Minja Mitrovic and Véronique Pouillard
7. Licensing conflicts: bureaucracy and bickering in the GEMA ‘family’, 1949–1962
Klaus Nathaus
8. Competing Futures: GEMA, the European Commission, and Copyright Law, 1962–1972
Mala Loth
9. Performer’s Rights – A child of technology and a stepchild of copyright
Irina Eidsvoll-Tøien