There could be no patrimony without a person. Patrimony and matrimony are a right, a status or tangible asset inherited from a ancestor and associated with Patriarchy or Matriarchy. A patrimony may be inherited by either sex although the term is generally associated with patrilineal transmission of status, property and wealth. Patrimony is legal entitlements inherited through one's father through generations in the same family. Family patrimony is created by marriage or civil union which creates a bundle of entitlements and obligations that must be shared by the spouses or partners upon divorce, annulment, dissolution of marriage or dissolution of civil union, when there must be a division of property.
Patrimony is the sum total of all personal and real entitlements, including movable and immovable property, belonging to a real person. Under the French legal system, Patrimony is the envelop that contains all of a person's rights and obligations which can be assigned a monetary value. In traditional French legal doctrine, each person whether physical or juridical can only have one patrimony. National patrimony is the heritage or accumulated reserves of a nation. National patrimony also encompasses a nation's non-monetary wealth or reserves, such as its national monuments, cuisine, and artistic heritage.
Trust and Patrimony - Lionel Smith.
Abstract: The French jurist Pierre Lepaulle argued that the common law trust could be best
understood, in civilian terms, as a patrimony by appropriation. This argument has been
influential in some civilian receptions of the trust. Lepaulle misunderstood the nature of
the common law trust, which is founded on the obligations owed by the trustee in relation
to the trust property.
Between history and commodity: the production of a musical patrimony through the record in the 1920–1930s - Sophie Maisonneuve. Abstract: In the interwar period, the gramophone rapidly spread as a medium for music. This development accompanies a shift in the social relation to ‘classical music’. This shift was supported by many agents, the interest for past music and its history grew as it became increasingly associated with an unprecedented commodification of music.
Relying on the double meaning of the term of patrimony, both a heritage from the past and a possession that can be enjoyed, we call this double process patrimonialisation of classical music. It became, not a monument of steady works, but a reality relying upon the various setups that configured it. Taking over recent works on canon and patrimony, new directions in the history of music and in the sociology of art and culture are suggested.