On Oct 23, 2007, at 7:09 PM, John Howell wrote:
In point of fact, through international treaties that may or may
not have been a good idea, the European paradigm has been forced on
the U.S. Trying to look at it objectively, I don't see either case
as being especially desirable.
If I
On Oct 23, 2007, at 3:59 PM, Noel Stoutenburg wrote:
Next a couple of points about ISMLP: I know that there are
copyright concepts in the member states of the EU that are
expressly prohibited in the U.S. The 2002 publication by Oxford
University Press Weddings for Choirs includes
Hi all:
I found this a very interesting article and thought I'd share:
http://www.newyorker.com/reporting/2007/10/22/071022fa_fact_ross?currentPage=1
Have a great day,
Kim
--
Kim Patrick Clow
Early Music enthusiasts think outside the Bachs!
___
There are a lot of worthwhile blogs linked to from there, including
(shameless plug) my own.
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 24 Oct 2007, at 1:28 AM, Kim Patrick Clow wrote:
Hi all:
I found this a very interesting article and thought I'd share:
David W. Fenton wrote:
I don't see how the public domain can shrink, unless non-copyrighted
works are somehow re-copyrighted.
Erm. That's exactly what did happen with the last copyright law. As part
of the GATT treaty, the US agreed to honor Russian copyrights, which
meant that, e.g.,
David W. Fenton wrote:
[snip] But they have no right to claim copyright on editions of works that
are out of copyright when the editions themselves are out of
copyright (the copyright term in the edition itself is not the same
length as that for the work, if I'm not mistaken).
I'm unclear on
Darcy James Argue wrote:
I got my cross-grade copy last week but am only now getting around to
installing it. I still haven't test-driven the program yet, but I have
been reading with great interest the list of bugfixes in Sib 5.1
available here:
Randolph Peters wrote:
Darcy James Argue wrote:
There has been a lot of (justified, IMO) complaining on this list
about the bugginess of Fin2008. And I do sincerely hope that Fin2008a
will be a major bugfix release. But just for a sense of perspective,
take a look at just a few of the Sib
Mark D Lew wrote:
On Oct 23, 2007, at 6:23 PM, David W. Fenton wrote:
I don't see how the public domain can shrink, unless non-copyrighted
works are somehow re-copyrighted.
Which has actually happened, albeit on a small scale, when copyright
protection was extended to certain countries
Dean M. Estabrook wrote:
I'm sending this question to this list, as I think I'll get the fastest
response, vis a vi the Sib list. I just installed my new competitive
upgrade for Sib 5, and all seems to be fine, except that for the life of
me, and I tried to read the Reference section carefully
OK, I'll bite,
I'm an experienced Finale user, but I'm also:
... a baritone saxophonist who plays a low A bari;
... a bass clarinetist who plays a low C bass clarinet;
... a flutist who plays a professional low B flute;
And I'm the solo piccoloist with the Disneyland Band, with a Burkart piccolo
Mark D Lew wrote:
On Oct 23, 2007, at 3:25 PM, David W. Fenton wrote:
What is the justification giving Disney its copyright protection for
Steamboat Willie? I can't think of one, except getting more
out of an artistic effort from long, long ago, and I just don't see
that as
dhbailey wrote, in part:
... in the U.S. at least, there is no distinction in length of
copyright terms for modern editions of P.D. works. Everything which
is copyrighted receives the same copyright terms, original work or
edition. The only differentiation in U.S. copyright law is between a
Noel Stoutenburg wrote:
dhbailey wrote, in part:
... in the U.S. at least, there is no distinction in length of
copyright terms for modern editions of P.D. works. Everything which
is copyrighted receives the same copyright terms, original work or
edition. The only differentiation in U.S.
Dear List,
I am looking for a working link to Andre Brandt's comprehensive
woodwind quintet list for my updated Concert Band Music website
http://mysite.verizon.net/hsgersten . Or if anyone has the file and
can e-mail it to me, I'll upload it myself.
I also invite the composers among
On Oct 23, 2007, at 9:23 PM, David W. Fenton wrote:
I don't see how the public domain can shrink, unless non-copyrighted
works are somehow re-copyrighted.
The number of works is not shrinking, but their availability is. That
was my only point.
Old copies are lost or damaged, or simply
Hello,
A while back on the list, someone provided the email address of a
person at Sibelius who was willing to process the cross-grade
registration via email if you simply provide your Finale serial
number, rather than having to mail in an old CD-ROM or whatnot. I
thought I flagged this
Hi Herman--
This page has the list as a downloadablel PDF file:
http://www.anne-bell.woodwind.org/ABCClar.htm
Direct link for PDF file:
http://www.papagenoquintet.com/Downloads/WW5LSTPC.pdf
This address has his email address:
http://www.michal-clarinet.com/quintet.html
[EMAIL PROTECTED]
Hope
On 24 Oct 2007 at 5:43, dhbailey wrote:
Looked at as a moral copyright issue, it's easy to view it as a
boondoggle. Viewed in a much larger picture of economic issues,
employment issues, tax issues, it's not as easy a decision -- the
Government gets a lot of benefit from Disney's extended
On 24 Oct 2007 at 9:42, dhbailey wrote:
But there aren't different lengths for original material vs. edited
material, which was what I thought you were trying to say in the message
to which I posted the response you quote above.
The quotation in question was from me, and I was not saying
Well, listers, I have to tell you, I am extremely disappointed in the
playback offerings in Sib 5. I may still be doing something wrong,
don't know, but after trading e mails with Daniel, who was very kind,
patient and prompt in his responses, and after trying to set the
playback options
dhbailey wrote:
Where do you see that 125 years for a work for hire in the copyright law?
Apparently as a speck on my glasses. Under the copyright revision of
1976, as amended, the length of copyright of a new work extends through
December 31 of the 70th year after the death of the last
David W. Fenton wrote:
On 24 Oct 2007 at 5:43, dhbailey wrote:
Looked at as a moral copyright issue, it's easy to view it as a
boondoggle. Viewed in a much larger picture of economic issues,
employment issues, tax issues, it's not as easy a decision -- the
Government gets a lot of benefit
Dean M. Estabrook wrote:
Well, listers, I have to tell you, I am extremely disappointed in the
playback offerings in Sib 5. I may still be doing something wrong, don't
know, but after trading e mails with Daniel, who was very kind, patient
and prompt in his responses, and after trying to set
At 6:33 AM -0600 10/24/07, Noel Stoutenburg wrote:
dhbailey wrote, in part:
... in the U.S. at least, there is no distinction in length of
copyright terms for modern editions of P.D. works. Everything
which is copyrighted receives the same copyright terms, original
work or edition. The only
Darcy James Argue wrote:
Hello,
A while back on the list, someone provided the email address of a person
at Sibelius who was willing to process the cross-grade registration via
email if you simply provide your Finale serial number, rather than
having to mail in an old CD-ROM or whatnot. I
Both on the Choralnet website and on the Finale Forum, there have been
postings about Universal Editions and its closing down of IMSLP (as I
understand it, the instrumental version of the choral site CPDL) which
makes available, free of charge, music that is in the public domain.
There is an
My public apology to my previous post...the author of the article
Copyright Vultures Score Again is not a Board member of Choralnet,
but rather a staff member/volunteer.
Martin
Martin Banner
[EMAIL PROTECTED]
___
Finale mailing list
Thanks, Bob. And now, thanks to you, I have one, too!
http://mysite.verizon.net/hsgersten
Regards,
Herman
On Oct 24, 2007, at 11:34 AM, Bob Morabito wrote:
This page has the list as a downloadablel PDF file:
http://www.anne-bell.woodwind.org/ABCClar.htm
According to Daniel, I think you must own the whole GPO package, not
just the version that came with Finale, 'cause he says Sib can't
share fin's GPO, just as fin can't share Sib's essential sounds
(licence issues, I guess) I don't own the complete GPO,
unfortunately, so I think my Sib
This was the email you're looking for.
JR
_
Since the Sib website demands that anyone applying for the $99 upgrade mail
in the first two pages of their Finale manual (photocopies not accepted),
and
since many people only have the OLD, David Bailey suggested that I write to
Sibelius and
At 11:08 PM -0700 10/23/07, Mark D Lew wrote:
While I recognize that, as a matter of law, the status of graphic
copyrights in the United States is ambiguous and arguable --
exactly the sort of ambiguity in copyright law I complained about
elsewhere -- as a matter of political philosophy, I
On 24 Oct 2007 at 18:00, dhbailey wrote:
Personally I think it costs the public a *lot* to have such lengthy
copyright terms, just not in economic terms.
I was not by any means thinking of direct monetary costs.
Unfortunately, that's the only thing certain kinds of politicians
seem to
On 24 Oct 2007 at 19:10, Martin Banner wrote:
I just felt compelled to comment on articles
like the one put forth on the Choralnet website from someone on the
other side of the fence.
Unless you're arguing (as UE did) that sites should take down any
music by composers that you have
At 4:30 PM -0400 10/24/07, David W. Fenton wrote:
The quotation in question was from me, and I was not saying that at
all. I was saying that the copyright term of a printed edition *as an
edition* can be independent of the copyright term of the work
conveyed in that edition. An edition of a
On Oct 24, 2007, at 7:40 PM, John Howell wrote:
There is nothing ambiguous or arguable about graphic copyright
under U.S. law: it does not exist, and never has.
Sorry, I wasn't clear. I didn't mean to suggest that graphic
copyright exists under U.S. law. I meant to suggest that it's not
On Oct 24, 2007, at 2:43 AM, dhbailey wrote:
Yes, it's a boondoggle, but it's done all the time. Bonds are
issued to pay for a bridge or highway, which are to be paid for by
the collection of tolls. Even when the initial legislation
includes languages to the effect of when the bonds are
John Howell wrote:
I don't believe there's any such provision, but since I may be wrong,
could you tell me where in the copyright law you found this
information. I was under the impression that work for hire was
recognized as one of the several rights of the copyright owner much
earlier,
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