This essay examines the CJEU judgment of Pelham and its possi-ble effects on the practice of sampling. It reviews the musical sampling within the wider context of the history of musical borrowing and argues that its current position within the copyright discourse has been counter-productively marginalized. It proposes an interpretation of the CJEU’s judgment for the future national courts of the European Union member states that would prevent the unreasonable strictness towards sampling.


Bu makale, Avrupa Birliği Adalet Divanı’nın Pelham kararını ve bu kararın sampling uygulamalarına olası etkilerini incelemektedir. Bir eserden alınan ses kaydı veya enstrüman sesinin başka bir eserde kulla-nılmasını ifade eden “sampling”, müzik tarihindeki öncülleriyle beraber incelenmiş olup, bu uygulamanın güncel telif hakkı doktrini tarafından haksız yere marjinalleştirildiği savunulmaktadır. Bu kapsamda, makele, Adalet Divanı’nın Pelham kararının, gelecekte sampling uygulamalarına olanak sağlayacak bir şekilde yorumlanması gerektiğini savunmaktadır.


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