On 5:34 Uhr John Howell wrote:
That is actually not surprising at all. Because U.S. copyright law
was based on date of first publication, and most European law was
based on the lifetime of the composer, a great many works were in
copyright in Europe but in the public domain in the U.S. Not a
On 5:11 Uhr David W. Fenton wrote:
When I ordered my own gamba I insisted that it be built for 440
rather than 415, since I'm convinced that 415 is not really
historically justified.
It's actually quite simple: 415 was approximately the pitch that Bach
used in Leipzig for the church music.
On 9:50 Uhr Johannes Gebauer wrote:
In Europe there is also a copyright of the engraving itself, which I
understand is not possible in the US. In Europe it is simply illegal
to reprint an engraved page as long as it is in copyright (75
years?). It makes no difference whether it contains any
Johannes Gebauer wrote:
On 5:34 Uhr John Howell wrote:
That is actually not surprising at all. Because U.S. copyright law
was based on date of first publication, and most European law was
based on the lifetime of the composer, a great many works were in
copyright in Europe but in the
On 13:54 Uhr dhbailey wrote:
But if a person has one of those engraved/copyrighted editions where
no significant editorial additions were made to a public domain work
(e.g. a Bach organ prelude), is a person in Europe legally able to
make their own version using that copyrighted-for-engraving
Johannes Gebauer wrote:
[snip]
I realize that, the way you explained things you couldn't make a
photocopy even if the original music is out of copyright.
Absolutely. Are you sure this would be different in the US? If you
brought out a new edition of a work by Bach, could anyone photocopy
At 9:50 AM +0200 9/4/05, Johannes Gebauer wrote:
On 5:34 Uhr John Howell wrote:
That is actually not surprising at all. Because U.S. copyright law
was based on date of first publication, and most European law was
based on the lifetime of the composer, a great many works were in
copyright in
At 11:29 AM +0200 9/4/05, Johannes Gebauer wrote:
Furthermore I'd like to add: there are special copyrights in Europe
for publishing previously unpublished music. Even if a piece was
composed 500 years ago a publisher can claim the publication
rights which will, as far as I understand, give
At 07:33 AM 9/4/05 -0400, shirling neueweise wrote:
i use auto-save when working on the score, normally turn it off when
doing parts, and had simply forgotten taht this was one of the things
related to the bug and neglected to turn it off. crap.
I have not been bitten by these bugs in any
David W. Fenton wrote:
I had forgotten about the green Kalmus covers -- I never owned any of
those myself, but did use many of them from teachers. Then there are
the newer eggshell green glossy covers (the orchestral score series),
and I'd forgotten about those. I have no memory of brown
Ray Horton wrote:
The only parts they dislike more are the old french parts with the
backward quarter rests for eighth rests and other difficulties.
John Howell wrote:
Actually it's backward eight rests for quarter rests. We ran into
that with the Saint-Saëns A Minor Cello Concerto last
On 17:14 Uhr Randolph Peters wrote:
It usually is Shift-Command-S on a Mac.
and with 2k6 even Finale implements it.
Johannes
--
http://www.musikmanufaktur.com
http://www.camerata-berolinensis.de
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Finale@shsu.edu
Jef,
Autosave is not related to the file overwrite bug. In fact, autosave
can help you tremendously, because the most recently autosaved
version of your conductor score is probably okay.
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 04 Sep 2005, at 7:33 AM, shirling neueweise wrote:
On 4 Sep 2005 at 9:48, Johannes Gebauer wrote:
On 5:11 Uhr David W. Fenton wrote:
When I ordered my own gamba I insisted that it be built for 440
rather than 415, since I'm convinced that 415 is not really
historically justified.
It's actually quite simple: 415 was approximately the
On 4 Sep 2005 at 9:31, dhbailey wrote:
For instance, Hal Leonard has brought out a couple of fake books of
obviously public domain material, either material old enough to be
public domain but with known composers, or folk songs with no known
composer and also old enough to be public domain,
On 4 Sep 2005 at 10:17, John Howell wrote:
This graphic copyright has never existed in U.S.
law, which may explain why the reprint houses like Kalmus, Dover, and
Luck's are all located in the U.S. One can trademark a graphic such
as a recognizable logo, but not copyright it.
I don't quite
On Sep 4, 2005, at 12:27 PM, Johannes Gebauer wrote:
On 17:14 Uhr Randolph Peters wrote:
It usually is Shift-Command-S on a Mac.
and with 2k6 even Finale implements it.
in 2005, too (on Panther, at any rate.)
Christopher
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Finale mailing
On Sep 4, 2005, at 7:33 AM, shirling neueweise wrote:
finally got bit. macfin 2005r.1
snip
i use auto-save when working on the score, normally turn it off when
doing parts, and had simply forgotten taht this was one of the things
related to the bug and neglected to turn it off.
--- Ursprüngliche Nachricht ---
Datum: 04.09.2005 20:19
Von: finale@shsu.edu
An: finale@shsu.edu
Betreff: Re: [Finale] Re: Bach temperament
But I don't play Bach -- for one, he wrote not a whole lot of music
David,
I was not at all trying to disagree with you. I was merely trying to shed
At 2:19 PM -0400 9/4/05, David W. Fenton wrote:
But I don't play Bach -- for one, he wrote not a whole lot of music
for gamba, and what he did write is *very* hard (I am reluctantly
concluding that Bach didn't know the gamba very well, because the
gamba sonatas really aren't like other advanced
At 2:37 PM -0400 9/4/05, David W. Fenton wrote:
I don't see the other reprint houses as being at all on the same
level -- they add nothing, and reprint without permission, as long as
it's not copyrighted in the US.
You may be quite right about Dover. I included them because they
are, in
Raymond Horton wrote:
David W. Fenton wrote:
I had forgotten about the green Kalmus covers -- I never owned any of
those myself, but did use many of them from teachers. Then there are
the newer eggshell green glossy covers (the orchestral score series),
and I'd forgotten about those. I have
David W. Fenton wrote:
On 4 Sep 2005 at 9:31, dhbailey wrote:
For instance, Hal Leonard has brought out a couple of fake books of
obviously public domain material, either material old enough to be
public domain but with known composers, or folk songs with no known
composer and also old
On 4 Sep 2005 at 21:55, [EMAIL PROTECTED] wrote:
--- Ursprüngliche Nachricht ---
Datum: 04.09.2005 20:19
Von: finale@shsu.edu
An: finale@shsu.edu
Betreff: Re: [Finale] Re: Bach temperament
But I don't play Bach -- for one, he wrote not a whole lot of music
I was not at all trying
Have in mind that a MIDI file only handle 16 channels, and provides no way
of expand that limitation.
Of course that does not explain the problem with the audio exporting.
Javier.
It seems to be limited to the PC, as I haven't heard of any Mac users
reporting it. But it looks like this is a
The file is clearly truncated. I opened with an hexadecimal editor and it
shows the header in good shape but it ends before expected.
It starts with:
ENIGMA BINARY FILEFinale(R) 2005 Copyright (c) 1987-2004 MakeMusic! Inc.
Lo siento, Rafael, vas a tener que rehacer el trabajo.
Saludos, Javier.
On 4 Sep 2005 at 16:28, John Howell wrote:
At 2:19 PM -0400 9/4/05, David W. Fenton wrote:
But I don't play Bach -- for one, he wrote not a whole lot of music
for gamba, and what he did write is *very* hard (I am reluctantly
concluding that Bach didn't know the gamba very well, because the
On 4 Sep 2005 at 17:16, dhbailey wrote:
Raymond Horton wrote:
David W. Fenton wrote:
I had forgotten about the green Kalmus covers -- I never owned any
of those myself, but did use many of them from teachers. Then there
are the newer eggshell green glossy covers (the orchestral
On 4 Sep 2005 at 16:35, John Howell wrote:
At 2:37 PM -0400 9/4/05, David W. Fenton wrote:
I don't see the other reprint houses as being at all on the same
level -- they add nothing, and reprint without permission, as long as
it's not copyrighted in the US.
You may be quite right about
On 4 Sep 2005 at 17:18, dhbailey wrote:
David W. Fenton wrote:
On 4 Sep 2005 at 9:31, dhbailey wrote:
For instance, Hal Leonard has brought out a couple of fake books of
obviously public domain material, either material old enough to be
public domain but with known composers, or folk
On 04.09.2005 23:35 Uhr David W. Fenton wrote:
Well, I'm quite well aware of where it comes from and that's why I
also know that it's a pragmatic solution to a problem that is much
more complex than most people are aware. When it is assumed that
everyone playing early music plays at 415,
On 04.09.2005 22:28 Uhr John Howell wrote:
And the two gamba parts in Brandenburg 6 are certainly not virtuoso
parts, with the 2nd part very likely written for the Prince. As to
bowings, do we know for sure what Bach's bowings were? Is there an
autograph? I really can't remember.
For the
On 04.09.2005 23:52 Uhr David W. Fenton wrote:
Closer to is not the point -- the point is that 415 as the choice
for the lower pitch is not justified by historical evidence but by
modern practicality because A440 is the standard pitch and using a
lower pitch 1/2 step lower was an easy
On 04.09.2005 23:56 Uhr David W. Fenton wrote:
Well, I know for a fact that Dover reprints certain European editions
with permission of the European copyright holders (some of the Mozart
operas are in this class).
I have got the Dover Score of the Marriage of Figaro here. Taken from a
John Howell wrote:
I am curious whether the E.U. has regularized differences in copyright
law among its various countries, or whether that was already
accomplished through Berne, etc.
I think it was supposed to, but has not completely succeeded. For
example, while Germany, and I presume,
David W. Fenton wrote:
I don't quite understand the inclusion of Dover in that list. They
are a very different operation. They sometimes reprint editions that
are under copyright outside the US, and when they do so, they do it
with permission (I assume that means they've made a financial
On 5 Sep 2005 at 0:20, Johannes Gebauer wrote:
On 04.09.2005 22:28 Uhr John Howell wrote:
And the two gamba parts in Brandenburg 6 are certainly not virtuoso
parts, with the 2nd part very likely written for the Prince. As to
bowings, do we know for sure what Bach's bowings were? Is there
At 12:20 AM +0200 9/5/05, Johannes Gebauer wrote:
On 04.09.2005 22:28 Uhr John Howell wrote:
And the two gamba parts in Brandenburg 6 are certainly not virtuoso
parts, with the 2nd part very likely written for the Prince. As to
bowings, do we know for sure what Bach's bowings were? Is there
Ok, guys, I'm sorry, but I'm still confused (a congenital condition,
I assure you). Ok, so I'm working on a Fin File, and after a hard
day's work, I wish to back up said file. I insert a black disc in my
new iMac G5, give it a name, and move the file in question to the
disc. I burn it.
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