WSC Weekly2025世界学者杯the World Scholar's Cup
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2025年度主题：重燃未来
Reigniting the Future
WSC Weekly专栏将精选最新话题内容
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上期回顾&Quiz答案揭晓
在2025年世界学者杯第22期WSC Weekly栏目中，我们与小学者一起了解了天气预测的数据模型以及其局限性。在上期的趣味Quiz中，你是否找到了正确答案？现在就让我们一起来揭晓吧！
为什么天气预报从不提前播报下个月的天气?
Why Weather Forecasts Can’t Predict the Weather Months in Advance？
第22期Quiz答案揭晓：
An AI driven weather forecast system is LEAST accurate in performing which of the following tasks?
基于人工智能的天气预报系统在执行以下哪项任务时准确性最低？
A. Predict the average rise in sea level at the end of the century 预测本世纪末海平面平均上升幅度
B. Calculate the amount of reduction in CO2 emission necessary for reversing global warming in 20 years 计算在20年内逆转全球变暖所需的二氧化碳减排量
C. Predict the temperature difference between Beijing and Shanghai tomorrow 预测明天北京与上海之间的温差
D. Predict the likelihood of rainfall in Shenzhen next three month 预测未来三个月深圳降雨的可能性
E. Predict the wind direction in a valley in 20 days 预测20天后某山谷中的风向
正确答案：E
Key: E
2025年第23期
Weekly Intro
《Fearless》《Red》《Speak Now》《1989》...想必泰勒·斯威夫特的这些歌曲曾伴随许多人的青春回忆。但你也许不知道，2021年它们以前所未有的方式“重生”了- 泰勒正式发布了重新录制的版本！
本期weekly带你深入这场“重录革命”的风暴中心，看艺术家是如何维护自身权益，而唱片公司又做出了什么反击！
2025 No.23
歌手重录自己的歌，算盗版吗？
The Controversy Surrounding The Re-Recording Revolution
重录革命引发的争议
近年来，艺术家发布自己歌曲“重录版”的做法受到了越来越多的关注。所谓重录，是指在现有音乐作品的基础上重新演唱并录制，而不仅仅是像再版那样简单地重新发行原有的录音。重录涉及的是重新表演和录制整个作品。近几年，音乐产业中悄然掀起了一场革命——围绕录音作品的拥有权、收回权和再创造权展开的斗争。而站在这一运动中心的，正是泰勒·斯威夫特（Taylor Swift）。她决定重录早期专辑的举动引发了一场法律与文化的风暴。自那以后，她的行动不断激发法律、艺术和经济层面的辩论：音乐一旦发布，究竟谁有权控制？艺术家是否真的能拥有自己的作品？
The practice of artists releasing “re-recorded” versions of their songs has received increased attention in the last few years. A re-recording is a recording produced following a new performance of an existing work of music. Unlike reissues, where an artist merely re-releases existing recordings, re-recording involves the process of actually performing and recording the music itself again.In recent years, a quiet revolution has been unfolding in the music industry—a battle over the right to own, reclaim, and reimagine recorded music.At the center of this movement stands Taylor Swift, whose decision to re-record her early albums sparked a legal and cultural firestorm. Since then, her efforts have sparked an ongoing legal, artistic, and economic debate aboutwho gets to control music once it’s released, and whether artists can truly own their own work.
泰勒的音乐版权风波
要理解这场争议，首先需要明白音乐版权的双重结构。一首歌通常包含两项主要权利：作品权（歌词与旋律），通常由词曲作者持有或共同持有；母带权（master recording），则通常归为作品提供资金和发行的唱片公司所有。当听众在流媒体播放或购买一首歌时，母带的持有公司会获得大部分收益。对于不拥有母带的艺术家来说，这意味着他们失去了创作控制权和长期的财务利益。当年仅15岁的泰勒·斯威夫特与Big Machine Records签约时，她接受了业内常见的条款：唱片公司为她的专辑提供资金与发行，而公司则保留母带的所有权。这一安排起初运作良好，直到局势发生逆转。2019年，泰勒最担心的情况成为现实。她的前唱片公司被出售给斯库特·布劳恩（Scooter Braun）的公司，母带权转移到了一个她公开指责曾对她进行“操控与霸凌”的人手中。在被拒绝回购母带的情况下，斯威夫特决定亲自采取行动。
To understand the controversy, one must first grasp the dual structure of music copyright. There are two primary rights in a song:The composition (lyrics and melody), usually owned or shared by the songwriter. The master recording, typically owned by the record label that financed and distributed the work.When a listener streams or buys a track, the label that owns the master receives a majority of the revenue. For artists who don't own their masters,this means losing out on both creative control and long-term financial benefits.When a young Taylor Swift signed with Big Machine Records at just 15, she agreed to a deal common in the industry: her label would finance and distribute her albums, and in return, it would retain ownership of the master recordings. This arrangement worked well—until it didn’t. In 2019, Swift’s worst-case scenario became reality. Her former label was sold to Scooter Braun’s company, transferring control of her first six albums to someone she publicly accused of “manipulative bullying.” Denied the opportunity to buy her masters back, Swift took matters into her own hands.
重录专辑破困局
她没有选择走诉讼的道路，而是决定重新录制这些专辑，从而利用了法律上的一个空子：在特定年限之后，艺术家通常可以合法地重新录制旧作，并将新版本用于授权和销售，代替原始版本。2021年，斯威夫特发布了《Fearless (Taylor’s Version)》和《Red (Taylor’s Version)》，随后又发布了《Speak Now (Taylor’s Version)》和《1989 (Taylor’s Version)》。这些并非简单的怀旧项目，她对原专辑的制作进行了升级，重新演唱了所有歌曲，加入了未公开的“Vault”曲目，最重要的是，她成功将粉丝的注意力和收入引流到了这些新版本，而非原版专辑。自发布以来，《Fearless》《Red》《Speak Now》和《1989》的重录版本在总播放量和销售量上全面超越了原版。四张重录专辑全部登顶《公告牌》200专辑榜。2023年12月，以重录专辑为核心的“时代巡演”（Eras Tour）更成为历史上首个创收突破十亿美元的巡演。
Instead of taking a litigation path, she chose to re-record her albums. In this way, she exploited a legal loophole:after a certain number of years, artists are often allowed to create new versions of old recordings, which can then be licensed and sold in place of the originals.In 2021, Swift released Fearless (Taylor’s Version) and Red (Taylor’s Version), with Speak Now (Taylor’s Version) and 1989 (Taylor’s Version) following soon after. Each release was more than a nostalgia project. Swift updated the production, re-sang all vocals, added unreleased “From the Vault” tracks, and, crucially, redirected fan attention—and revenue—away from the originals. Since their release, Fearless (Taylor’s Version), Red (Taylor’s Version), Speak Now (Taylor’s Version) and 1989 (Taylor’s Version) have overtaken their original versions in total streams and total sales. All four of the re-recorded albums soared to the number-one spot on the Billboard 200. In December 2023,Swift’s Eras tour, which features her re-recorded albums, became the first tour in history to make one billion dollars.
重录的创造性表达
一些法律学者和乐迷认为，重录不仅仅是复制，而是一种创造性表达。泰勒的新录音带来了声音上的变化、制作的更新以及情感的成熟。对粉丝来说，这些新专辑不是复制品，而是再创作。这也引出了一个重要的政策讨论：如果重录能带来新的艺术价值与公众享受，法律和产业是否应当支持而不是压制它？在知识产权法中，有一个目标是促进“有用的艺术”。从这个角度看，重录或许可以视为一种文化贡献，尤其是当它以新的方式与观众产生共鸣时。
Some legal scholars and music fans seere-recordings as a form of creative expression, not just duplication.Swift’s newer recordings feature vocal changes, updated production, and emotional maturity. To fans, these aren’t carbon copies—they’re reimaginings. That brings up a key policy debate:if re-recordings bring new artistic value and public enjoyment, should the law and industry support them rather than suppress them?In intellectual property law, one goal is to promote “useful arts.” By that logic, re-recordings might be considered a valuable contribution to culture, especially when they resonate with audiences in new ways.
唱片公司的“反击压制”
然而，这场“重新录制革命”也并非人人欢迎。唱片公司对失去利润丰厚的音乐目录控制感到警惕，有人甚至认为这种做法会贬值原始录音。如果粉丝和广告商都转向新版，原始母带的收入就会下降，从而影响唱片公司当初的投资回报。为防止对音乐资产的控制权丧失，许多唱片公司开始修改合同条款。过去，艺术家通常只能在作品发行5至7年后或合同终止2年后重新录制作品；如今，环球音乐（Universal）、华纳音乐（Warner）等主流唱片公司正推动将这一限制延长至15至30年，甚至有些公司试图永久禁止对专辑重录。批评者认为这是唱片公司对艺术家维权的报复行为，可能会伤害未来的年轻艺术家，迫使他们签署更长更苛刻的合约，尤其是那些不像泰勒·斯威夫特一样拥有强大法律支持和议价能力的创作者。
However, the re-recording revolution has not been universally celebrated. Record labels are alarmed by the potential loss of control over profitable catalogs, and some argue that such efforts devalue the original recordings. If fans and advertisers flock to the new versions, the old masters lose revenue, diminishing the investment labels made in the first place. Fearing a loss of control over valuable back catalogs, labels began rewriting contracts. Historically, artists were restricted from re-recording their songs for five to seven years after initial release or two years after contract expiration. Now, major labels like Universal and Warner are pushing for re-recording restrictions of 15 to 30 years, with some even seeking perpetual bans.Critics see this as retaliation that may harm future artists by locking them into stricter, longer contracts, especially those without the legal support or bargaining power of Swift.
Weekly关键词 Key Words
re-recording 重录
master recording 母带权
Taylor Swift 泰勒·斯威夫特
所属话题
Entertaining Ourselves Back to Life
相关阅读
https://publications.lawschool.cornell.edu/jlpp/2024/10/25/better-than-revenge-the-rise-of-re-recording-provisions-in-artists-contracts/
Weekly FUN Quiz
相信现在你已经知道了什么是重录革命以及其影响吧！那就快来参与本期Weekly FUN Quiz👇，告诉老师你的答案吧！
Quiz
Which of the following statements is true about the album 1989 (Taylor’s Version)？
以下哪项陈述关于专辑《1989 (Taylor ’s Version)》是正确的？
A. It was Taylor Swift’s first re-recorded album. 它是泰勒·斯威夫特首张重新录制的专辑
B. Most of the revenue of the album went to Big Machine Records. 专辑的大部分收入归Big Machine唱片公司所有
C. The album was a copy of one previous album. 这张专辑是她先前某张专辑的复制品
D. Its publishing disadvantages future artist in terms of copyright control. 它的发行使未来艺术家在版权控制方面处于不利地位
E. It is more popular than the original version because of its variety of songs. 它因歌曲的多样性而比原版更受欢迎
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