Amicus Brief (Musicologists)

Case: 15-56880, 12/28/2016, ID: 10248737, DktEntry: 47, Page 1 of 91
CA Nos. 15-56880, 16-55089 , 16-55626

DC No. CV13-06004-JAK (AGRx)
UNITED STATES CO URT O F APPEALS

FO R TH E NINTH CIRCU IT
PH ARRELLW ILLIAM S, ET AL.,
Pl
ain tiffs/Coun te r-De fe n dan ts/Appe l
l
an ts/Cross-Appe l
l
e e s,
an d
M O RE W ATER FR O M N AZ AR ETH PUBLISH ING, INC., ET AL.,
Coun te r-De fe n dan ts/Appe l
l
an ts/Cross-Appe l
l
e e s.
v.
FRANK IE CH RISTIAN GAYE , ET AL.,
De fe n dan ts/Coun te r-Cl
aim an ts/Appe l
l
e e s/Cross-Appe l
l
an ts.
Appe alFrom Judgm e n tO fTh e Un ite d State s DistrictCourt
For Th e Ce n tralDistrictO fCal
iforn ia
(H on . Joh n A. K ron stadt, Pre sidin g)
B R IEF O F A M IC I C U R IA EM U S IC O L O G IS TS IN S U P P O R T O F
TH EG A Y EFA M IL Y A N D A R G U IN G FO R A FFIR M A N C E
H O W ARD BARRY ABR AM S
ab ram sh b @udm e rcy.e du
Un ive rsity ofDe troitM e rcy Sch oolof
Law
651 EastJe ffe rson Ave n ue
De troit, M ich igan 48226
Te l
e ph on e : 313.59 6.0215
BERNARD A. BURK (No. 118083)

Be rn ie .Burk @b e rn ie b urk .com
Visitin g Associate Profe ssor ofLaw
Dire ctor, Law ye rin g Sk il
l
s Program
Un ive rsity ofArk ansas atLittl
e Rock
W il
l
iam H . Bow e n Sch oolofLaw
1201 M cM ath Ave n ue
Littl
e Rock , Ark an sas 72202
Te l
e ph on e : 9 19 .448.89 9 2
Attorn e ys for Am ici Curiae M usicol

ogists
in Supportofth e Gaye Fam il
y
ID EN TITY O F A M IC I C U R IA E
Joh n Al
tm an is a w orl
d-fam ous m usic com pose r, arran ge r, jaz z
m usician , orch e strator, con ductor, an d m usicol
ogist. H e is a fre q ue n t
gue st con ductor for th e RoyalPh il
h arm on ic O rch e stra, se rve s on th e
Board ofth e Am e rican Socie ty ofM usic Arran ge rs an d Com pose rs, is
a m e m b e r of th e British Acade m y of Fil
m an d Te l
e vision Arts,
re ce ive d th e l
ife tim e ach ie ve m e n taw ard from th e British Acade m y of
Com pose rs an d Son gw rite rs, an d is a Patron of th e Nation alJaz z
Arch ive . M r. Al
tm an h as too m an y re cordin gs to m e n tion . H e h as
b e e n n om in ate d an d/or w on m ost if n ot al
lof th e m ost pre stigious
fil
m
com pose r aw ards, in cl

udin g arran gin g an d producin g th e
Acade m y Aw ard-n om in ate d pe riod m usic in Jam e s Cam e ron

s
Titan ic. H e h as w ork e d w ith a w ide varie ty of artists in cl

udin g Van
M orrison (as h is m usicaldire ctor), Stin g an d Eric Cl
apton .
Dr. Gage Ave ril
lis th e De an of th e Arts at Un ive rsity of British
Col
um b ia, Van couve r. H e re ce ive d h is Ph .D. from th e Un ive rsity of
W ash in gton . Dr. Ave ril
lpre viousl
y se rve d as th e De an of M usic at
th e Un ive rsity of Toron to, an d is th e past Ch air of th e M usic
De partm e n t at Ne w York Un ive rsity. H e se rve d as Pre side n t of th e
Socie ty of Eth n om usicol
ogy from 2009 -2011.
Dr. Ave ril

lh as b e e n
tw ice n om in ate d for Gram m y Aw ards. H e h as pub l

ish e d articl
e s an d
b ook s on a varie ty ofm usic sub je cts.
-i-
Dr. Ste ph e n Be ck re ce ive d h is Ph .D. from th e Un ive rsity of

Cal
iforn ia in M usic Com position & Th e ory. H e curre n tl
y te ach e s at
Louisian a State Un ive rsity as th e De rryl& H e l
e n H aym on Profe ssor
ofCom position & Com pute r M usic. Dr. Be ck w as a re se arch e r atth e
Re ch e rch e e t Coordin ation Acoustiq ue /M usiq ue (IRCAM ) in Paris,
Fran ce .
H is m usic h as b e e n pe rform e d th rough out th e w orl

d.
Dr. Be ck
s m usic h as b e e n re corde d on SEAM US, EM F, an d Goth ic
Re cord l
ab e l
s. H e h as pre se n te d l
e cture s an d pape r on h is re se arch
th rough outth e w orl
d.
Dr. PaulFran k l
in Be rl
in e r is an Am e rican e th n om usicol
ogist. H e
is a Profe ssor of Eth n om usicol
ogy at Duk e Un ive rsity, an d form e rl
y
taugh t at th e Sch oolof M usic at North w e ste rn Un ive rsity.
H e
e arn e d a Ph .D. from W e sl

e yan Un ive rsity in 19 74 an d w as aw arde d
an h on orary Ph .D. in H um an e Le tte rs from De PaulUn ive rsity in
2003.
H e h as al
so re l
e ase d an d produce d a n um b e r of al
b um s,
se ve ralof w h ich re ce ive d Gram m y n om in ation s. Dr. Be rl

in e r w as
el
e cte d a Fe l
l
ow of th e Am e rican Acade m y of Arts an d Scie n ce s in
2004.
Dr. Ch arl
e s Carson is an Associate Profe ssor of M usic at th e
Un ive rsity of Te xas. H e re ce ive d h is Ph .D. from th e Un ive rsity of
Pe n n syl
van ia, an d is a form e r H ow ard M aye r Brow n Fe l
l
ow for th e
- ii -
Am e rican M usicol
ogicalSocie ty. H e h as pre se n te d an d pub l
ish e d on
a varie ty ofsub je cts.
Dr. Dal
e Cock re l
l is Profe ssor of M usicol
ogy Em e ritus at
Van de rb il
t Un ive rsity
s Bl
air Sch oolof M usic. H e w as aw arde d th e
Irvin g Low e n s Aw ard for Be st Book in Am e rican M usic for h is b ook
Exce l
sior: Journ al
s of th e H utch ison Fam il
y Sin ge rs . H e too h as
pub l
ish e d articl
e s an d b ook s too n um e rous to m e n tion h e re .
H e
l
e cture s an d pre se n ts pape rs on a varie ty of m usic topics th rough out
th e w orl
d.
Dr. Vijay Iye r is th e Fran k l
in D. an d Fl
ore n ce Rose n b l
att
Profe ssor ofth e Arts atH arvard Un ive rsity. H e pre viousl
y taugh tat
th e M an h attan Sch oolof M usic an d Ne w York Un ive rsity. Dr. Iye r
re ce ive d an in te rdiscipl
in ary Ph .D. in Te ch n ol
ogy an d th e Arts from
th e Un ive rsity of Cal
iforn ia, Be rk e l
e y, focusin g on m usic cogn ition .
H e w as n am e d a M acArth ur Fe l
l
ow in 2013. A Gram m y-n om in ate d
com pose r an d pian istan d th e auth or of n um e rous w ritin gs on m usic,
Dr. Iye r
s m an y aw ards an d accom pl
ish m e n ts in cl
ude Dow n Be at
m agaz in e
s 2015 ArtistofTh e Ye ar an d 2014 Pian istofth e Ye ar, an d
b e in g ch ose n as th e M e tropol
itan M use um of th e Arts Artist in
Re side n ce for 2015-2016. Th e Ne w York Tim e s h as ob se rve d th at
- iii -
th e re
s prob ab l
y n o fram e w ide e n ough to e n com pass th e output of
th e pian istVijay Iye r.
Dr. Travis Jack son is an Associate Profe ssor of Am e rican M usic
at th e Un ive rsity of Ch icago. Dr. Jack son re ce ive d h is Ph .D. from
Col
um b ia Un ive rsity, an d h as pub l
ish e d articl
e s an d b ook s on a w ide
varie ty ofAm e rican m usic sub je cts.
Dr. CarolO ja is th e W il
l
iam Pow e l
lM ason Profe ssor of M usic at
H arvard Un ive rsity, an d Ch air of th e De partm e n t. Sh e re ce ive d h e r
Ph .D. from th e Un ive rsity of M ich igan at An n Arb or.
re ce ive d th e Irvin g Low e n s Book
Aw ard from
Dr. O ja
th e Socie ty for
Am e rican M usic for h e r b ook M ak in g M usic M ode rn : Ne w York in
th e 19 20s , h as se rve d tw o te rm s as th e Le on ard Be rn ste in Sch ol

ar in
Re side n ce for th e Ne w York Ph il
h arm on ic, an d h as pub l
ish e d articl
es
an d b ook s too n um e rous to m e n tion .
Dr. Je ffre y Pe rry is th e M an sh ip Profe ssor of M usic Th e ory at
Louisian a State Un ive rsity, an d re ce ive d a Ph .D. from Prin ce ton
Un ive rsity. H e pre viousl
y taugh t M usic at Duk e Un ive rsity an d th e
Un ive rsity of North Carol
in a, an d w as tw ice ch ose n a Fe l
l
ow of th e
M an n e s In stitute for Advan ce d Studie s in M usic Th e ory. H e is cre dite d w ith n um e rous pub l
ication s on M usic Th e ory an d h as se rve d as
- iv-
Re vie w s Editor of M usic Th e ory O n l

in e , a pe e r-re vie w e d journ alof
th e Socie ty for M usic Th e ory.
Dr. K ay Sh e l
e m ay is th e G. Gordon W atts Profe ssor of M usic at
H arvard Un ive rsity, an d a form e r Ch air of th e De partm e n tof M usic.
Sh e
re ce ive d
h er
Ph .D.
from
th e
Un ive rsity
of M ich igan .
Dr. Sh e l
e m ay h as al
so taugh tatCol
um b ia Un ive rsity, an d Ne w York
Un ive rsity. Sh e is a Fe l
l
ow of th e Am e rican Acade m y of Arts an d
Scie n ce s, an d is Past Pre side n t of th e Socie ty for Eth n om usicol
ogy.
Dr. Sh e l
e m ay w as a W oodrow W il
son Fe l
l
ow , an d h as b e e n aw arde d
a n um b e r of m ajor postdoctoralfe l
l
ow sh ips, in cl
udin g gran ts from
th e Gugge n h e im
Foun dation , th e Nation al En dow m e n t for th e
H um an itie s, an d oth e rs. Sh e is a Past-Pre side n t of th e Socie ty for

Eth n om usicol
ogy, an d w as e l
e cte d as a m e m b e r of th e Am e rican
Acade m y ofArts an d Scie n ce s, am on g m an y oth e r h on ors. Sh e is th e
auth or ofn um e rous articl
e s an d re vie w s.
Dr. M ich ae lVe alis Profe ssor of M usic at Yal
e Un ive rsity. H e
re ce ive d h is Ph .D. from W e sl
e yan Un ive rsity in Eth n om usicol
ogy,
an d h as n um e rous pub l
ication s to h is cre dit.
Dr. Ch ristoph e r W ate rm an is a Profe ssor an d form e r De an of th e
UCLA Sch ool of Arts an d Arch ite cture .
H e h ol
ds a B.A. in
com position an d e l
e ctric b ass from Be rk l
e e Col
l
e ge of M usic, an d a
- v-
Ph .D. in an th ropol
ogy from th e Un ive rsity of Il
l
in ois. Dr. W ate rm an
is
an
an th ropol
ogist,
e th n om usicol
ogist,
an d
m usician
who
spe cial
iz e s in Africa an d th e Am e ricas. H e is th e De an of th e UCLA
Sch ool of th e Arts an d Arch ite cture .
Prior to join in g UCLA,
Dr. W ate rm an w as th e h e ad of th e e th n om usicol

ogy program at th e
Un ive rsity of W ash in gton . H is sch ol
arl
y w ork h as b e e n re cogn iz e d
w ith
Ful
b righ t fe l
l
ow sh ips, an d h e
re ce ive d th e
Eth e l Curry
Distin guish e d Le ade rsh ip in M usicol

ogy aw ard from th e Un ive rsity
of M ich igan (An n Arb or). Dr. W ate rm an h as pub l
ish e d on a varie ty
ofsub je cts.
Dr. Law re n ce
Z b ik ow sk i is a Profe ssor of M usic an d th e
H um an itie s at th e Un ive rsity of Ch icago, an d is a M usic Th e orist.

Dr. Z b ik ow sk i re ce ive d h is Ph .D. from Yal
e Un ive rsity. Am on g oth e r
accom pl
ish m e n ts, Dr. Z b ik ow sk i re ce ive d a fe l
l
ow sh ip from
th e
Am e rican Coun cilof Le arn e d Socie tie s an d w as al

so a Ful
b righ t
Visitin g Re se arch Ch air, in support of a b ook proje ct con ce rn e d w ith
de ve l
opin g a cogn itive gram m ar of m usic. Dr. Z b ik ow sk i h as pub l
ish e d n um e rous articl
e s, b ook s, an d ch apte rs in b ook s too n um e rous
to m e n tion .
- vi -
C O R P O R A TED IS C L O S U R ES TA TEM EN T
Pursuan t to Fe de ralRul
e of Appe l
l
ate Proce dure 26.1, th e un de rsign e d state s th at n on e of th e Am ici Curiae is a corporation th at
issue s stock or h as a pare n tcorporation th atissue s stock .
S TA TEM EN T O F C O M P L IA N C EW ITH R U L E29(a )(4)(E)
Th is b rie f is sub m itte d pursuan t to Rul

e 29 (a) of th e Fe de ral
Rul
e s ofAppe l
l
ate Proce dure . Al
lpartie s h ave con se n te d to its fil
in g.
No party
s coun se lauth ore d th e b rie f in w h ol
e or in part;n o party or
party
s coun se lcon trib ute d m on e y in te n de d to fun d pre parin g or
sub m ittin g th e b rie f;an d n o pe rson or e n tity oth e r th an th e Am ici
Curiae or its coun se l con trib ute d fun ds for pre parin g or sub m itting
th e b rie f.
DATED: De ce m b e r 28, 2016.
Re spe ctful
l
y,
H
O W ARD
BARRY ABRAM S
By
BERNARD A. BURK
/s/Be rn ard A. Burk

BERNARD A. BURK

ogists
y
- vii -
TA B L EO F C O N TEN TS
P a ge
IDENTITY O F AM ICI CURIAE
CO RPO RATE DISCLO SURE STATEM ENT
vii
STATEM ENT O F CO M PLIANCE W ITH RULE 29 (a)(4)(E)
vii
INTEREST O F AM ICI CURIAE
INTRO DUCTIO N AND SUM M ARY O F ARGUM ENT
I.
TH E REPO RTS, TESTIM O NY, AND RELATED

DEM O NSTRATIVE EVIDENCE TH AT JUDITH
FINELLAND INGRID M O NSO N O FFERED AS
EXPERT M USICO LO GISTS W ERE PRO PERLY
ADM ITTED BY TH E DISTRICT CO URT FO R
BO TH ITS O W N AND TH E JURY
S
CO NSIDERATIO N.
A.
Th e Expe rtsQual
ification s.
B.
Th e Expe rtsRe ports, Te stim on y, An d

De m on strative Evide n ce W as Prope rl
y
Adm itte d An d Con side re d.
1.
2.
Th e Expe rts Use d Stan dard Acce pte d

M usicol
ogicalM e th odol
ogy In An al
yz in g
W h e th e r Bl
urre d Lin e s
M isappropriate d Sub stan tialAm oun ts O f
O rigin alAn d Distin ctive M usical
Expre ssion From GotTo Give ItUp.
M s. Fin e l
lCare ful
l
y An d Th ough tful
l
y
Appl
ie d Stan dard M usicol
ogicalAn al
ysis
In Com parin g Th e Le ad Sh e e tFor Got
to Give ItUpTo Bl
urre d Lin e s.
- viii -
3.
Dr. M on son Care ful

l
y An d Th ough tful
l
y
Appl
ie d Stan dard M usicol
ogicalAn al
ysis
in Sh ow in g Th atTh e M usicalFe ature s
an d Com b in ation s Th e Th ick e Partie s
M isappropriate d Are NotAttrib utab l
e To
Ge n re O r Foun d In Prior Art.
13
Th e Expe rts Prope rl

y Appl
ie d Th e ir
H istoricalAn d Te ch n icalK n ow l
e dge An d
Sk il
lTo In fe r W h ich M usicalFe ature s
An d El
e m e n ts Are Com prise d In Th e
Le ad Sh e e tDe posite d W ith Th e
Copyrigh tO ffice .
14
Th e DistrictCourt
s Adm ission An d Th e
Jury
s Con side ration O fM s. Fin e l
l
s An d
Dr. M on son
s Expe rtTe stim on y W as
Prope r.
21
TH E ATTACK S O N TH E EXPERTSTESTIM O NY
AND O PINIO NS ARE W ITH O UT M ERIT.
22
4.
5.
II.
A.
B.
III.
IV.
Th e Al
l
e ge d In ve ntion O fW ord Pain tin gAs
A Litigation Th e ory W ith No Acce pte d
M usicol
ogicalM e an in g.
22
Th e Stran ge Asse rtion Th atO n l

y Lite ral
Re production ofM e l
ody,H arm on y,O r
Rh yth m Cre ate s Action ab l
e Sim il
arity.
23
IRO NICALLY, TH E LEGALAUTH O RITIES

CITED BY TH E TH ICK E AM ICI SUPPO RT TH E
GAYE FAM ILY.
CO NCLUSIO N
28
344
- ix -
TA B L EO F A U TH O R ITIES
P a ge (s)
C a se s
Sh e l
don v. M e tro-Gol
dw yn Picture s Corp.,
81 F.2d 49 (2d Cir. 19 36)
Sw irsk y v. Care y ,
376 F.3d 841 (9 th Cir 2004)
27
24, 26, 28, 29 , 30, 31, 32
Th re e Boys M usic Corp. v. Bol

ton ,
212 F.3d 477 (9 th Cir. 2000)
W il
l
iam s v. Bridge portM usic, In c.,
2014 W L7877773 (C.D. Cal
. O ct. 30, 2014)
18, 29 , 32
21
S ta tute s
19 09 Copyrigh tAct 9 -12, 35 Stat. 1075, 1077-1078

(re pe al
e d Jan . 1, 19 78)
28, 31
O the r A uthoritie s
O xford Diction ary ofM usicalTe rm s

(Al
ison Lath am e d. 2004)
Th e H arvard Diction ary ofM usic

(Don M ich ae lRande le d., 4th e d. 2003)
-x-
1, 22
9 , 10, 16, 17, 22
IN TER EST O F A M IC I C U R IA E
Am ici Curiae , w h o are M usicol

ogists e m in e n t in th e ir fie l
d, offe r
th e ir k n ow l
e dge an d e xpe rtise in support of th e M usicol
ogicalan al
ysis,
e xpl
ain e d w ith gre at de tailan d cl
arity b y e xpe rt w itn e sse s Judith
Fin e l
lan d In grid M on son an d cre dite d b y b oth th e District Judge an d
th e jury, th at (1)Bl
urre d Lin e sin corporate s sub stan tialam oun ts of
n um e rous e l
e m e n ts oforigin alcom position ale xpre ssion in GotTo Give
It Up,an d (2) th e sim il
aritie s in troduce d in to e vide n ce an d con side re d
b y th e jury are foun d in th e l
e ad sh e e t of GotTo Give ItUpde posite d
w ith th e Un ite d State s Copyrigh tO ffice .
As th e O xford Diction ary ofM usicalTe rm s e xpl
ain s,
M usicol
ogy m ay cove r a w ide ran ge of activitie s: acoustics, sociol
ogy, pe rce ption , e th n ol
ogy, l
in guistics, l
ogic, ph il
osoph y an d
m an y oth e r activitie s al
on gside th e m ore tradition alk in ds of
m usicol
ogicalstudy cul
tivate d for m uch of th e 20th ce n tury in
En gl
ish -spe ak in g coun trie s prim aril
y m usic h istory, source
studie s, criticism an d m usicalan al
ysis.
Id . at 120 (Al
ison Lath am e d. 2004). M s. Fin e l
lan d Dr. M on son are
w el
l
-k n ow n an d w ide l
y re spe cte d in th e ir fie l
d, an d th e te stim on y an d
e vide n ce th e y pre se n te d in th is case is ful
l
y consiste n t w ith th e
acce pte d M usicol
ogicalstan dards and m e th ods. As de scrib e d b e l
ow , th e
attack on th e ir an al
ysis an d con cl
usion s m oun te d in th e b rie fs of
Appe l
l
an ts Ph arre l
lW il
l
iam s, Rob in Th ick e , e tal
. (th e Th ick e Partie s)
an d th e Am ici Curiae supportin g th e m (th e Th ick e Am ici) is pre m ise d
on se ve raloddl
y crab b e d an d l
im ite d n otion s th at, con side re d in th e
ste ril
e isol
ation th e se partie s urge , are n ot con siste n t w ith acce pte d
1
M usicol
ogicalstan dards an d m e th ods. If adopte d, Appe l
l
an tsattack
w oul
dl
e ad to an e rron e ous an d un fair re sul
tin th is case , an d to a l
e gal
an d M usicol
ogicaloutl
ook th atw oul
d n oton l
y im pove rish M usicol
ogical
un de rstan din g an d de prive com pose rs, son gw rite rs an d m usician s of
th e cre dit th e y de se rve for e n rich in g our w orl
d w ith th e fruits of th e ir
cre ativity, b ut de b il
itate th e in ce n tive s for origin alw ork s of auth orsh ip
th at Con gre ss e m b odie d in th e Copyrigh t Act. W e w oul
d al
lb e th e
l
ose rs.
IN TR O D U C TIO N A N D SU M M A R Y O F A R G U M EN T
Lik e m an y m usic copyrigh t case s, a portion of th e in frin ge m e n t

an al
ysis in th is case cam e dow n to e xpe rt M usicol
ogicalan al
ysis. Th at
an al
ysis con ce rn e d w h at w as tak e n from th e origin alw ork , M arvin
Gaye
s Got To Give It Up,an d use d in th e accuse d w ork , th e Th ick e
Partie sBl
urre d Lin e s; h ow sal
ie n t an d sub stan tialth e tak in gs are ;
an d h ow sim il
ar th e tak e n e l
e m e n ts in th e accuse d w ork are to th ose
foun d in th e origin alon e .
Am ici Curiae are e m in e n tM usicol
ogists h e re to urge th is Courtth at
th e M usicol
ogicalte stim on y offe re d b y e xpe rts Judith Fin e l
lan d In grid
M on son in th is case w as care ful
l
y con side re d, w e l
l
-supporte d, an d
m e th odol
ogical
l
y soun d. At l
e ast as im portan tl
y, th e jury cre dite d an d
re l
ie d on itin re ach in g its ve rdict.
Th e argum e n ts con ce rn in g in frin ge m e n t offe re d b y th e Th ick e

Partie s an d th e Am ici supportin g th e m am oun t to l
ittl
e m ore th an a
catal
ogue of re gre ts th at th e ir e xpe rt w as n ot cre dite d in ste ad. In th e
proce ss, th e y offe r a ran ge of con te n tion s th at are sim pl
y n otcon siste n t
w ith e stab l
ish e d M usicol
ogicalstandards an d practice s or th e gove rn in g
l
aw .
Be l
ow , Am ici sh ow th at M s. Fin e l
lan d Dr. M on son w e re e m in e n tl
y
q ual
ifie d to offe r th e an al
ysis an d opin ion s th e y did (Part I);th at th e ir
te stim on y w as in al
lre spe cts con siste n t w ith acce pte d M usicol
ogical
stan dards an d practice s, w h il
e th e M usicol
ogicalargum e n ts offe re d b y
th e Th ick e Partie s an d th e Am ici supportin g th e m are n ot(PartII), and
th at th e Gaye Fam il
y
s e xpe rts offe re d te stim on y ful
l
y con siste n t w ith
gove rn in g l
aw , w h il
e th e Th ick e Partie s ch al
l
e n ge th at te stim on y b y
advocatin g stan dards th atare n ot(PartIII).
Th e Judgm e n t in favor of th e Gaye Fam il
y h ol
din g th at th e Th ick e
Partie s in frin ge d th e copyrigh t in Got To Give It Up sh oul
d be
affirm e d.1
Am ici tak e n o position on th e issue s oth e r th an in frin ge m e n t th at

are addre sse d in th e partie sm e rits b rie fs.
3
I.
TH ER EPO R TS ,TES TIM O N Y ,A N D R EL A TED D EM O N S TR A TIV E
EV ID EN C ETH A TJ U D ITH FIN EL L A N D IN G R ID M O N S O N O FFER ED
A S EX P ER T M U S IC O L O G IS TS W ER EP R O P ER L Y A D M ITTED B Y
TH ED IS TR IC T C O U R T FO R B O TH ITS O W N A N D TH EJ U R Y S
C O N S ID ER A TIO N .
Un ite d State s District Judge Joh n A. K ron stadt de n ie d Appe l

l
an ts
m otion for sum m ary judgm e n t.
ER110. Th e case th e n proce e de d to
trial
, w h e re th e jury re turn e d a ve rdictfin din g th e Th ick e Partie sson g
Bl
urre d Lin e s an d th e ir re cordin g of th at son g in frin ge d M arvin
Gaye
s son g Got to Give it Up (Part 1 an d Part 2),copyrigh t in w h ich
is curre n tl
y h el
d b y M arvin Gaye
s ch il
dre n (th e Gaye Fam il
y). ER4.
Th e District Judge h im se l
f con side re d in de n yin g sum m ary judgm e n t,
an d al
l
ow e d th e jury to con side r in re ach in g th e ir ve rdict, th e
M usicol
ogicale xpe rt te stim on y an d re l
ate d e vide n ce of Judith Fin e l
l
an d In grid M on son . Th e w itn e sse s w e re im pe ccab l
y q ual
ifie d e xpe rts
w h ose te stim on y an d re l
ate d e vide n ce w as con siste n t w ith
w el
l
-
acce pte d M usicol

ogicalprincipl
e s and practice s.
A . The Expe rts Q ua lifica tions.
Judith Fin e l
lre ce ive d a Bach e l
or of Arts de gre e in pian o pe rform an ce from th e Un ive rsity of Cal
iforn ia, Los An ge l
e s, an d a M aste r of
Arts de gre e in m usicol
ogy from th e Un ive rsity of Cal
iforn ia, Be rk e l
e y.
Sh e h as auth ore d a b ook on con te m porary m usic pe rform an ce practice
an d re source s th at w as com m issione d b y th e Nation alEn dow m e n t for
th e Arts an d th e Ne w York State Coun cilfor th e Arts, se rve d on th e
4
Board of Truste e s of th e Copyrigh t Socie ty of th e U.S.A., an d w ritte n

articl
e s for th e Ne w York Law Journ al
, Th om son &
Th om son
s Cl
ie n t
Tim e s an d th e Ne w York State Bar Association En te rtain m e n t, Arts

an d Sports Law Se ction Journ al
. ER468; h ttp://w w w .jfm usicse rvice s.
com , l
ast visite d Nov. 1, 2016. M s. Fin e l
lw as inte rvie w e d b y th e Ne w
York Tim e s con ce rn in g h e r w ork as a m usicol
ogist. W e stch e ste r Q & A:
Judith Gre e n b e rg Fin e l

l
, n am e th at Tun e an d Pre ve n t a Rip-off, Ne w
York Tim e s, August 27, 19 9 5, avail
ab l
e at w w w .jfm usicse rvice s.com ,
l
astvisite d Nov. 1, 2016.
M s. Fin e l
l h as b e e n a profe ssion al M usicol
ogist for tw e n ty-five
ye ars. Sh e e dite d m usic an d m usic te xtb ook s in varie d pe rform an ce
cate gorie s (vocal
, ch oral
, b an d, orch e stral
, e tc.) for such re spe cte d m usic
pub l
ish e rs as G. Sch irm e r, Th e odore Pre sse r Co., Edition s Sal
ab e rtan d
Al
e xan de r Broude , In c. Dk t. No. 19 6-4, Exh ib it G at 26, No. 2:13-cv06004 (C.D. Cal
. 2015). Editin g a m usicalscore com pe te n tl
y re q uire s
th e e ditor to un de rstan d b oth n otation alform s an d th e vision of th e
com pose r, th e n tran scrib e th e m usic in a m an n e r th at con ve ys th e com pose r
s vision to sub se q ue n t pe rform e rs. M usic pub l
ish e rs of th is stature w oul
d n oth ave h ire d h e r ifsh e w e re l
e ss th an e xce l
l
e n t.
In grid M on son re ce ive d a Bach e l
or of Arts de gre e in e con om ics from
th e Un ive rsity ofW iscon sin , a Bach e l
or ofM usic de gre e in jaz z trum pe t
pe rform an ce from th e Ne w En gl
an d Con se rvatory of M usic, a M aste r of
Arts de gre e in M usicol
ogy from Ne w York Un ive rsity an d a Doctor of
5
Ph il
osoph y de gre e in M usicol
ogy from Ne w York Un ive rsity. Sh e is th e
Quin cy Jon e s Profe ssor of African Am e rican M usic at H arvard
Un ive rsity, h as se rve d as In te rim De an of Arts an d H um an itie s, an d is
a form e r Ch air ofth e De partm e n tofM usic atH arvard Un ive rsity. H e r
pub l
ication s an d oth e r cre de n tial
s can b e foun d at h ttp://aaas.fas.
h arvard.e du/pe opl
e /in grid-m on son , l
ast visite d Nov. 1, 2016. Se e al
so
ER835-839 .
In sh ort, th e e xpe rts th e Gaye Fam il
y pre se n te d w e re ob viousl
y
q ual
ifie d to offe r th e opin ion s th e y did.
pre sum e to ch al
l
e n ge th e ir q ual
ification s.
Appe l
l
an ts did n ot e ve n
Th e DistrictCourtprope rl
y
acce pte d th e m as e xpe rts in th e ir fie l

d. In de e d, it coul
d n ot prope rl
y
h ave don e oth e rw ise .
B . The Expe rts R e ports,Te stim ony,a nd D e m onstra tive Evide nce
W a s P rope rly A dm itte d A nd C onside re d.
1.
The Expe rts U se d S ta nda rd A cce pte d M usicologica l

M e thodology InA na lyz ing W he the r B lurre d L ine s
M isa ppropria te d Substa ntia l A m ounts O fO rigina l a nd
D istinctive M usica l Expre ssionfrom G otTo G ive ItU p.
Judith Fin e l
lanal
yz e d sim il
aritie s an d diffe re n ce s b e tw e e n th e
m usicalcom position e xpre sse d in th e l
e ad sh e e t for Got to Give It Up
de posite d in th e Un ite d State s Copyrigh t O ffice an d th e m usical
com position e m b odie d in th e soun d re cordin g of Bl
urre d Lin e s.
Dr. M on son , w h o n e ve r b e fore h ad b e e n an e xpe rt w itn e ss an d did n ot
se e k e m pl
oym e n tas such (ER 840-841), addre sse d th e issue s ofw h e th e r
Gotto Give ItUpw as (1) ge n e ric or (2) b ase d on prior art. ER846.
In pe rform in g th is an al
ysis, b oth e xpe rts did w h at sk il
l
e d an d
k n ow l
e dge ab l
e M usicol
ogists al
w ays do: Ide n tify w h ich e l
e m e n ts, fe ature s, or com b in ation s in th e origin alw ork are origin al
, un usualan d/or
distin ctive , an d w h at it is th at l
e n ds th e m th e se q ual
itie s;an d ide n tify
w h ich e l
e m e n ts, fe ature s, or com b in ation s appe ar in sub stan tial
l
y sim il
ar form in th e accuse d w ork , an d w h at m ak e s th e m sim il
ar. It is a
b e drock M usicol
ogicalprin cipl
e th atw h ich e l
e m e n ts, fe ature s or com b in ation s in a pie ce of m usic are sal
ie n t, an d h ow th e sim il
aritie s and
diffe re n ce s b e tw e e n such th in gs in tw o w ork s are e val
uate d, are b oth
m atte rs of sk il
lan d e xpe rtise th at de pe n d in part on th e styl
e or ge n re
ofth e w ork in q ue stion .
M s. Fin e l
lfol
l
ow e d th e se prin cipl
e s w ith care an d sk il
l
, spe cifical
l
y
ide n tifyin g, in ve stigatin g an d e val
uatin g sim il
aritie s an d diffe re n ce s
b e tw e e n th e origin alan d accuse d w ork s, w ith gre ate r e m ph asis on e l
em e n ts or fe ature s of th e origin alw ork th at are un usualor distin ctive .
ER474-49 2. H e r com parison s in cl
ude d m an y diffe re n t aspe cts of th e
m usic: structure , ER476, l
yrics (incl
udin g sl
an g or in ve n te d w ords),
ER477, se ttin g of th e w ords to m usic (i.e ., w h e th e r th e w ords are se t to
th e sam e or sim il
ar pitch e s an d rh yth m s), ER49 6, m e l
odie s (i.e ., pitch e s
an d th e ir duration ), h arm on ie s, e tc. Som e diffe re n ce s w e re disre garde d
as n ot sal
ie n t, such as w h e th e r a son g is sun g in a diffe re n t k e y or re giste r. ER480.
M s. Fin e l
le xpl
aine d th atin e val
uatin g th e sal
ie n ce an d sim il
arity of
m usicalph rase s prope r an al
ysis re q uire s distin guish in g b e tw e e n con n e ctin g n ote s th at are l
e ss im portant, an d th e n th e re are w h at w e cal
l
targe t n ote s w h ich are th e m ain on e s. ER481. Sh e te stifie d th at if
th e y [th e in te rve nin g n ote s b e tw e e n th e targe t n ote s]diffe r an d al
lth e
targe t n ote s are sim il
ar, th e n I stil
lw oul
d con side r th at possib l
y q uite
sim il
ar. ER481. As sh e sum m e d up th e re l
ation sh ip b e tw e e n sal
ie n ce
an d sim il
arity:
Q: Are you al
so train e d on h ow to asse ss th e im portan ce of e l
em e n ts to e ach w ork ?
A: Ye s. In m usic, th e re
s a h ie rarch y of im portan ce in a w ay.
Again , itgoe s b ack to e val
uatin g th e m usic. Is th e sim il
ar m ate rialb e tw e e n tw o m usicalw ork s im portan t to e ith e r w ork or l
e ss
im portan t to e ith e r w ork . W oul
d e ith e r w ork h ave its ow n ide n tity w ith outth at w ith outth atsim il
ar m ate rialor n ot. An d th at
b e com e s im portan t.
ER483.
Sim il
arl
y, Dr. M onson te stifie d w ith outob je ction th atm usicol
ogicalm e th odol
ogy in vol
ve d ide n tifyin g sim il
aritie s in pie ce s of m usic
w ith in a h ie rarch y of im portan ce . Dk t. No. 334 at 54:25-55:17 & 56:9 60:3, No.2:13-cv-00604 (C.D. Cal
. 2015). Re spon din g to th e q ue stion is
itstan dard practice in m usicalan al
ysis to l
e ave som e pitch e s outw h e n
con side rin g w h e th e r tw o m usicalph rase s are sim il
ar, sh e te stifie d:
Ye s, it is. W e are train e d in m usicalan al

ysis w h e n w e
re
asse ssin g th e rol
e of e ach pitch e s to factor out th ose th ose
pitch e s th at are orn am e n talor passin g in n ature . W e
re suppose d to re duce th e m usicalpassage to its e sse n tialn ote s.
Id . at 58:14-19 . Ask e d if sim il

ar prin cipl
e s appl
y to th e an al
ysis of
h arm on y, sh e te stifie d:
Ab sol
ute l
y.
W e
re al
so taugh t th at som e
ch ords are m ore im portan t th an oth e rs, id . at 58:20-22, an d th at

[t]h e re are m an y diffe re n tk in ds ofsim il
aritie s. Id . at59 :16.
2.
M s.Fine ll C a re fully A nd Thoughtfully A pplie d S ta nda rd

M usicologica l A na lysis InC om pa ring The L e a d S he e tFor
G otto G ive ItU pTo B lurre d L ine s.
In h e r e xpe rt re port an d te stim on y, M s. Fin e l

lide n tifie d sign ifican t
an d sub stan tialsim il
aritie s b e tw e e n th e son g de picte d in th e l
e ad sh e e t
for Gotto Give ItUpan d th e son g e m b odie d in th e soun d re cordin g of
Bl
urre d Lin e s. Th e sub stan tialsim il
aritie s sh e ide n tifie d in cl
ude
(1) th e b ass m e l
ody accom pan ie d b y th e ph rase b ass sim il
e on th e l
e ad
sh e e t, in dicatin g th at th e b ass m e l
ody is to b e re pe ate d th rough out th e
son g.
ER49 4-49 5, ER 548-550, ER559 &
ER 563-564; se e al
so Th e
H arvard Diction ary of M usic 781 (Don M ich ae lRan de le d., 4th e d.
2003) [h e re in afte r H arvard Diction ary of M usic] (de fin in g sim il
e as
[a]n in struction to con tin ue in th e sam e m an n e r of e xe cution as h as
just b e e n in dicate d e xpl
icitl
y); (2) th e k e yb oard ch ord pitch e s and
rh yth m s; (3) a m usicalph rase ide n tifie d as th e sign ature ph rase ,
con tain in g four sim il
ar e l
e m e n ts in cl
udin g a m e l
ism a (A group of m ore
th an a fe w n ote s sun g to sin gl
e syl
l
ab l
e . H arvard Diction ary of M usic
9
49 8), ER565-566; (4) th e h ook m e l

ody; (5) a vocalth e m e sh e l
ab e l
ed
Th e m e X; (6) th e m usical
/l
yricalfe ature sh e re fe rre d to as w ord
pain tin g,w h ich occurs as b ook e n ds in b oth son gs to sim il
ar se ction s in
ide n ticalstructurall
ocation s; an d (7) th e parl
an do se ction 2 in Got to
Give it Up,an d th e rap se ction in Bl
urre d Lin e s. ER 548-575 & ER
604-620.
M s. Fin e l
le xpl
aine d w ith m e th odol
ogicale xactitude an d in copious
de tailh ow an d w h e re Bl
urre d Lin e scopie s spe cific h igh l
y sal
ie n t an d
origin alcom position ale l
e m e n ts, sin gl
y an d in com b in ation , as w e l
las
th e ove ral
lstructure of Got to Give It Upas tran scrib e d in th e l
e ad
sh e e t de posite d in th e Copyrigh t O ffice . Sh e sh ow e d th at th e se are n ot
m e re coin cide n ce s of in sign ifican tde tailor con ve n tion s of styl
e or ge n re
b utre fl
e ctM arvin Gaye
s sign ature artistry in Gotto Give ItUp,h e l
p
de fin e th e son g an d l
e n d it th e un iq ue an d e n durin g succe ss it h as
e n joye d con tin uousl
y for four de cade s, an d m ade it w h at Rob in Th ick e
h appil
y vol
un te e re d in an in te rvie w w as on e of h is favorite son gs of al
l
tim e . ER 16-17.
O n e m ajor e xam pl
e of th e con grue n ce of im portan t sim il
aritie s
b e tw e e n th e tw o w ork s is th e parl
an do se ction of Gotto Give ItUp,in
Parl
an do:
Spe ak in g
. In sin ging, a spe e ch -l
ik e styl
e , w ith on e
syl
l
ab l
e for e ach n ote , ofte n use d in dial
ogue s in ce rtain k in ds of com ic
ope ras. O xford Diction ary of M usicalTe rm s 135. Se e al
so H arvard
Diction ary ofM usic 632 (Spe e ch l
ik e ).
2
10
w h ich M arvin Gaye ch an ts in con trast to th e adjace n t m e l

odious sin gin g. Th is se ction b e gin s atBar 73 an d e n ds atBar 88. Bl
urre d Lin e s
h as a (spok e n ) rap se ction . Ital
so b e gin s atBar 73 an d e n ds atBar 88.
Th is structuralcopyin g is ide n ticalto th e m il
l
ise con d in b oth son gs
re cordin gs. Not on l
y th at, b ut th e th ough t e xpre sse d in M arvin Gaye
s
parl
an do (O h , you can b um p m e w h e n you w an t to Bab e ) an d Cl
ifford
H arris
s rap (O n e th in g I ask of you. Le t m e b e th e on e you b ack th at
ass in to) are sub stan tial
l
y sim il
ar as w e l
l
.
In addition , th e b ridge se ction justb e fore M arvin Gaye
s parl
an do in
Got to Give It Upe m pl
oys w ord pain tin g a te ch n iq ue in w h ich th e
soun d of th e m usic e n acts th e m e an in g of th e w ords b e in g sun g. In th e
b ridge fol
l
ow in g th e rap se ction in Bl
urre d Lin e s,th at sam e de vice is
use d w ith sub stan tial
l
y sim il
ar w ords.
M s. Fin e l
lte stifie d th at th e
w ord pain tin g in th e Got to Give It Upl

e ad sh e e t w as foun d in th e
l
yrics m ove it up, . . . turn it
roun d; ooh , sh ak e it dow n , an d th e
corre spon din g m usic (w h ich appe ars in th e l
e ad sh e e t), an d th e w ord
pain tin g in Bl
urre d Lin e sis in th e l
yrics sh ak e aroun d, ge tdow n , ge t
upan d th e corre spon din g m usic. ER651-652. Sh e de scrib e d h ow th e
l
yrics up,roun d,sh ak e ,an d dow n w e re de picte d m usical
l
y in a
ve ry sim il
ar fash ion in b oth son gs, such as th e l
yric dow n e n din g on
th e dow n b e at on scal
e de gre e 1 in b oth , an d a m e l
odic asce n t b y a ste p
on th e l
yric upin b oth . ER651652.
11
An oth e r te l
l
in g an d sal
ie n t sim il
arity M s. Fin e l
le xpl
ain e d is th e
in te rw e avin g of th e b ass l
in e an d th e k e yb oard part in tan de m
th rough outb oth th e l
e ad sh e e t of Gotto Give ItUpan d th e re cordin g
of Bl
urre d Lin e s.
ER548-549 ; ER559 -565.
Sh e de scrib e d th at
com b in ation as th e h e artb e atofb oth son gs. ER661-662.

An d of course com b in ation s of fe ature s can b e criticalin an al
yz ing
an d m ul
tipl
yin g sim il
aritie s.
Pe rh aps m ost im portan tl

y, M s. Fin e l
l
poin te d outth atth e re is al

w ays m ore th an on e sim il
arity [b e tw e e n th e
tw o son gs] occurrin g at th e [] sam e tim e an d th at
s ve ry un usual
.
ER580 (e m ph asis adde d).
Sh e de scrib e d it m e taph orical

l
y as a
con ste l
l
ation b e cause th e re
s m ore th an on e occurrin g sim il
arity an d
in ste ad of a con se cutive sim il
arity w h e re you m igh t h ave a sign ature
ph rase an d th e n , m ayb e a fe w b ars l
ate r, you h ave som e oth e r ph rase
b y itse l
f th at
s sim il
ar . . . , w h at you h ave is ofte n tw o, th re e , four or
m ore sim il
aritie s al
loccurrin g at th e sam e m om e n t in th e m usic.
ER581.
Base d on h e r e xpe rie n ce , sh e te stifie d th at th is type of
sim ul
tan e ous sim il
arity w as h igh l
y un usual
. ER582.
M s. Fin e l
l
ch art of th e se con curre n t coin cide n ce s of origin ale l

e m e n ts from Gotto
Give it Up appe arin g in Bl
urre d Lin e s w h ich sh e l
ab e l
e d as a
con ste l
l
ation is attach e d. Tr. Ex. 376, attach e d as Ex. A.
Th e b al
an ce of M s. Fin e l
l
s te stim ony on dire ct e xam in ation fl

e sh e d
outth e de tail
s ofth e se an d oth e r sim il
aritie s sh e ide n tifie d b e tw e e n th e
l
e ad sh e e t for Got to Give It Upan d th e re cordin g of Bl
urre d Lin e s.
12
M s. Fin e l
l
s de m on strative sl
ide s pre se n te d at trial sh ow
spe cific
sim il
aritie s b e tw e e n th e tw o com position s at issue an d h ow th e y run
th rough out b oth com position s.
Se e TrialExh ib it 376, attach e d as
Exh ib itA. 3
3.
D r.M onsonC a re fully A nd Thoughtfully A pplie d S ta nda rd

M usicologica l A na lysis inS howing Tha tThe M usica l
Fe a ture s a nd C om bina tions The Thick e P a rtie s
M isa ppropria te d A re N otA ttributa ble To G e nre O r Found In
P rior A rt.
Dr. M on son te stifie d th at th e b ass l

in e in Got to Give it Updoe s
n otfol
l
ow th e usualpatte rn ofth e b ass l
in e s com m on to typicalM otow n
or R& B re cordin gs, ER859 -860, an d w as ab sol
ute l
y origin al
rath e r
th an ge n e ric. ER860. Sh e al
so poin te d out th at w h il
e th e k e yb oard
patte rn in th e l
e ad sh e e t of Got to Give It Upw as sim il
ar to w h at
m igh t b e foun d in re ggae , or pe rh aps ragtim e or e arl
y jaz z ,ER860,
give n th e offb e at accom pan im e n t, you w oul
d n e ve r h ave a b ass l
in e in
th e rh yth m of M arvin Gaye 's b ass l
in e accom pan im e n t. Id .
con cl
ude d
th e
com b in ation
of th e
b ass
l
in e
an d
th e
Sh e
offb e at
accom pan im e n tpartis ab sol

ute l
y n otdictate d b y ge n re . Id .
3
Th e se sl
ide s do n ot sh ow al
lsuch com position alsim il
aritie s, b ut
on l
y th ose th e District Judge al
l
ow e d in e vide n ce fol
l
ow in g h is rul
in g
th aton l
y th ose com position ale l
e m e n ts foun d in th e Gotto Give ItUp
de posit copy l
e ad sh e e t coul
d b e com pare d to Bl
urre d Lin e s. Th is
e xcl
ude d oth e r h igh l
y prob ative sim il
aritie s b e tw e e n th e tw o com position s from th e jury
s con side ration . Se e ge n e ral
l
y ER565-666 (l
im ite d to
M s. Fin e l
l
s te stim on y an d e vide n ce adm itte d b y th e DistrictCourt).

13
Addre ssin g th e issue of prior art, Dr. M on son te stifie d sh e foun d n o

prior art w ith th e sam e accom pan im e n t parts, k e yb oard an d b ass l
in e
as Got to Give It Up. ER862. Dr. M on son e xpl
ain e d th at th e Re port
sub m itte d b y Appe l
l
an tse xpe rt w itn e ss, M s. W il
b ur, did n ot addre ss
th e com b in ation of th e con tin uous b ass l
in e an d k e yb oard appe arin g in
b oth th e Gotto Give ItUpl
e ad sh e e tan d Bl
urre d Lin e s. ER863;se e
al
so ER862. Sh e al
so te stifie d th atth e e xam pl
e s ofprior artM s. W il
b ur
offe re d typical
l
y use d on l
y on e sim il
arity b e tw e e n th e Got to Give It
Upl
e ad sh e e tan d th e Bl
urre d Lin e ssoun d re cordin g rath e r th an th e
sim ul
tan e ous m ul
tipl
e sim il
aritie s th at actual
l
y appe ar in th e l
e ad
sh e e tan d th e soun d re cordin g.
Dr. M on son al
so pe rform e d audio e xam pl
e s of M r. Th ick e sin gin g
Bl
urre d Lin e sove r in strum e n talportion s of Gotto Give ItUptak e n
from th e l
e ad sh e e t an d M arvin Gaye sin gin g Got to Give It Upove r
in strum e n talportion s of Bl
urre d Lin e sto de m on strate th e re spe ctive
m el
odie s an d h arm on ie s il
l
ustrate d th e de e pl
y in te rtw in e d sim il
aritie s
ofth e tw o com position s.
4.
The Expe rts P rope rly A pplie d The ir H istorica l A nd Te chnica l

K nowle dge A nd S k ill To Infe r W hich M usica l Fe a ture s A nd
Ele m e nts A re C om prise d InThe L e a d S he e tD e posite d W ith
The C opyrightO ffice .
Th e District Court rul

e d th at w h ich m usicalfe ature s an d e l
e m e n ts
com prise d th e m usicalcom position GotTo Give ItUpw as de fin e d an d
l
im ite d b y th e l
e ad sh e e t M arvin Gaye
s pub l
ish e r de posite d w ith th e
14
Copyrigh t O ffice in re giste rin g th e son g, rath e r th an b y th e soun d

re cordin g th at e m b odie d
com position ale fforts.4
th e
durab l
e re cord
of M arvin
Gaye
s
O f course , th at is just th e b e gin n in g of th e
an al
ysis. It re m ain s to de te rm in e just w h ich com position ale l
e m e n ts
an d com b in ation s th e l
e ad sh e e t in dicate s.
Th e Th ick e Partie s an d
th e ir Am ici con te n d th atth is can

tinvol
ve an y in te rpre tation atal
l
, an d
As Appe l
l
e e s re l
ate , M arvin Gaye w rote Got To Give It Upin th e
re cordin g studio b y pl
ayin g, sin gin g, an d re cordin g th e various parts
ove r on e an oth e r un tilh e con side re d th e com position com pl
e te in th e
re corde d ve rsion of th e son g th e n com m e rcial
l
y re l
e ase d. Th is is n otan
un usualapproach for popul
ar son gw rite rs, m an y of w h om l
ik e M arvin
Gaye didn
tor don
tw rite or re ad m usicaln otation .
O n e m igh t th e re fore th in k th at th e com m e rcialre cordin g of Got To
Give It Upis at th e ve ry l
e ast th e b e st e vide n ce of w h at th e m usical
com position actual
l
y com prise d. Am ici tak e n o position on w h e th e r th e
District Court
s rul
in g to th e con trary w as corre ct as a m atte r of
copyrigh t l
aw . If, as th e Gaye Fam il
y con te n ds in th e ir m e rits b rie f, it
is n ot, th e n a fl
ood of addition alcom position alan d structurale l
e m e n ts
pre se n t in th e soun d re cordin g b ut n ot th e l
e ad sh e e t can al
so b e e asil
y
ide n tifie d as l
ifte d from Got To Give It Up in to Bl
urre d Lin e s.
M s. Fin e l
lan d Dr. M on son ide n tifie d an addition ale igh t sign ificantan d
sub stan tialsim il
aritie s. Dk t. No. 19 6-2 at 21-62, No. 2:13-cv-06004
(C.D. Cal
. 2015).
But Am ici h e re con strain th e ir discussion h e re to th e m ore l
im ite d
proposition s th at (1) w h ich m usicale l
e m e n ts an d com b in ation s can b e
fairl
y in fe rre d from th e de posite d l
e ad sh e e t w as prope rl
y de te rm in e d
b y e xpe rt te stim on y usin g e stab l
ish e d m usicol
ogicalprin cipl
e s; an d,
(2) as just discusse d, con side rin g on l
y th e e l
e m e n ts an d com b in ation s
prope rl
y in fe rre d from th e de posite d l
e ad sh e e t, th e Th ick e Partie s
copyin g is sub stan tial
, se rious, an d un l
aw ful
.
15
th atth e copyrigh tin suitis strictl

y an d h e rm e tical
l
yl
im ite d to n oth in g
m ore th an l
ite raln ote -for-n ote re production ofth e m e l
ody an d th e e xact
ch ords n otate d.
Th us th e Th ick e Am ici b e gin th e ir m usicol

ogical
an al
ysis w ith th e odd asse rtion th at [t]h e fun dam e n tale l
e m e n ts of
m usicalw ork s are m e l
ody, h arm on y an d rh yth m , w h ich can b e pre cise l
y
re corde d in sym b ol
ic n otation . Id . at 10 (e m ph asis adde d).5 Acce pte d
prin cipl
e s of m usicol
ogy h ol
d oth e rw ise . As Th e H arvard Diction ary of
M usic e xpl
ain s:
W e ste rn art m usic h as re l
ie d on n otation m uch m ore th an an y
oth e r m usic. Th is is re l
ate d to th e tradition alW e ste rn vie w of
th e m usicalw ork of art as th e un iq ue h istoricalcre ation of th e
com pose r, se tdow n on pape r for al
ltim e s, an d m e re l
y re produce d
b y pe rform e rs. Such a vie w is n ot e n tire l
y satisfactory e ve n for
W e ste rn art [th at is, so-cal
l
e d cl
assical
]m usic, b ut it is w h ol
l
y
in appl
icab l
e to th e m usics of m an y oth e r cul
ture s in w h ich th e
rol
e ofth e pe rform e r is prim ary.
H arvard Diction ary of M usic 570 (de fin ition of n otation ) (e m ph asis
adde d). To th is m ustb e adde d th e de fin ition ofin te rpre tation :
Th ose aspe cts of th e pe rform an ce of a w ork th at re sul
t from th e
pe rform e r
s particul
ar re al
iz ation of th e com pose r
s instruction s
as se tdow n in m usicaln otation . Th e b oun dary b e tw e e n n otation
an d pe rform an ce , h ow e ve r, is n ot as cl
e ar as it h as som e tim e s
se e m e d, for th e n otation of e ve ry pe riod is in som e de gre e in com pl
e te an d fun ction s w ith in a se t of e xpe ctation s or con ve n tion s
th at guide s (or guide d) its re al
iz ation . Th us, in its n arrow e st
5
Citation s to page n um b e rs in th e Th ick e Am ici

s Brie f are to th e
page n um b e rs stam pe d on th at b rie f b y th e Nin th Circuit
s el
e ctron ic
fil
in g syste m rath e r th an th e n um b e rs prin te d on th e b ottom of its
page s.
16
se n se , in te rpre tation de pe n ds on h istorical

l
y in form e d taste w ith
re spe ct to th e re al
iz ation of a w ork as it h as b e e n tran sm itte d
(m ostofte n in n otation ) to th e pe rform e r.
Id . at413 (e m ph asis adde d).
Th e H arvard Diction ary al
so con cise l
y de fin e s a l
e ad sh e e t:
In jaz z an d popul
ar m usic, a sh orth an d score or part. It m ay
provide m e l
ody an d ch ord sym b ol
s [se e *Fak e -b ook n otation ],
al
on g w ith accom pan yin g figure s an d/or l
yrics.
H arvard Diction ary of M usic at 459 (b rack e ts an d b rack e te d ph rase in

origin al
). In turn, th e de fin ition of Fak e -b ook n otation provide s, in
re l
e van tpart:
Th e sym b ol
s an d ab b re viation s use d to in dicate th e ch ords ofjaz z
an d popul
ar m usic in *Fak e -b ook s an d e l
se w h e re . Th e ir use is
n ote n tire l
y stan dardiz e d an d m ay be am b iguous in som e case s.
Id . at 305. Th e b al
an ce of th e de fin ition of Fak e -b ook n otation is
de vote d to e xam pl
e s.
In sh ort, al
ln otation e ve n in its n arrow e st se n se n e ce ssaril
y
re q uire s in te rpre tation . An d th atin te rpre tation is n e ce ssary for an yon e
con fron te d w ith m usicaln otation , w h e th e r a pe rform e r, a M usicol
ogist,
or a l
aw ye r. Th is n e ce ssity is e spe cial
l
y gre at w h e n a l
e ad sh e e t is in
q ue stion . Un de r acce pte d practice re l
e van tto Am e rican popul
ar m usic,
th e tran scrib e r of a l
e ad sh e e t ofte n is, an d in th is case actual
l
y w as, a
pe rson ch ose n afte r-th e -fact b y th e m usic pub l
ish e r rath e r th an th e
son gw rite r, w h ose q ual
ification s m ay b e l
im ite d, w h o is con fron te d w ith
ch oice s to m ak e of w h at is n otate d an d h ow it is n otate d, ofte n un de r
17
tim e pre ssure an d usual

l
y w ith l
im ite d re source s to pre pare th e tran scription . By th e ir ve ry n ature an d origin , l
e ad sh e e ts in e vitab l
y are ,
an d are m e an t to b e , com pre sse d sym b ol
ic sugge stion s of e xpre ssive
el
e m e n ts th atm ustb e cal
l
e d to l
ife b y th ose w h o k n ow th e code .
Give n th at th e n otation of e ve ry pe riod is in som e de gre e in com pl
e te an d fun ction s w ith in a se t of e xpe ctation s or con ve n tion s th at
guide s (or guide d) its re al
iz ation ,it is th e com m on rol
e an d fun ction of
M usicol
ogy to l
e arn an d appl
y th e e xpe ctation s an d con ve n tion sth at
in form th e l
e ad sh e e t
s m e an in g. In oth e r w ords, w h e th e r to in te rpre ta
l
e ad sh e e t is n ot a ch oice . Th e on l
y ch oice is w h e th e r to in te rpre t it
accordin g to acce pte d l
e arn in g an d e stab l
ish e d prin cipl
e s.6
Th at is, of course just w h at th e Gaye Fam il
y
s e xpe rts did: Th e y
appl
ie d th e acce pte d prin cipl
e th at al
lm usicaln otation , an d e spe cial
l
y
th e n otation on a l
e ad sh e e t, m ust b e in te rpre te d to k n ow th e m e te s an d
In de e d, M s. W il
b ur, th e Appe l
l
an tsow n e xpe rt m usicol
ogist,
te stifie d th at h e r audio e xam pl
e com parin g th e tw o son gs at issue w as
b ase d on w h at sh e adm itte d w as h e r in te rpre tation of th e l
e ad sh e e t,
an d th at sh e m ade ch oice sof w h at to in cl
ude . ER1209 -10 se e al
so
ER1211-24. Th us Appe l
l
an ts an d th e ir e xpe rt use d th e ve ry te ch n iq ue
th atAppe l
l
an ts n ow con te n d is forb idde n .
Un surprisin gl
y, copyrigh tl
aw itse l
f al
so re fl
e cts th is l
on gstan din g
M usicol
ogical un de rstan din g. For e xam pl
e , th is Court affirm e d a
fin din g of in frin ge m e n tw h e re th re e of th e five e l
e m e n ts al
l
e ge d to h ave
b e e n in frin gin g w e re e ith e r n ot foun d in th e de posit copy l
e ad sh e e t, or
w e re diffe re n t th an w h at w as n otate d. Th re e Boys M usic Corp. v.
Bol
ton , 212 F.3d 477, 485 (9 th Cir. 2000).
18
b oun ds of th e m usicalcom position de picte d, an d th e n appl

ie d th e ir
profe ssion alk n ow l
e dge an d e xpe rtise to draw th e n e ce ssary in fe re n ce s.
Appe l
l
an ts tak e issue w ith M s. Fin e l
l
s te stim on y th at th e k e yb oard
rh yth m s an d th e b ack up h ook m e l
ody sh e cal
l
e d Th e m e X are
re fl
e cte d in th e Gotto Give ItUpl
e ad sh e e t. ButM s. Fin e l
le xpl
ain e d
in a De cl
aration h ow Th e m e X is e m b odie d in th e l
e ad sh e e t, an d
te stifie d to itagain attrial
. ER607-608, ER618. Sh e al
so te stifie d q uite
cl
e arl
y th at th e k e yb oard rh yth m s w e re re fl
e cte d in th e l
e ad sh e e t too.
ER49 5, ER648, ER49 5, ER648, ER79 2-ER79 4, ER817-818. Spe cifical
l
y,
M s. Fin e l
le xpl
ain e d th at th e b ass-l
in e m e l
ody n otate d in Bars 1-8 of
th e l
e ad sh e e t, tak e n toge th e r w ith th e ch ord n am e s on th e l
e ad sh e e t,
in dicate th e spe cific pitch e s an d rh yth m s of th e son g
s k e yb oard part.
Be cause th e k e yb oard part is so in te rw ove n w ith th e b ass m e l
ody, th e y
are l
in k e d, an d th e n otate d b ass sim il
e in struction in dicate s th e
con tin uation an d re pe tition of th e k e yb oard part in tan de m w ith th e
re pe tition of th e b ass m e l
ody.7 Al
so w ith re spe ct to Th e m e X, Part 2 of
7
Th e Th ick e Partie san ti-in te rpre tation re gim e occasion al

l
y goe s
so far as to re fuse to fol
l
ow stan dard m usicalin struction s. For e xam pl
e,
th e y cl
aim th at [t]h e de posit copy of Got to Give it Upom its . . . b ass
l
in e s an d oth e r aspe cts ofth e soun d re cordin g . . . . Appe l
l
an ts Brie fat
13. As discusse d ab ove , th e n otation b ass sim il
e in th e l
e ad sh e e t is
un ive rsal
l
y un de rstood to in dicate th at th e b ass l
in e sh ow n at th e
b e gin n in g of th e l
e ad sh e e t is to b e re pe ate d in th e sam e m an n e r
th rough out th e son g. H ow can th is ration al
l
y b e ch aracte riz e d as
om it[tin g]it?O th e r aspe cts of th e son g are l
e ss dire ctl
y im pl
ie d from
th e l
e ad sh e e t th an th e n otation b ass sim il
e , b ut as th e e xpe rt
(con tin ue d . . . )
19
th e De posit Copy l
e ad sh e e t con tain s a m irror variant of Th e m e X as
foun d in th e soun d re cordin g for Part 1 of Got to Give It Up,w ith th e
paral
l
e lm usicalprope rtie s, purpose , an d fun ction , se tto th e sam e l
yrics
(m istak e n l
y tran scrib e d in th e l
e ad sh e e t as fan cy l
adyrath e r th an
dan cin l
ady). ER607-608, ER618.
Th e Th ick e Partie s try to dre ss up th e ir un h appin e ss w ith th e se
e xpe rt opin ion s b y attack in g th e ir n e ce ssity an d sub stan ce . But th e
re cord e vide n ce sh ow e d th ate xpe rtopin ion on th e scope an d m e an in g of
th e l
e ad sh e e tw as n oton l
y prope r b ut, give n th e facialam b iguity ofth e
l
e ad sh e e t, in dispe n sab l
e , an d th at th e e xpe rts th e Gaye Fam il
y cal
l
ed
offe re d l
e arn e d an d sk il
l
e d M usicol
ogical an al
ysis con siste n t w ith
acce pte d stan dards an d m e th ods. Th e Th ick e Partie s an d th e ir Am ici
sim il
arl
y re pe ate dl
y an d variousl
y attack M s. Fin e l
l
s an d Dr. M on son
s
opin ion s as b e in g b ase d on sim il
aritie s b e tw e e n Bl
urre d Lin e san d
M arvin Gaye
s re cordin g of Got to Give It Up rath e r th an th e
de posite d l
e ad sh e e t.
But th e re cord is re pl
e te w ith e xpe rt te stim on y
( . . . con tin ue d)
m usicol
ogists e xpl
ain e d, re adin g a l
e ad sh e e t re q uire s in te rpre tive
in fe re n ce from th e n otation .
Th e sam e passage se e m s to sugge st th at b ass l
in e s . . . are n ot
prote ctab l
e b y copyrigh t. Th is is ob viousl
y w ron g. A distin ctive an d
re pe ate d b ass l
in e such as th e on e in Iron Butte rfl
y
s In a Gadda Da
Vidacan b e a prote ctab l
e el
e m e n t of a m usicalcom position . An d b oth
M s. Fin e l
lan d Dr. M on son in th e ir e xpe rt an al
yse s spe cifical
l
y cal
l
ed
out th e b ass l
in e of Got To Give It Up as h igh l
y distin ctive an d
origin al
. Se e , e .g., ER 559 , 846, 861-64
20
from M s. Fin e l
lth at th e sub stan tialsim il
aritie s sh e ide n tifie s in th e
tw o son gs are in fact al
lpre se n t in th e l
e ad sh e e t as in te rpre te d un de r
acce pte d M usicol
ogicalprin cipl
e s. Se e , e .g., ER545-666.8 To b e sure , to
th e e xte n t th e Th ick e Partie s q uie tl
y con ce de th e l
e ad sh e e t m ust
in de e d b e in te rpre te d, th e ir in te rpre tation diffe rs. But th at goe s to th e
w e igh t of th e e vide n ce , n ot its adm issib il
ity. An d th e jury foun d th e
Gaye Fam il
y
s e xpe rts m ore pe rsuasive .
5.
The D istrictC ourts A dm issionA nd The J urys

C onside ra tionO fM s.Fine lls A nd D r.M onsons Expe rt
Te stim ony W a s P rope r.
In sum , th e District Court corre ctl

y h el
d th e e xpe rt te stim on y of
M s. Fin e l
lan d Dr. M on son w as appropriate an d adm issib l
e an al
ytic
disse ction addre ssin g th e e xtrin sic or ob je ctive te st for copyrigh t
in frin ge m e n t appl
ie d in th is Circuit. In doin g so, th e District Court
fol
l
ow e d th is Court
s pre ce de n t ful
l
y an d corre ctl
y.
W il
l
iam s v.
Bridge port M usic, In c., 2014 W L 7877773 at 11-22 (C.D. Cal

. O ct. 30,
M ore ove r, Appe l

l
an tsow n M usicol
ogist, M s. W il
b ur, adm itte d in
de position th at sh e use d h e r tran scription of th e re cordin g of Got to
Give It Upas th e b asis for h e r opin ion rath e r th an th e l
e ad sh e e t.
ER1140-1141. M s. W il
b ur justifie d use of h e r tran scription of th e re cordin g ofGotto Give ItUprath e r th an th e l
e ad sh e e tde posite d in th e
Copyrigh tO ffice b y e xpl
ain in g I use d th e on e s I h ad al
re ady cre ate d. It
turn s out th at th e y [th e tran scription s of th e l
e ad sh e e t] w e re
substan tial
l
y th e sam e as th e copyrigh t de posits . ER1141 (e m ph asis
adde d).
21
2014); 2015 W L 4479 500 at 5-10.
Re pe atin g or paraph rasin g th e
DistrictCourt
s im pe ccab l
e an al
ysis h e re w oul
d b e re dun dan t.
II.
TH EA TTA C K S O N TH EEX P ER TS TES TIM O N Y A N D O P IN IO N S
A R EW ITH O U T M ER IT.
A . The A lle ge d Inve ntionO fW ord P a intingA s A L itiga tion
The ory W ith N o A cce pte d M usicologica l M e a ning.
Th e Th ick Partie s com pl

ain th atFine l
ladvan ce d attriala th e ory of
w ord pain tin g

a m ade for l
itigation th e ory w ith n o acce pte d m usico-
l
ogicalm e an in g or in dicia of re l
iab il
ity . Appe l
l
an tsBrie f at 59
(e m ph asis adde d). Th is is a surprisin g ch aracte riz ation . Th e H arvard
Diction ary of M usic, ce rtain l

y on e of th e de fin itive auth oritie s in
m usicol
ogy, provide s a de fin ition of w ord pain tin g th at trace s th e
te ch n iq ue b ack to th e l
ate Re n aissan ce . H arvard Diction ary of M usic
9 72;se e al
so O xford Diction ary ofM usicalTe rm s 205. Sim pl
y typin g in
th e ph rase w ord pain tin gin to a se arch e n gin e such as Googl
e or Bin g
im m e diate l
y de l
ive rs a n um b e r of source s th at e stab l
ish
w ord
pain tin gas a l

e gitim ate an d w e l
l
-un de rstood M usicol
ogicalte rm . Se e ,
e .g., th e O n M usic Diction ary at h ttp://diction ary.on m usic.org/te rm s/

39 57-w ord_ pain ting, givin g e xce rpts for l
iste n in g from such com pose rs
as M oz art (Re q uie m in D m in or), H an de l(Sam son ) an d H aydn (Th e
Cre ation ), l
ast visite d Nov. 1, 2016; h ttp://m usicte rm s. artopium .com /
w /W ordpain tin g.h tm , l
ast visite d Nov. 1, 2016.
22
An articl
e on w ord
pain tin g is
avail
ab l
e on
W ik ipe dia, h ttps://e n .w ik ipe dia.org/w ik i/
W ord_ paintin g, l
ast visite d Nov. 1, 2016, givin g e xam pl
e s th at ran ge
from a te n or aria in H an de l
s M e ssiah (accom pan ie d b y e xpl

an atory
m usicaln otation ) to Garth Brook sFrie n ds in Low Pl
ace san d Th e
W h o
s Sm ash
th e
Tom m y . Se e
M irror from
al
so, in te r al
ia,
h ttp://site s.psu.e du/b rook e e van sm us005/2015/07/23/w ord-pain tin g-in popul
ar-m usic/ (com m e n tin g on th e in cre asin g use of w ord pain tin g in
con te m porary
popul
ar
cq u5JK _ QiBY
(givin g
m usic); h ttps://w w w .youtub e .com /w atch ?v=

b oth
audio
an d
vide o
e xam pl
e s);
h ttps://th ousan dye are ars.w ordpre ss.com /2013/10/22/w ord-pain tin g/, l
ast
visite d Nov. 1, 2016.
Nor is th e sim il
arity h e re l
im ite d to th e use of th e w ord-pain ting
te ch n iq ue . Both son gs pain te d w ords w ith sign ifican tl
y sim il
ar m usical
el
e m e n ts
an d
(b ) m usical
l
y
fun ction s
il
l
ustrate d
(a) usin g
in
im m e diate l
y adjace n t to th e
th e
sub stan tial

l
y
sam e
sim il
ar
w ay, (c) e ach
w ords,
position e d
son g
s spe ak in g se gm e n t, (d) e ach
appe arin g in e xactl

y th e sam e pl
ace in th e son g an d (e ) l
astin g e xactl
y
as m an y b ars.
B . The S tra nge A sse rtionTha tO nly L ite ra l R e productionof
M e lody,
H a rm ony,
O r R hythm C re a te s A ctiona ble
S im ila rity.
Th e Th ick e Am ici b e gin th e ir b rie f (at10) b y im pl

yin g th atm e l
ody,
h arm on y an d rh yth m are th e on l
y el
e m e n ts th at th at n e e d b e
23
con side re d in com parin g tw o m usicalw ork s.
As Appe l
l
an tse xpe rts
care fulan al
ysis sh ow s, th is is m usicol
ogical
l
y un te n ab l
e . It
s al
so n ot
th e l
aw . Th is Court h as ofte n re cogn iz e d th at th at th e re are n um e rous
el
e m e n ts, in cl
udin g structure , th at com b in e to con stitute a m usical
com position . Se e , e .g., Sw irsk y v. Care y , 376 F.3d 841, 849 (9 th Cir
2004).
Th e Th ick e Am ici al
so con siste n tl
y se e m to in sist on e xact dupl
ication as th e l
itm us te st for sub stan tialsim il
arity. Th is is il
l
ustrate d b y
th e ir asse rtion th at th e sam e pitch e s se t to diffe re n t rh yth m s re sul
tin
a diffe re n tm e l
ody. Th ick e Am ici Brie fat13. Th is m yopic de fin ition of
m el
ody com ports w ith n e ith e r M usicol
ogicalstan dards n or com m on
se n se . Th e re are m an y son gs th at h ave b e e n adapte d in te rch an ge ab l
y
am on g ge n re s such as m arch in g b an d, sym ph on ic, b l
ue s, pop, m an y
Latin
variants, jaz z
(Dixie l
an d, b e b op, straigh t-ah e ad, b ig-b an d,
sm ooth ), rock (cl

assic, pun k , grun ge , m e tal
), R& B, soul
, e tc., ye t e ach
ve rsion of a give n son g w il
lb e re cogn iz ab l
e as th e sam e son g de spite
ve ry diffe re n t rh yth m s. For e xam pl
e , th e re are ove r 200 cove r ve rsion s
of Duk e
El
l
in gton
s Satin Dol
l
, w ith
varyin g rh yth m s, adde d
orn am e n talpitch e s, an d ge n re s, b ut n e ve rth e l

e ss re cogn iz ab l
e as th e
sam e son g. Th e re are al
so coun tl
e ss ve rsion s (jaz z , rock , Latin , re ggae ,
e tc.) of stan dards such as I
m Dre am in g of a W h ite Ch ristm asth at
vary in rh yth m s, h arm on ic col
or, an d adde d orn am e n talpitch e s, ye t
re m ain re cogn iz ab l
y th e sam e w ork . Com pare a standard ve rsion of
24
Santa Cl
aus Is Com in g To Tow n w ith Bruce Sprin gste e n
s w ide l
y
rh yth m ical
l
y,
m el
odical
l
y,
an d
structural
l
y
varian t b ut e asil
y
re cogn iz ab l
e ve rsion of w h at is in disputab l
y th e sam e son g to se e h ow
re ductive an d in accurate th e Th ick e Am ici
s cl
aim is.
M uch ofth e Th ick e Am ici
s b rie fis an in te rm in ab l
e catal
ogue ofn its,
m in or orn am e n tation s, an d oth e r in sign ificant variation s b e tw e e n ce rtain aspe cts of th e tw o son gs th at b e l
ab ors th e ob vious an d un dispute d
factth atth e tw o w ork s are n otl
ite ral
l
y e n d-to-e n d ide n tical
. O f course
th e y
re n ot.
Th e y don
t h ave to b e .
As Appe l
l
an t
s e xpe rts ab l
y
e xpl
ain e d, an d th e n de m on strate d in th e ir an al
yse s, judgin g sub stan tial
sim il
arity (n ot l
ite ralide n tity) is an e xe rcise in ide n tifyin g th e sal
ie nt
an d distin ctive aspe cts of th e originalw ork th at w e re tak e n an d usin g
e ducate d judgm e nt in de te rm in in g h ow sim il
ar th ose e l
e m e n ts an d
com b in ation s in th e accuse d w ork are .9
9
To give just on e e xam pl

e , th e Th ick e Am ici argue (at 21) th at
[c]om parin g M s. Fin e l
l
s Ch artIVw ith M s. W il
b ur
s Ch artV, on e fin ds
th at M s. Fin e l
lim prope rl
y al
ign e d th e
h ook sof th e tw o son gs. Th is
m isal
ign m e n tre ve al
s an e ffortto ob scure th e factth atth e firstn ote s of
th e h ook s actual
l
y occur on diffe re n tb e ats in th e m e asure , cre atin g sign ifican tl
y diffe re n t m e l
odie s an d ove ral
lm usicale ffe ct. H ow e ve r, th e
h ook sare sh ow n w ith th e pitch e s in th e e xact orde r as th e y appe ar
an d w ith th e e xactrh yth m s th atth e y con tain on th e Gotto Give ItUp
l
e ad sh e e t an d in th e Bl
urre d Lin e sre cordin g. ER59 9 -601, ER604.
Th e poin t of M s. Fin e l
l
s e xh ib it w as to il
l
ustrate th e tw o sim il
aritie s of
(a) 3 outof 4 ide n ticalpitch e s an d (b) th at2 pitch e s occurre d b e fore th e
b ar l
in e an d 2 afte r th e b ar l
in e . Sh e e xpl
ain e d h ow som e pitch e s an d
rh yth m s are m ore im portan tth an oth e rs in de te rm in ing sim il
arity, an d
25
Th e Th ick e Am ici argue (at 11) th at [b ]y re l

yin g on e m b e l
l
ish e d
tran scription s an d al
ign in g n ote s out of th e se q ue n ce in w h ich th e y
actual
l
y appe ar in e ach son g, M s. Fin e l
lan d Dr. M on son
s an al
yse s
de parte d from th e b asic prin cipl
e s and rul
e s for com parin g tw o w ork s in
a copyrigh t in fringe m e n t con te xt. Th is is sim pl
y n ot true . Th e Fin e l
l
tran scription s w e re n e ith e r e m b e l
l
ish e d n or did th e y con tain n ote s out
ofse q ue n ce . Dk t. No. 332:71:1-74:1, No. 2:13-cv-06004 (C.D. Cal
. 2015).
Nor is it th e l
aw . Sw irsk y v. Care y , 376 F.3d 841 (9 th Cir. 2004), th e
on l
y judicialauth ority cite d, sq uare l
y h ol
ds th atm usicalpassage s n e e d
n ot sh are th e e xact sam e n otation to b e h e ard as sim il
ar, an d th at h ow
th e y are h e ard is w h atm atte rs. Id . at847-48.
Th e un de rl
yin g fl
aw run n in g th rough outth e Th ick e Am ici
s b rie fing
is th e ir in siste n ce th at in frin ge m e n t occurs on l
y w h e n th e re is e xact or
n e ar-e xact sim il
arity. But tw o w ork s do n ot h ave to b e ide n ticalor
n e ar-ide n tical in e ve ry aspe ct to b e
M usicol
ogical
l
y an d l
e gal
l
y.
te stim on y
an d
e vide n ce
sub stan tial

l
y sim il
ar, b oth
W h at h appe n e d h e re an d w h at th e
give n
by
M s. Fin e l
l an d
Dr. M on son
de m on strate s is th at th e Th ick e Partie s took origin ale l

e m e n ts from
Got to Give it Upan d in corporate d th e m w ith sl
igh t variation s in
Bl
urre d Lin e s,al
lth e w h il
e usin g th e m in th e sam e m an n e r as th e y
w e re use d in th e origin alto produce a sub stan tial
l
y sim il
ar re sul
t. As
th e appl
ie d th atprin cipl
e to th e w ork s ath an d.
26
to th e fact th at th e re are diffe re n ce s b e tw e e n th e tw o w ork s, Le arn e d

H an d taugh t us l
on g ago th at n o pl
agiarist can e xcuse th e w ron g b y
sh ow in g h ow m uch of h is w ork h e did n ot pirate . Sh e l
don v. M e tro-
Gol
dw yn Picture s Corp., 81 F.2d 49 , 56 (2d Cir. 19 36).
Fin al
l
y, th e Th ick e Am ici (at 14-26) pre se n t e igh t il
l
ustrative ch arts
purportin g to b uttre ss th e ir argum e n ts again st th e te stim on y of
M s. Fin e l
lan d Dr. M on son . Som e are cl
aim e d to b e th e w ork of th e
Am ici th us am oun tin g to an oth e r e xpe rt re port n e ve r sub je ct to crosse xam in ation or re b uttal
w h il
e oth e rs are con trasts b e tw e e n th e
te stim on y an d e xh ib its e n te re d in to e vide n ce at th e trial
. H ow e ve r,
n e ith e r th e b rie f n or th e se ch arts com e cl
ose to cove rin g al
lof th e e vide n ce con ce rn in g th e sim il
aritie s b e tw e e n th e l
e ad sh e e t for Got to
Give it Up an d Bl
urre d Lin e s, in ste ad ch e rry-pick in g isol
ate d
in stan ce s of m in or (an d accordin g to th e Gaye Fam il
y
s e xpe rts,
in sign ificant) variation , rath e r th an addre ssin g an ove ral
lan al
ysis of
th e ide n tifie d sim il
aritie s.
In sum , th e attack s on th e te stim on y an d e vide n ce of M s. Fin e l
lan d
Dr. M on son e sse n tial
l
y con sist of un supporte d state m e n ts l
ack ing
e vide n tiary, M usicol
ogical
, an d l
e gal support, or at m ost offe ring
com pe tin g e xpe rt opin ion s th at th e jury e ith e r n e ve r h e ard, or
con side re d an d re je cte d.
27
III.
IR O N IC A L L Y ,TH EL EG A L A U TH O R ITIES C ITED B Y TH ETH IC K E
A M IC I S U P P O R T TH EG A Y EFA M IL Y .
Th is se ction of th is Brie f is con ce rn e d w ith th e l

e galargum e n tm ade
b y th e Th ick e Am ici. Th e on l
yl
e galauth oritie s th e y cite are se ction s 9
th rough 12 of th e Act of M arch 4, 19 09 , ch . 320, 35 Stat. 1075 (e ffe ctive
Jul
y 1, 19 09 ) [h e re in afte r 19 09 Copyrigh t Act], codifie d as am e n de d at
17 U.S.C. (19 76) (re pe al
e d e ffe ctive Jan . 1, 19 78), an d on e judicial
opin ion . Sw irsk y v. Care y , 376 F.3d 841 (9 th Cir. 2004). Both are give n
on l
y cursory discussion .
Sw irsk y is first m e n tion e d in th e Th ick e Am ici Brie f (at 12) in th e

fol
l
ow in g state m e n t:
By isol
atin g se q ue n ce s of a fe w pitch e s out of th e m usical
se q ue n ce in w h ich th e y occurre d i.e ., w ith out re gard to th e ir
duration an d th e ir pl
ace m e n t in th e m usicalph rase Judith
Fin e l
l[an e xpe rt w itn e ss m usicol
ogist te stifyin g for th e de fe n dan ts-appe l
l
e e s] pre se n te d in accurate an d ove rl
y spe cul
ative
m usicalan al
yse s. Se e Sw irsk y v. Care y , 376 F.3d 841 (9 th Cir.
2004).
Th at
s n ot w h at Sw irsk y says. In Sw irsk y , th e pl
ain tiff
s e xpe rt as
part of h is te stim on y goin g to th e e xtrin sic or ob je ctive an al
ysis of th e
tw o son gs at issue opin e d th at th e w ork s at issue h ad sub stan tial
l
y
sim il
ar ch oruse s,376 F.3d at 845, e ve n th ough th e ir l
yrics an d ve rse
m el
odie s w e re cl
e arl
y an d sign ifican tl
y diffe re n t, id ., an d th at w h il
e
th e re w e re sim il
aritie s in som e m e asure s of th e ch orus, th e re w e re al
so
diffe re n ce s, in cl
udin g a fourth
m e asure
diffe re n tin th e ch oruse s of th e tw o son gs.

28
th at w as dram atical
l
y
Id . at 846. Th e Nin th
Circuit re ve rse d th e trialcourt

s gran t of sum m ary judgm e n t for th e
de fe n dan t h ol
din g th e re doe s n ot h ave to b e e xact sim il
arity for a
copyrigh t in frin ge m e n t case to go to th e jury, e ve n w h e re such
sign ificante l
e m e n ts as th e ve rse m e l
ody an d l
yrics sh ow n o sim il
aritie s:
In an al
yz in g m usicalcom position s un de r th e e xtrin sic te st, w e
h ave n e ve r an n oun ce d a un iform se t of factors to b e use d. W e
w il
ln otdo so n ow . M usic, l
ik e softw are program s and artobje cts,
is notcapabl
e ofre ady cl
assification into onl
y five or six constitue nt
el
e m e nts; m usic is com prise d of a l
arge array of e l
e m e nts, som e
com bination ofw h ich is prote ctabl
e by copyrigh t.
Id. at 849
(footnote om itte d). M ak in g its poin t concre te , th e Nin th
Circuitcon tin ue d:
For e xam pl
e , in Th re e Boys [v. Bol
ton , 212 F.3d 477 (9 th Cir.
2000),] w e uph e l
d a jury fin din g of sub stan tialsim il
arity b ase d
on th e com b in ation of five oth e rw ise un prote ctab l
e el
e m e n ts:
(1) th e titl
e h ook ph rase (in cl
udin g th e l
yric, rh yth m , an d pitch );
(2) th e sh ifte d cade n ce ; (3) th e instrum e n tal figure s; (4) th e
ve rse /ch orus re l
ation sh ip; an d (5) th e fade e n din g. Th re e Boys
212 F.3d at 485. O th e r courts h ave tak e n accoun t of addition al
com pon e n ts of m usicalcom position s, in cl
udin g m e l
ody, h arm on y,
rh yth m , pitch , te m po, ph rasin g, structure , ch ord progre ssion s,
an d l
yrics. In addition , com m e n tators h ave opin e d th at tim b re ,
ton e , spatialorgan iz ation , con son an ce , disson an ce , acce n ts, n ote
ch oice , com b in ation s, in te rpl
ay of in strum e n ts, b assl
in e s, an d
n e w te ch n ol
ogical soun ds can al
lbe e l
e m e n ts of a m usical
com position .
Id . (citation s om itte d). Th us, th e Ninth Circuitstate d:

Th e re is n o on e m agicalcom b in ation of th e se factors th at w il
l
autom atical
l
y sub stan tiate a m usicalin frin ge m e n t suit; e ach
al
l
e gation of in frin ge m e n t w il
lb e un iq ue . So l
on g as th e [copyrigh t ow n e r] can de m on strate , th rough e xpe rt te stim on y th at
addre sse s som e or al
l of th e se e l
e m e n ts an d supports its
e m pl
oym e n tofth e m , th atth e sim il
arity w as sub stan tial
an d to
prote cte d e l
e m e n tsofth e copyrigh te d w ork , th e e xtrin sic te stis
satisfie d. Sw irsk y h as m e tth atstandard h e re .
29
Id .
Th e se con d an d fin alm e n tion of Sw irsk y b y th e Th ick e Am ici is to
cite it(at13) to supportth e state m e n t: Lik e w ise , th e sam e pitch e s se t
to a diffe re n trh yth m re sul
tin a diffe re n tm e l
ody. Se e [Sw irsk y ]at84748.Th is is in accurate b oth M usicol
ogical
l
y an d l
e gal
l
y for re ason s
pre viousl
y give n . M ore fun dam e n tal
l
y, th is partof th e Sw irsk y opin ion
fe ature s th e Nin th Circuit
s discussion of th e rol
e of e xpe rt te stim ony in
th e anal
ytic disse ction of tw o m usicalw ork s, w h ich sounds l
ik e it coul
d
h ave be e n w ritte n to re je ct e xactl
y th e anal
ysis th at th e Th ick e Partie s
and th e ir Am ici purve y in th is appe al
:
Th e district court al
so e rre d b y b asin g its com parison of th e tw o
ch oruse s al
m oste n tire l
y on a m e asure -b y-m e asure com parison of
m el
odic n ote se q ue n ce s from th e ful
l tran scription s of th e
ch oruse s. O b je ctive an al
ysis of m usic un de r th e e xtrin sic te st
can n ot m e an th at a court m ay sim pl
y com pare th e n um e rical
re pre se n tation s ofpitch se q ue n ce s an d th e visualre pre se n tation s
of n ote s to de te rm in e th at tw o ch oruse s are n ot sub stan tial
l
y
sim il
ar, w ith out re gard to oth e r e l
e m e n ts of th e com position s. ....
It is th e se e l
e m e n ts th at de te rm in e w h at n ote s an d pitch e s are
h e ard in a son g an d atw h atpointin th e son g th e y are foun d. To
pul
lth e se e l
e m e n ts out of a son g in dividual
l
y, w ith out al
so l
ook in g at th e m in com b in ation , is to pe rform an in com pl
e te an d distorte d m usicol
ogicalan al
ysis.
376 F.3d at847-48 (footn ote om itte d). Sim il
arl
y, in its discussion ofth e
e xpe rt te stim on y offe re d b y th e al
l
e ge d in frin ge rs, Sw irsk y opin e d th at
[t]o pul
lth e se e l
e m e nts outofa song individual
l
y, w ith outal
so l
ook ing at
th e m in com bination , is to pe rform an incom pl

e te and distorte d m usicol
ogicalanal
ysis. Id . at 848 (e m ph asis adde d). In oth e r w ords, al
th ough
30
individualparts of a song can be de scribe d se parate l

y, prope r appl
ication
of th e e xtrinsic te st re q uire s th e song be vie w e d as a w h ol
e if th e
infringe m e ntanal
ysis is to be pe rform e d accurate l
y.
As for th e 19 09 Copyrigh tAct, th e Th ick e Am ici argue (at10):
In com parin g tw o w ork s for m e l
odic sim il
aritie s or diffe re n ce s for
th e purpose s of copyrigh t an al
ysis of un de r th e 19 09 Act, m usicol
ogists sh oul
d n e ve r e m b e l
l
ish th is n otation b y sugge stin g
th in gs a m usician sh oul
d k n ow in th e w ritte n m usic.
Butscour th e m as you w il
l
, se ction s 9 th rough 12 of th e 19 09 Copyrigh t
Actsay n oth in g of th e k in d. 19 09 Copyrigh tAct 9 -12, 35 Stat. 10771078 (codifie d as am e n de d as Titl
e 17 of th e Un ite d State s Code ;
re pe al
e d e ffe ctive
Jan . 1, 19 78).
Nor doe s an y l
e gal auth ority
in te rpre tin g th e 19 09 Actso provide .

As discusse d in de tailab ove (se e Part II(B)(4), supra), practical
n e ce ssity, e stab l
ish e d M usicol
ogicalstan dards an d l
e arn in g, an d th is
Court in Th re e Boys al
lre cogn iz e th e val
ue an d in fact th e n e ce ssity of
in te rpre tin g a l
e ad sh e e tto de te rm ine w h atcom position ale l
e m e n ts an d
fe ature s are
in dicate d.
Eve n th e
Th ick e
Partie s ow n e xpe rt,
M s. W il
b ur, te stifie d th at h e r audio e xam pl
e com parin g th e tw o son gs
w as b ase d on h e r in te rpre tation of th e l
e ad sh e e t an d th at sh e m ade
ch oice sofw h atto in cl
ude . ER1209 -10 se e al
so ER1211-24.10 Th us itis
10
Sh e al
so te stifie d th at a ch ord n am e is m e re l
y re pre se n tation alan d
re ason ab l
e m usicol
ogists can diffe r on h ow to n otate a ch ord. ER11361137. W h e n ask e d if sh e b e l
ie ve [d]th at a l
e ad sh e e t sim pl
y re fl
e cts a
sim pl
ifie d, l
e ss fl
e sh e d-out ve rsion of a ch ord patte rn in a com position ,
an d assurin g th e Judge th at sh e un de rstood th e q ue stion , an sw e re d
31
l
e gal
l
y as w e l
las m usical
l
y im possib l
e to con cl
ude th at an al
ysis of a
l
e ad sh e e tdoe s n otre q uire in te rpre tation . M s. Fin e l
l
s in te rpre tation of
w h at w as re fl
e cte d in th e l
e ad sh e e t w as n ot on l
y re ason ab l
e , b ut
cl
e arl
y adm issib l
e un de r th e param e te rs for e xpe rt m usicol
ogical
te stim on y un de r th e Nin th Circuit
s pre ce de n ts of Sw irsk y v. Care y , 376
F.3d 841 (9 th Cir. 2004), and Th re e Boys M usic Corp. v. Bol
ton , 212 F.3d
477 (9 th Cir. 2000).
Th e DistrictJudge righ tl
y h el
d th ata l
e ad sh e e tn e e d n otcon tain al
l
of th e n ote s foun d in th e re corde d com position , ER103-105, an d al
so
righ tl
y h el
d, b ase d upon th e te stim on y of th e M usicol
ogists for b oth
side s, th at a l
e ad sh e e t is sub je ct to in te rpre tation so a m usician can
un de rstan d w h at to pl
ay. ER83-84. Th e re is n oth in g in th e l
aw th at
sugge sts M usicol
ogicalinte rpre tation of a l
e ad sh e e t to de te rm in e w h at
it re pre se n ts is im prope r. H ol
din g oth e rw ise w oul
d m ak e th e m usical
auth or
s righ ts sub je ct to a pote n tial
l
y un q ual
ifie d, afte r-th e -fact tran scrib e r, w h o m ay h ave l
im ite d ab il
ity to pre pare tran scription s, an d
w ith th e sin gl
e w ord: Ye s. ER1136. Sh e furth e r te stifie d in h e r
de position th atsh e pre pare d a transcription ofGotto Give itUpb ase d
on th e soun d re cordin g of th at son g b e fore sh e re ce ive d a copy of th e
l
e ad sh e e t of th at son g th at w as de posite d w ith th e Copyrigh t O ffice as
part of th e copyrigh t re gistration of Got to Give it Up. ER1140 Eve n
afte r re ce ivin g a copy of th e l
e ad sh e e t de posite d w ith th e Copyrigh t
O ffice , sh e con tin ue d to b ase h e r sub se q ue n tte stim on y an d e vide n ce on
th at tran scription , ER1140-1141, b e cause , in h e r w ords, [i] turn s out
th at th e y w e re sub stan tial
l
y th e sam e as th e copyrigh t de posits.
ER1140-1141.
32
w h o m ust m ak e ch oice s of w h at to n otate an d h ow to n otate it w h il

e
un de r tim e pre ssure to ge t th e copyrigh t re gistration on fil
e . Such a
h ol
din g w oul
d m e an th at on l
y th ose n ote s th is th ird party ch ose to
n otate in a l
im ite d l
e ad sh e e t w oul
d b e prote cte d from th e ft. Bl
un tl
y,
th is is w ron g.
In sum , th is Court
s e stab l
ish e d pre ce de n tsupports th e adm ission of
th e te stim on y an d e vide n ce M s. Fine l
lan d Dr. M on son offe re d an d th e
jury con side re d, an d e n dorse s its re l
e van ce to a l
e gal
l
y prope r
in frin ge m e n tan al
ysis.
33
IV .
C O N C L U S IO N
As de m on strate d ab ove , M s. Fin e l

l
s an d Dr. M on son
s e xpe rt
M usicol
ogicalte stim on y an d e vide n ce an al
yz in g th e n ature an d e xte n t
of th e sim il
aritie s sh are d b y th e l
e ad sh e e t of Got to Give It Upan d
th e Bl
urre d Line s soun d re cordin g are firm l
y b ase d on soun d
M usicol
ogicalprin cipl
e s an d are l
e gal
l
y prope r an d appropriate .
For th e se re ason s, th e District Court
s Judgm e n t w ith re spe ct to
Appe l
l
an tsin frin ge m e n t of th e copyrigh tin GotTo Give It Upsh oul
d
b e affirm e d.
Re spe ctful
l
y,
H
O W ARD
BARRY ABRAM S
By
BERNARD A. BURK

BERNARD A. BURK

ogists
y
34
C ER TIFIC A TEO F C O M PL IA N C EP U R S U A N T TO FED .R .A P P .P .

32(A )(5)-(7)A N D C IR C U IT R U L E32-1
1. Th is b rie f com pl
ie s w ith th e type -vol
um e l
im itation of Fe de ralRul
e
of Appe l
l
ate Proce dure 32(a)(7)(B) b e cause th is b rie f con tain s 8,125
w ords, e xcl
udin g th e parts of th e b rie f e xe m pt b y Fe de ralRul
e of
Appe l
l
ate Proce dure 32(a)(7)(B)(iii).
2. Th is b rie f sub stan tive l
y com pl
ie s w ith th e type face re q uire m e n ts of
Fe de ralRul
e of Appe l
l
ate Proce dure 32(a)(5) an d th e type styl
e
re q uire m e n t of Fe de ralRul
e of Appe l
l
ate Proce dure 32(a)(6) b e cause
it h as b e e n pre pare d in a proportion al
l
y space d type face in 14 poin t
Ne w Ce n tury Sch ool
b ook .
O W ARD
BARRY ABRAM S
By
BERNARD A. BURK

BERNARD A. BURK

ogists
y
35
C ER TIFIC A TEO F S ER V IC EFO R D O C U M EN TS FIL ED U S IN G C M /EC F
I h e re b y ce rtify th aton De ce m b e r 28, 2016, I e l

e ctron ical
l
y fil
e d th e
fore goin g w ith th e Cl
e rk of th e Court for th e Un ite d State s Court of
Appe al
s for th e Nin th Circuitb y usin g th e appe l
l
ate CM /ECF syste m .
I ce rtify th at al
lparticipan ts in th e case are re giste re d CM /ECF
use rs an d th at se rvice w il
lb e accom pl
ish e d b y th e appe l
l
ate CM /ECF
syste m .
O W ARD
BARRY ABRAM S
By
BERNARD A. BURK

BERNARD A. BURK

ogists
y
36
Exhibit A
Instrum e nta ls= the H e a rtb e a tofthe Song s

The instrumentals contain 2 significantly similar elements
in both songs:
1. Bass melodies + descent
2. Keyboard chord pitches + rhythms
The instrumentals form the bed or foundation for the

vocal lyrics & melodies.
They are the engines that drive the songs forward with
their constant presence, rhythms, pulse, and beats
Got to Give It Up Bass Melody and Keyboard Part (Bars 1 8)
(from Bass and Rhodes Organ individual tracks 521ms to 16s173ms)
Blurred Lines Bass Melody and Keyboard Part (Bars 1 8)
(from Bass and Rhodes Organ individual tracks 1s991ms to 17s999ms)
P ITC H S H IFTED UP A M A JO R 2 nd to ma tchthe key of Gotto Give ItUp
2
Sim ila rity:Sig na ture Phra se

S igna ture P hra se = identifiessongs | 4 similarelements
Got to Give It Up Lyrics = I used to go out to parties
Got to Give It Up Signature Phrase
(entire phra se)
(from individual track
14s610ms to 17s885ms)
Blurred Lines Lyrics = And thats why Im gon take a

good girl
Blurred Lines Signature Phrase
(entire phra se)
(from individual track
48s294ms to 51s797ms)
P ITC H S H IFTED UP A M A JO R 2 nd to
ma tchthe key of Gotto Give ItUp
Got to Give It Up Lyrics = I used to go out to parties

(entire phra se)
(MIDI synthesizer
rendering)
Blurred Lines Lyrics = And thats why Im gon take a

good girl
Blurred Lines Signature Phrase
(entire phra se)
(MIDI synthesizer rendering)

S igna ture P hra se issimulta neousw ith H ea rtb ea t

(entire phra se)
(from Vocal, Bass, and
Rhodes Organ tracks
14s327ms to 18s537ms)
Blurred Lines Signature

Phrase (entire phra se)
(from Vocal, Bass, and Rhodes Organ
tracks 48s14ms to 52s274ms)
5
Sim ila rity:Sig na ture Phra se (Ele m e ntsa d )
Got to Give It Up Signature Phrase (Elementb )

(from individual track 15s338ms to 17s434ms)
Blurred Lines Signature Phrase (Elementb )

P ITC H S H IFTED UP A M A JO R 2 nd
to ma tchthe key of Gotto Give ItUp
6
Sim ila rity:Sig na ture Phra se (Ele m e ntsa d )
Got to Give It Up Signature Phrase (Elementb )

Blurred Lines Signature Phrase (Elementb )

P ITC H S H IFTED UP A M A JO R 2 nd
to ma tchthe key of Gotto Give ItUp
7
Hook Defined
H ook : The signa ture melody a nd lyricsofa song
Tomorrow, Tomorrow from Annie
Cyndi Lauper: Girls Just Want To Have Fun
Got to Give It Up hook lyrics = Keep on dancin

Blurred Lines hook lyrics = take a good girl + I hate
these blurred lines
8
Sim ila rity:H ooks
Gotto Give ItUp L yrics= Keep onda ncin

Got to Give It Up Hook
B lurred L ines L yrics= Ta ke a good girl

Blurred Lines Hook
Sim ila rity:H ooks
Gotto Give ItUp L yrics= Keep onda ncin

Got to Give It Up Hook MIDI synthesizer rendering
B lurred L ines L yrics= Ta ke a good girl

Blurred Lines Hook MIDI synthesizer rendering
10
Sim ila rity:The m e X
Got to Give It Up Backup Hook - Theme X ( D a ncin lady single insta nce)
(from individual track 3mn8s500ms to 3mn9s453ms)
Blurred Lines Theme X (Verse 2, Phrase 1) ( O ka y now he w a sclose )

Blurred Lines Theme X (Verse 2, Phrase 3) ( B utyoure a na nima l)

11
Blurred Lines Theme X (Verse 2, Phrase 1) ( O ka y now he w a sclose )

Blurred Lines Theme X (Verse 2, Phrase 3) ( B utyoure a na nima l)

12
(from individual track 3mn8s500ms to 3mn9s453ms)
Blurred Lines Theme X (as found in Signature Phrase) ( A nd tha tsw hy Im )

13
Blurred Lines Theme X (as found in Signature Phrase) ( A nd tha tsw hy Im )

14
Sim ila rity: The m e X a nd Va ria ntsin Blurre d Line s

S ectionin
B lurred L ines
B a rNos.
Timings
Verse 1
18s20s [2s]
Verse 1
11
22s24s [2s]
Verse 1
13
26s28s [2s]
Verse 1
14
28s30s [2s]
Verse 1
15
30s32s [2s]
Verses 2 and 3
17 and 49
34s36s // 1mn38 1mn40s [4s]
Verses 2 and 3
19 and 59
38s40s // 1mn42s1mn44s [4s]
Verses 2 and 3
21 and 53
42s44s // 1mn46s1mn48s [4s]
Verses 2 and 3
22 and 54
44s46s // 1mn48s1mn50s [4s]
Verses 2 and 3
23 and 55
46s48s // 1mn50s1mn52s [4s]
Verse 4
99
3mn18s3mn20s [2s]
Verse 4
101
3mn22s3mn24s [2s]
Verse 4
102
3mn24s3mn26s [2s]
Verse 4
103
3mn26s3mn28s [2s]
Chorus
28-29, 60-61, 108-109
56s1mn // 2mn2mn4s // 3mn36s3mn40s [12s]
Chorus
36-37, 68-69, 116-117
1mn12s1mn16s // 2mn16s2mn20s // 3mn52s3mn56s [12s]
Tota ls
3 1 outof1 3 0 Tota lB a rs
1 mn2 soutof4 min2 2 sTota lTime= 2 5 % ofthe song
Timings are rounded to the second and counted by the bar.

The number in brackets is the subtotal number of seconds.
15
Sim ila rity:Ba ssM e lod ie s
Got to Give It Up Bass Melody (Bars 1-4)

(from individual track 521ms to 8s980ms)
P ITC H S H IFTED UP A N O C TA VE
Blurred Lines Bass Melody (Bars 1-4)

(from Bass and Rhodes Organ individual tracks 2s5ms to 10s410ms)
16
Sim ila rity:Ba ssM e lod ie s

S imilarpitches, rhythms, a nd lea p inthe b a ssmelodies
The 2 b a ssmelody similaritiesa re in7 7 outof1 3 0 b a rsin B lurred L ines
Mashup:
Got to Give It Up Bass Melody (Bars 1-4)
Blurred Lines Bass Melody (Bars 1-4)

P ITC H S H IFTED UP A M A JO R 2 nd to ma tchthe key
of Gotto Give ItUp
17
Sim ila rity:Ba ssM e lod ie s+ De sc e nd ing Ba ssM e lod y
Got to Give It Up Descending Bass Melody

Blurred Lines Descending Bass Melody (from Bass and

Rhodes Organ individual tracks 16s16ms to 18s242ms)
P ITC H S H IFTED UP A M A JO R 2 nd TO M A TC H KEY O F Gotto Give ItUp

18
Sim ila rity:K e yb oa rd Pa rts
Got to Give It Up Rhodes Organ (B a rs1 4 )

Blurred Lines Rhodes Organ (B a rs1 4 )


19
Sim ila rity:K e yb oa rd Pa rts
Got to Give It Up Rhodes Organ (B a rs3 4 )

TIM ES TRETC H ED 2 0 0 %
Blurred Lines Rhodes Organ (B a rs3 4 )

TIM ES TRETC H ED 2 0 0 %
20
21
22
Conste lla tion ofSim ila rFe a ture s
23
24
25
26
27
28
29
30
31
Sig nific a ntSim ila ritie sin Lyric sa nd M usic = W ord Pa inting :
up / (a -)round / sha ke / dow n
Got to Give It Up Lyrics ( M ove itup, turnitround, oohsha ke itdow n )

Move it UP
S H A KE aRO UND
Turn it RO UND
Get D O W N
Ooh S H A KE it D O W N
Get UP
Blurred Lines Lyrics ( S ha ke a round, getdow n, getup )
32
Sig nific a ntSim ila ritie sin Lyric sa nd M usic = W ord Pa inting :
up / (a -)round / sha ke / dow n
Got to Give It Up Lyrics M A S H UP with Blurred Lines REA RRA NGED Lyrics
(i.e. Gotto Give ItUp L yricsa lterna tingw ith B lurred L ines rea rra nged lyrics)
(from individual tracks Got to Give It Up bars 66-71; Blurred Lines bars 89-91)
33
34
Sim ila rLyric s
Got to Give It Up Lyrics
Blurred Lines Lyrics
But my body yearned to be

fre e
Just let me lib e ra te you
Somebody watchin might

wa nna m a ke rom a nc e
I know you wa ntit

must wa nna g e tna sty
You can bump me when you

want to, babe
Let me be the one you back

that ass into
Let me slip into your erotic

zone
Ill give you something big

enough to tear your ass in
two
35
36
Pa rla nd o /Ra p
Identical location and timing (start/end)

Deviation from material before and after
Similar starting lyrical phrase
Book ended by bridge before in Got to Give It Up and bridge after
in Blurred Lines with the same
up / (a-)round / shake / down series
Parlando section
Rap section
Both start with similar lyrics:
Got to Give It Up YOU CAN BUMP ME WHEN YOU WANT TO BABE
Blurred Lines LET ME BE THE ONE YOU BACK THAT ASS INTO
37
Pa rla nd o /Ra p
Same timings
- Got to Give It Up: Bars 73-88
- Blurred Lines:
Bars 73-88
Got to Give It Up Parlando and Surrounding Bars
(Vocal, Rhodes Organ, Bass tracks)
Blurred Lines Rap and Surrounding Bars
(Vocal, Rhodes Organ, Bass tracks)
Got to Give It Up Parlando and Surrounding Bars
(Vocal individual track only)
Blurred Lines Rap and Surrounding Bars
(Vocal individual track only)
38
39
40
41
H a ppyBirthd a yrhythm /loc a tion m od ifie d
Melodies remain recognizable as the same even

with changes in location + rhythm
Ex. 1 Happy Birthday (traditional)
Ex. 2 Happy Birthday (modified)
42
H a ppyBirthd a yoc ta ve sa d d e d
43

Amicus Brief (Musicologists)

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Case: 15-56880, 12/28/2016, ID: 10248737, DktEntry: 47, Page 1 of 91

CA Nos. 15-56880, 16-55089 , 16-55626

UNITED STATES CO URT O F APPEALS

BERNARD A. BURK (No. 118083)

Attorn e ys for Am ici Curiae M usicol

Case: 15-56880, 12/28/2016, ID: 10248737, DktEntry: 47, Page 2 of 91

com pose r aw ards, in cl

Acade m y Aw ard-n om in ate d pe riod m usic in Jam e s Cam e ron

Titan ic. H e h as w ork e d w ith a w ide varie ty of artists in cl

Dr. Ave ril

tw ice n om in ate d for Gram m y Aw ards. H e h as pub l

Case: 15-56880, 12/28/2016, ID: 10248737, DktEntry: 47, Page 3 of 91

Dr. Ste ph e n Be ck re ce ive d h is Ph .D. from th e Un ive rsity of

H is m usic h as b e e n pe rform e d th rough out th e w orl

e arn e d a Ph .D. from W e sl

se ve ralof w h ich re ce ive d Gram m y n om in ation s. Dr. Be rl

Case: 15-56880, 12/28/2016, ID: 10248737, DktEntry: 47, Page 4 of 91

Case: 15-56880, 12/28/2016, ID: 10248737, DktEntry: 47, Page 5 of 91

Am e rican M usic for h e r b ook M ak in g M usic M ode rn : Ne w York in

th e 19 20s , h as se rve d tw o te rm s as th e Le on ard Be rn ste in Sch ol

Case: 15-56880, 12/28/2016, ID: 10248737, DktEntry: 47, Page 6 of 91

Re vie w s Editor of M usic Th e ory O n l

Foun dation , th e Nation al En dow m e n t for th e

H um an itie s, an d oth e rs. Sh e is a Past-Pre side n t of th e Socie ty for

Case: 15-56880, 12/28/2016, ID: 10248737, DktEntry: 47, Page 7 of 91

Prior to join in g UCLA,

Dr. W ate rm an w as th e h e ad of th e e th n om usicol

Distin guish e d Le ade rsh ip in M usicol

Z b ik ow sk i is a Profe ssor of M usic an d th e

H um an itie s at th e Un ive rsity of Ch icago, an d is a M usic Th e orist.

Am e rican Coun cilof Le arn e d Socie tie s an d w as al

Case: 15-56880, 12/28/2016, ID: 10248737, DktEntry: 47, Page 8 of 91

Th is b rie f is sub m itte d pursuan t to Rul

/s/Be rn ard A. Burk

Attorn e ys for Am ici Curiae M usicol

Case: 15-56880, 12/28/2016, ID: 10248737, DktEntry: 47, Page 9 of 91

IDENTITY O F AM ICI CURIAE

CO RPO RATE DISCLO SURE STATEM ENT

STATEM ENT O F CO M PLIANCE W ITH RULE 29 (a)(4)(E)

INTEREST O F AM ICI CURIAE

INTRO DUCTIO N AND SUM M ARY O F ARGUM ENT

TH E REPO RTS, TESTIM O NY, AND RELATED

Th e Expe rtsRe ports, Te stim on y, An d

Th e Expe rts Use d Stan dard Acce pte d

Case: 15-56880, 12/28/2016, ID: 10248737, DktEntry: 47, Page 10 of 91

Dr. M on son Care ful

Th e Expe rts Prope rl

Th e Stran ge Asse rtion Th atO n l

IRO NICALLY, TH E LEGALAUTH O RITIES

Case: 15-56880, 12/28/2016, ID: 10248737, DktEntry: 47, Page 11 of 91

Th re e Boys M usic Corp. v. Bol

19 09 Copyrigh tAct 9 -12, 35 Stat. 1075, 1077-1078

O xford Diction ary ofM usicalTe rm s

Th e H arvard Diction ary ofM usic

Case: 15-56880, 12/28/2016, ID: 10248737, DktEntry: 47, Page 12 of 91

Am ici Curiae , w h o are M usicol

Case: 15-56880, 12/28/2016, ID: 10248737, DktEntry: 47, Page 13 of 91

Lik e m an y m usic copyrigh t case s, a portion of th e in frin ge m e n t

Case: 15-56880, 12/28/2016, ID: 10248737, DktEntry: 47, Page 14 of 91

Th e argum e n ts con ce rn in g in frin ge m e n t offe re d b y th e Th ick e

Am ici tak e n o position on th e issue s oth e r th an in frin ge m e n t th at

Case: 15-56880, 12/28/2016, ID: 10248737, DktEntry: 47, Page 15 of 91

Un ite d State s District Judge Joh n A. K ron stadt de n ie d Appe l