Arewa O.B., From J.C. Bach to Hip Hop: Musical Borrowing, Copyright and Cultural Context, “North Carolina Law Review” 2006, Vol. 84(2).

Attali J., Noise. The Political Economy of Music, University of Minnesota Press, Minneapolis– London 2011.

Barta J. (ed.), System prawa prywatnego [Private Law System], Vol. 13: Prawo autorskie [Copyright Law], C.H. Beck, Warszawa 2013.

Barta J., Markiewicz R., Prawo autorskie [Copyright Law], Wolters Kluwer, Warszawa 2016.

Bently L. et al., Sound Sampling, a Permitted Use Under EU Copyright Law? Opinion of the European Copyright Society in Relation to the Pending Reference before the CJEU in Case C-476/17, Pelham GmbH v. Hütter, “International Review of Intellectual Property and Competition Law (IIC)” 2019, Vol. 50.

BGH, Judgment of 13 December 2012, I ZR 182/11, GRUR 2013, 614.

BGH, Judgment of 16 April 2015, I ZR 225/12, GRUR 2015, 1189.

Bridgeport Music, Inc. v. Dimension Films, 410 F.3d 792 (6th Cir. 2005).

Bundesverfassungsgericht, Judgment of 31 May 2016, 1 BvR 1585/13, GRUR 2016, 690.

Case C-5/08, Infopaq International A/S v. Danske Dagblades Forening, ECR, 2009, I-06569.

Case C-145/10, Eva-Maria Painer v. Standard VerlagsGmbH, ECR, 2011, I-12533.

Case C-201/13, Deckmyn, Vrijheidsfonds VZW v. Helena Vandersteen and others, ECLI:EU: C:2014:2132.

Case C-393/09, Bezpečnostní softwarová asociace – Svaz softwarové ochrany v. Ministerstvu kultury, ECR, 2010, I-13971.

Case C-476/17, Pelham GmbH and Others v. Ralf Hütter and Florian Schneider-Esleben, Judgment of 29 July 2019, ECLI:EU:C:2019:624.

Case C-476/17, Pelham GmbH and Others v. Ralf Hütter and Florian Schneider-Esleben, Opinion of 12 December 2018, ECLI:EU:C:2018:1002.

Collins N., Schedel M., Wilson S., Electronic Music, Cambridge University Press, Cambridge 2013.

Demers J., Steal This Music. How Intellectual Property Law Affects Musical Creativity, University of Georgia Press, Athens, GA 2006.

Dreier T., Schulze G., Urheberrechtsgesetz. Kommentar, C.H. Beck, München 2008.

Duhanic I., Copy This Sound! The Cultural Importance of Sampling for Hip Hop Music in Copyright Law – A Copyright Law Analysis of the Sampling Decision of the German Federal Constitutional Court, “Journal of Intellectual Property Law & Practice” 2016, Vol. 11(12).

Fister M., Das Recht der Musik, Sramek, Wien 2013.

Fitzgerald B., O’Brien D., Digital Sampling and Culture Jamming in a Remix World: What Does the Law Allow?, “Media and Arts Law Review” 2005, Vol. 10(4).

Frith S., Music and Morality, in: S. Frith (ed.), Music and Copyright, Edinburgh University Press, Edinburgh 1993.

Griffin J., Copyright in Music: A Role for the Principles of Reverse Engineering, “Legal Studies” 2010, Vol. 30(4).

Gripsrud J., Creativity and the Sense of Collective Ownership in Theatre and Popular Music, in: M. van Eechoud (ed.), The Work of Authorship, Amsterdam University Press, Amsterdam 2014.

Grzybowski S., Kopff A., Serda J., Zagadnienia prawa autorskiego [Issues of Copyright Law], PWN, Warszawa 1973.

Jütte B.J., The EU’s Trouble with Mashups. From Disabling to Enabling a Digital Art Form, “Journal of Intellectual Property, Information Technology and E-Commerce Law” 2014, Vol. 3.

Katz M., Capturing Sound. How Technology Has Changed Music, University of California Press, Berkeley–Los Angeles–London 2010.

Klekotko M., Sampling w świetle prawa autorskiego i praw pokrewnych [Sampling in the Light of Copyright and Related Rights], “Przegląd Prawa Handlowego” 2007, Vol. 12.

Lacasse S., Intertextuality and Hypertextuality in Recorded Popular Music, in: M. Talbot (ed.), The Musical Work: Reality or Invention?, Liverpool University Press, Liverpool 2000.

Landy L., Understanding the Art of Sound Organization, MIT Press, Cambridge–London 2007.

Mania G., Muzyka w prawie autorskim [Music in Copyright Law], Polskie Wydawnictwo Muzyczne, Kraków 2020.

Marks v. Leo Feist, Inc., 290 F. 959, 960 (2nd Cir. 1923).

McLeod K., DiCola P., Creative License. The Law and Culture of Digital Sampling, Duke University Press, Durham–London 2011.

Middleton R., Work-in(g)-Practice: Configurations of the Popular Music Intertext, in: M. Talbot (ed.), The Musical Work: Reality or Invention?, Liverpool University Press, Liverpool 2000.

Moore C., Work and Recordings: The Impact of Commercialisation and Digitalisation, in: M. Talbot (ed.), The Musical Work: Reality or Invention?, Liverpool University Press, Liverpool 2000.

Moser D.J., Slay C.L., Music Copyright Law, Cengage Learning PTR, Boston 2012.

Mueller J.R.R., All Mixed Up: Bridgeport Music v. Dimension Films and De Minimis Digital Sampling, “Indiana Law Journal” 2006, Vol. 81(1).

Newton v. Diamond, 349 F.3d 591 (9th Cir. 2003).

Okpaluba J., Digital Sampling and Music Industry Practices, Re-Spun, in: K. Bowrey, M. Handler (eds.), Law and Creativity in the Age of the Entertainment Franchise, Cambridge University Press, Cambridge 2014.

OLG Hamburg, Judgment of 7 June 2006, 5 U 48/05, ZUM 2006, 758.

Polish Supreme Court, Judgment of 5 March 2002, II KKN 341/99, OSNKW 2002/9-10 poz. 82.

Reilly T., Good Fences Make Good Neighboring Rights: The German Federal Supreme Court Rules on the Digital Sampling of Sound Recordings in Metall auf Metall, “The Minnesota Journal of Law, Science & Technology” 2012, Vol. 13(1).

Reilly T.L., Debunking the Top Three Myths of Digital Sampling: An Endorsement of the Bridgeport Music Court’s Attempt to Afford “Sound” Copyright Protection to Sound Recordings, “Columbia Journal of Law & the Arts” 2008, Vol. 31.

Rosen R.S., Music and Copyright, Oxford University Press, Oxford–New York 2008.

Senftleben M., Flexibility Grave – Partial Reproduction Focus and Closed System Fetishism in CJEU, Pelham, “International Review of Intellectual Property and Competition Law (IIC)” 2020, Vol. 51.

Théberge P., Technology, Creative Practice and Copyright, in: S. Frith, L. Marshall (eds.), Music and Copyright, 2nd ed., Edinburgh University Press, Edinburgh 2004.

Tschmuck P., Creativity and Innovation in the Music Industry, 2nd ed., Springer, Berlin–Heidelberg 2012.

Vaidhyanathan S., Copyright and Copywrongs. The Rise of Intellectual Property and How It Threatens Creativity, NYU Press, New York–London 2001.