At 9:40 PM -0800 3/6/07, Mark D Lew wrote:
That, too, would serve the purpose of protecting you. It seems
pretty clear that the woman and her husband would never object. The
only worry is if years later some heir tries to assert copyright to
shut you down. If that were to happen, your
Excellent advice and not far from the excellent advice of John Howell
below (a simple letter of understanding, from you to her, including the
points you discussed verbally and agreed to). You both suggest
something informal, in writing, that shows for her heirs that she was in
agreement and
John Howell wrote:
At 5:13 PM -0500 3/5/07, dhbailey wrote:
Aaron Copland borrowed pretty wholeheartedly from a Library of
Congress recording of Bonaparte's Retreat for Hoedown, and I've never
seen any credits given to the fiddler who made the recording -- I had
the great good fortune to
Raymond Horton wrote:
Another thought:
For another way of thinking of these yodels, compare them to theme and
variations, like Carnival of Venice. For each of these tunes,
everybody (Amish) in Adams County sings the tune, then does variations
(the yodels). Everybody knows Carnival of
The underlying tunes you are free to do what you want with. If they are
not available in print, however, you might have a hard time discerning
what are her inventions and what are the originl tunes. However, if you
can sort that out, you have no worries about using the underlying tunes.
On Mar 6, 2007, at 5:36 AM, dhbailey wrote:
so the folks who made the recording, in their desire to record a bit
of American folk culture before it was lost, enabled an up and coming
composer to get rich while the person who actually created the music
got not a penny for his creation.
1.
I had my talk with the lady and her husband. The husband, once he
understood that I was not making a CD, that I am writing a piece that
will, ideally, preserve and pay tribute to the heritage of the area in
which his wife grew up, etc., was happy with it. I explained about the
profit
At 11:58 PM -0500 3/5/07, Raymond Horton wrote:
No, no. No use of the recordings themselves. Sorry for the
confusion. I am writing an instrumental composition, using these
old tunes. These are tunes that have been sung by virtually ALL of
the Amish in Adams County, Indiana, since they came
I understand that the TUNE of Happy Birthday, that is Good Morning To
You - is PD. It's when it's coupled with the words of Happy Birthday
that the copyright comes into play, correct? (Louisville being the home
town of the Hill Sisters who wrote this little ditty, the most often
sung tune in
In a message dated 06/03/2007 19:26:51 GMT Standard Time, [EMAIL PROTECTED]
writes:
What I'm REALLY curious about is how you're
going to represent the register break that's at the heart of yodeling
instrumentally!!)
Tchaikovsky came close in the crossing horn octaves in the 5/4 movt
Thanks for all your thoughts, extremely helpful.
John Howell wrote:
(What I'm REALLY curious about is how you're going to represent the
register break that's at the heart of yodeling instrumentally!!)
You and me both, Fella!
Ray
___
On 6-Mar-07, at 2:29 PM, Raymond Horton wrote:
I understand that the TUNE of Happy Birthday, that is Good
Morning To You - is PD. It's when it's coupled with the words of
Happy Birthday that the copyright comes into play, correct?
(Louisville being the home town of the Hill Sisters who
John Howell wrote:
At 2:29 PM -0500 3/6/07, Raymond Horton wrote:
I understand that the TUNE of Happy Birthday, that is Good Morning
To You - is PD. It's when it's coupled with the words of Happy
Birthday that the copyright comes into play, correct? (Louisville
being the home town of the
On Mar 6, 2007, at 11:53 AM, Christopher Smith wrote:
Since Good Morning To You was published in 1893, it is undoubtedly PD.
True, but until we actually see a copy of the score, we don't really
know what minor adaptations were made to accommodate the new lyrics.
Thus if you use the happy
I've got another problem along similar lines and I would appreciate any
advice.
It's actually in another movement of the same work. Don't ask me how I
got into this, and I don't recommend the musical subject as fodder for
anyone else, but I got a small grant from the state of Indiana to do
Raymond Horton wrote:
[snip]
Do I need her permission to use her versions of these old, traditional
tunes?
Two of her homemade CDs which she sells are labeled: copywrite (sic)
19xx (no circle c). A third CD is more commercial looking, but I
recall it as similarly mislabeled (I can't
On 5-Mar-07, at 3:18 PM, Raymond Horton wrote:
I was fortunate to spend a day and a half up at the Mennonite
Historical Room at Goshen College, which has, besides nearly
everything written on the subject of Amish and Mennonites,
On my dad's dad's side, they are Mennonite. Apparently I am
But what if there are NO copyrights of the music itself? None of these
tunes were ever copyrighted, that I know of. This woman has some
elaborated versions of the tunes on her recordings, but I don't believe
any notated versions exist of the traditional tunes. (They date back to
Switzerland
At 3:18 PM -0500 3/5/07, Raymond Horton wrote:
One is an an old recording of a family from decades ago, and the
other a more recent recording of a former Amish woman now living in
another state.
I was able to track down the latter woman, have spoken to her
several times and bought several
At 5:13 PM -0500 3/5/07, dhbailey wrote:
Aaron Copland borrowed pretty wholeheartedly from a Library of
Congress recording of Bonaparte's Retreat for Hoedown, and I've
never seen any credits given to the fiddler who made the recording
-- I had the great good fortune to hear the recording on
No, no. No use of the recordings themselves. Sorry for the confusion.
I am writing an instrumental composition, using these old tunes. These
are tunes that have been sung by virtually ALL of the Amish in Adams
County, Indiana, since they came over from Switzerland around 1815. I
only have
Another thought:
For another way of thinking of these yodels, compare them to theme and
variations, like Carnival of Venice. For each of these tunes,
everybody (Amish) in Adams County sings the tune, then does variations
(the yodels). Everybody knows Carnival of Venice, nobody owns it,
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