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Usa jobs resume builder samplesource canada. Cover Letter Template for a Resume
Handwritten Signature for a hard copy letter. Download the free cover letter template compatible with Google Docs or Microsoft Word or read the example below. You’ll find an email cover letter template below as well. I am writing to you today to apply for the open position of social media marketing manager. My colleague, Ms. Anna Boston, told me about the job opening and has offered to provide a letter of reference. During my time at Glamour Box, I have learned how best to utilize all forms of social media, including Facebook, Instagram, and Twitter.
Additionally, I enjoy working with like-minded people, and I am ready to take on a management position in your company. I love a challenge, and I know I can help take your social media presence to the next level.
Thank you for your time and for considering me for the position. I have included my resume and will follow up with an email next week to see if I can offer any more information. Email cover letters have a slightly different format than printed or uploaded cover letters. For example, in an email cover letter, you put your contact information at the bottom of the letter, not at the top. Just like any other cover letter, it is useful to look at a template when writing an email cover letter.
Read here for an email cover letter template , and review these tips for emailing a cover letter , too. When you are sending your cover letter via email include the reason you are writing in the subject line of your message:. List your contact information in your signature, rather than in the body of the letter:. Microsoft Word cover letter templates are available for a variety of circumstances.
Add your personal information to the template to create cover letters you can use for a variety of types of job applications. Like Microsoft Word, Google Docs offers a variety of professional letter templates that you can use when writing your cover letter. Just fill in the template with your personal information, and save the document in your account. Along with using a cover letter template, you might also review cover letter samples and read advice on how to format a cover letter to get ideas on writing your own cover letter.
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Note Hiring managers have certain expectations when it comes to both the details included within a cover letter, and how the letter is organized. Based on existing jurisprudence and legal principles, this article argues that the potential treatment of copyright infringement claims alleging unauthorized digital sampling will hinder musical innovation and progress and frustrate the commercial sustainability of digital sampling in Canada.
Section I of this article will briefly explore the history of digital sampling to provide an understanding of the craft and to emphasize what is at stake when Canadian copyright laws overlook the need to protect and facilitate a long-standing cultural practice.
Section II will use existing jurisprudence and legal principles to determine how a Canadian court will treat a copyright infringement claim alleging unauthorized digital sampling. Section III will explain how the predicted treatment will hinder musical innovation and progress.
Finally, Section V will 5 Detroit rapper, Big Sean, was forced to release Control, a very popular rap song, as a free download rather than as a part of his album because of sample clearance issues. Refer to Section II of this article for information on licensing songs for sampling purposes. Section I: A brief history of digital sampling Digital sampling sources back to the s in Jamaica. This form of musical expression evolved to include DJs boasting over their mixes about their skills and bravado, and it became very popular.
Performers like U-Roy enjoyed great amounts of financial and musical success in Jamaica by employing these compositional techniques, and their practice would ultimately serve as a precursor for an even greater phenomenon — hip hop. A Bronx DJ named Kool Herc noticed this behaviour and decided to isolate and mix the breaks of a few selected records together in sequence to give the dancers what they wanted.
He was able to create seemingly endless break beat loops by playing a break sequence on one record and placing the same sequence in a duplicate of that record in queue so that it can be played immediately after the break sequence in the first copy of the record came to an end.
He also advanced the sampling process by incorporating the drum machine and synthesizer for a more original experience. This marked the transition of the genre from a live to a recorded medium as DJs traded their roles as performers for their new roles as music producers. New recording technologies digitized the sampling process and allowed hip hop producers to use dedicated sampling hardware like the Ensoniq ASR and Akai MPC 60 to record, manipulate, and sequence samples beyond the break beats of music records.
Furthermore, hip hop producers were able to add original drum beats to their productions by using drum machines like the Roland TR Rhythm Composer. By , digital samplers became widespread in the realm of hip hop production as affordable pieces of studio hardware like the Casio SK-1 were made available to the mass- market. One of the shortcomings of the SK-1, however, was that it could only store two seconds of recorded sound unlike its more expensive counterparts — the Akai S and Emu SP — which were able to store much larger amounts of recorded data.
As Chuck D, leader of Public Enemy, noted, the hip hop community used digital samplers in ways that were innovative and totally unanticipated by the manufacturers of these production tools. Today, digital sampling has advanced to the extent that the musical products resulting from this technique can be wholly unique from their sample sources, and a large part of this development is due to the advent of software-based sampling.
For example, My Name is Skrillex by Skrillex, an electronic dance musician, cleverly masks the extensive use of Shadow Dancing by Andy Gibbs through creative sampling techniques and the addition of original content on top of the sampled music. This particular example identifies two important characteristics of digital sampling in contemporary music. First, the practice is found in a broad range of genres.
It is as essential for electronic dance music as it is for hip hop. Second, digital sampling plays a complementary role to the other elements of a sample-based song. This is unlike the early stages of hip hop where sampled breaks were often the primary, or even sole, complement to the vocals of song. Effectively, digital sampling has transformed hardware and software samplers into one of the many instruments at the disposal of the artist and the producer.
Consequently, when Canadian copyright laws overlook the value and importance of this practice to the music industry, there is a risk that digital sampling will become commercially unsustainable in the future and that musical progress and innovation will be put at stake. Section II: Treating copyright infringement claims alleging unauthorized digital sampling Cases pertaining to copyright infringement claims alleging unauthorized digital sampling is virtually non-existent in Canada.
Consequently, it is necessary to use relevant case law and legal principles to predict the form of the legal test a Canadian court will use to handle such a matter. In Canada, each song is composed of two sets of copyright. One set exists in the musical work and the other set exists in the sound recording of that musical work.
A sampling artist or producer can avoid liability for copyright infringement by clearing each sample used in his or her music. Because a digital sampler has to record a song before using the desirable parts of that song, a reproduction of the sound recording and underlying musical work is essentially being made in the process.
This means that clearing a sample entails acquiring the licenses to reproduce the sound recording and underlying musical work of the sampled song, and this is a two-step process. Second, the sampling artist or producer needs to acquire a mechanical license from the owner of the musical work. Section 18 1 of the Copyright Act grants the copyright holder of a sound recording the exclusive right to reproduce that sound recording.
Consequently, anyone other than the copyright holder must attain permission often through license from the copyright holder to exercise those exclusive rights. Most sampling artists and producers will acquire the mechanical license to the musical work underlying the songs they have sampled through these institutions; however, it is possible to find the copyright owner and negotiate licensing terms as long as the owner has not assigned his or her reproduction right to one of these institutions.
A failure to do this can establish a prima facie case of copyright infringement, and if a such claim is made before a court, that court must determine whether the defendant should be held liable. This article will refer to this specific inquiry as the substantial part test.
In this case, the defendant performed a medley at a public fair that included a song over which the plaintiff had copyright, and the plaintiff sued for copyright infringement. The defendant refuted the claim and argued that the portion performed was insubstantial because it was only five measures in length. The Ontario High Court of Justice, however, decided in favour of the plaintiff.
It determined that the substantial part test required a qualitative rather than an quantitative analysis. In the case of digital sampling, the sampling itself is sufficient to establish this presumption. Outside of the context of musical expression, courts have expressed the substantial part test slightly differently. In this case, the CAW produced leaflets and posters with unauthorized reproductions of the Michelin name and logo.
In this case, the respondent produced a publication that lists the various horse races taking place each day and provided information about each horse race e. The appellant reproduced these publications into his own publication, but added additional information such as his favourite horse to win each race. It also added that an original work did not require an element of creativity. However, it is not clear whether the same tests will be used to handle claims pertaining to sound recordings — the subject-matter of digital sampling.
In the United States, the courts employ a bright-lined rule when dealing with copyright infringement claims regarding the unauthorized use of sound recordings. This approach strictly prohibits digital sampling without licenses to the sampled music. The following sections will explain why selecting either approach will hinder musical innovation and progress and frustrate the commercial sustainability of digital sampling in Canada.
The first way, as the American courts have described it, is the de minimis approach. The Court of Appeals for the Sixth Circuit found that usage of any section of a work, regardless of length, violates copyright unless there is consent from the copyright owner.
The United States District Court for the Central District of California used a de minimis approach to find that the copyright infringement of the musical composition in question was insubstantial. It also applies a test for originality to determine whether the part used by the defendant is original enough to warrant copyright protection. The second way is the bright-lined rule, which strictly prohibits digital sampling without a license.
Both judicial strategies, however, will hinder musical innovation and progress in Canada. The de minimis approach Canadian jurisprudence is not settled on the appropriate application of the substantial part test.
Consequently, there are at least three variations that can be used by Canadian courts to handle claims of unauthorized digital sampling. These tests, although worded differently, will fail claims of copyright infringement that pertain to unauthorized digital sampling of trivial elements such as a single snare hit or drum kick.
This is because these elements are often indistinguishable from a host of other songs that use the same or similar instrument to create that single note. How can a plaintiff argue that the snare hit or drum kick in question is specifically from his or her song and not from another song? The reason that this is brought up is because sampling artists and producers often sample individual drum hits or notes and use them to create their own drum line or melodic riff.
For example, Kanye West sampled individual drum hits from the drum line in Dr. This ultimately means that copyright holders are unlikely to file claims of copyright infringement with respect to unauthorized digital sampling of individual percussive hits and melodic notes.
While this is beneficial to sampling artists and producers, a substantial amount of musical innovation and progress lie in the ability to sample longer snippets of existing sound recordings, and it is here that the potential treatment of digital sampling by Canadian copyright law will have detrimental effects on the art form. Sampling artists and producers often use existing sound recordings in their own songs because it provides certain qualities and characteristics that are often difficult to capture otherwise.
One of the members from the Beastie Boys, MCA, admitted that he liked the version with the sample better as it provided the unique vibe that the group envisioned for its song. However, this defeats the artistic purpose of sampling which is to appropriate elements, traits, or a qualitative character from an existing song and import it into a subsequent musical creation.
The test for originality also produces a similar effect. As mentioned earlier in this article, the SCC described originality as the exercise of skill and judgment beyond a purely mechanical nature to craft something that is more than a mere copy of another work.
While a single drum hit or melodic note is expected to fail this test, longer bits of sampled music are likely to be deemed original by a Canadian court as skill and judgment is used to create the instrumentation and lyrics, to sing the song and play the instruments with accuracy and timing, and to produce the sound recording.
Consequently, it would be difficult for a defendant to argue that any sampled material beyond a single drum hit or melodic note is unoriginal in the eyes of copyright law. The copyright holders of sound recordings and musical works of sampled music are expected to target sampling artists and producers who use sampled material that is longer than a single drum hit or melodic note without a license as such material can easily satisfy the substantial part test and test for originality.
Based on the evaluation of the de minimis approach, this means that there is a high probability that a Canadian court will find in favour of the plaintiff in claims of unauthorized digital sampling, even when the defendant uses the sampled material in highly creative and transformative ways.
If the answer is in the positive, the defendant is found liable for copyright infringement. This approach may be used by Canadian courts to treat copyright infringement claims that allege unauthorized digital sampling. Conclusion If digital sampling was limited to the use of single drum hits and melodic notes, the potential application of the de minimis approach or bright-lined rule by Canadian courts will do little to thwart the practice.
However, the reality is that a substantial amount of potential for musical innovation and progress lie in the ability to digitally sample and apply longer snippets of sampled material to subsequent songs. Consequently, sampling artists and producers will be required to subscribe to the licensing regimes in Canada in order to practice digital sampling without running into legal trouble.
The need to acquire individual licenses to use the sound recording and musical work associated with each sampled song is threatening to the innovation and progress of musical expression as it imposes a great cost to engage with an established industry practice and to use existing songs as building blocks for new musical creations.
In this way, Canadian copyright law will fail to appreciate the value of digital sampling to the music industry in the same way that it appreciates the value of reverse engineering to the semi-conductor chip industry if it opts for either the de minimis approach or the bright-lined rule.
Nevertheless, an illustration of why the probable treatment of digital sampling in copyright infringement claims will frustrate the commercial sustainability of the art form in Canada can be achieved by referring to a case study that estimates the hypothetical licensing costs of two prominent sample-based albums today.
Of course, the value of those costs, as determined by the study, may be different in Canada; however, the study can still provide a detailed understanding of what is at stake when copyright law fails to appreciate and protect digital sampling.
First, it determined the net income each album would generate per CD by estimating the revenue earned and costs of licensing the reproduction rights to the sampled sound recordings 27 Kembrew, supra note The net income for each album was then multiplied by the total number of copies each album sold historically, and the results were subtracted by one-time transaction costs e.
As a result, these types of creative projects are forced into the non-commercial sector, the underground economy, or into non-existence. The probable treatment of digital sampling by Canadian courts in copyright infringement claims favours the copyright owner, and this forces sampling artists and producers to license the reproduction rights to the music they sampled in order to avoid liability, especially when their work is distributed commercially.
The potential to reach a larger audience and generate greater revenues is enhanced by commercial dissemination, and this enhanced capacity, unlike non- commercial dissemination, allows sampling artists and producers the ability to sustain their creative practice by using commercial revenues to cover the costs related to digital sampling.
However, since the costs of licensing have increased significantly like the case study above suggests , musical projects that employ digital sampling today run the risk of being shelved. This means that the art of sampling itself runs the risk of being extinct in the commercial sense.
Consequently, the commercial sustainability of digital sampling and its role as a tool for musical innovation and progress are at stake in Canada, and proposals for reform must be contemplated. Section V: Proposing a reform to protect digital sampling in Canada When the Harper Government passed the CMA, it carved out a space within copyright law to codify an established practice, namely reverse engineering, within the semi-conductor chip industry.
A similar reform may be necessary if Canadian copyright law is to appreciate and protect the long-standing practice from which digital sampling stems. In , the federal government enacted the Integrated Circuit Topography Act in order to provide exclusive rights and remedies to owners of semi-conductor chip topographies.
Thus, it is unlikely that they could have imagined the value of reverse engineering and digital sampling to the progress and innovation of the semi- conductor chip and music industry, respectively. However, in the case of reverse engineering, the Parliament was able to create an exception to the rights granted to the owners of semi- conductor chip topographies in order to protect and allow the practice of reverse engineering to flourish. This means that it is entirely possible that a similar exception could be achieved with regards to digital sampling and the rights afforded to copyright owners of sound recordings and musical works.
Other parallels exist between reverse engineering and digital sampling. One important parallel is that these practices result in products of cumulative knowledge. By extracting circuit features from existing semi-conductor chips or sound bits from existing music, reverse engineering and digital sampling allow creators to import, accumulate, and incorporate previous knowledge to form new discoveries.
In the United States, the semi-conductor chip industry struggled to deter infringement of chip topographies without stifling this process. Consequently, the U. Congress offered the Semiconductor Chip Protection Act in as a legislative solution. The act protected the rights of owners of existing chip designs while facilitating innovation by offering a limited form of copying to those that practice reverse engineering. Essentially, the parallels between reverse engineering and digital sampling suggest that legislative action mirroring the CMA can promote musical creativity and expression without encouraging market-destructive copying.
Such a proposal can extend benefits to copyright owners of sound recordings and musical works as well.
Usa jobs resume builder samplesource canada. Cover Letter Template for a Resume
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