Copyright

Composers, Copyright

The Chess Game of Fact Checkers As Applied To Music

“You are entitled to your own opinion, but you are not entitled to your own facts.” – Sen. Daniel Patrick Moynihan For the past several election cycles, a cottage industry of fact-checkers emerges from their pumpkin patches each fall to assess the credibility of candidates’ claims.  One of most-quoted of these, FactCheck.org, is affiliated with my alma mater.  These groups’ findings are not only cited by the media but are also used by partisans of both Presidential candidates.  And while neither the press nor the candidates are free to plagiarize the articles produced by fact-checkers, the facts themselves are fair

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Copyright, News, The Business

Fair or Foul Fowl: The Obama Big Bird Ad from a Copyright Perspective

In anticipation of tonight’s debate, I’d like to discuss, from a non-partisan IP law perspective, something that came out of the first Presidential debate: the Big Bird ad.  I think the ad and the Sesame Street folks’ response raised some interesting questions of fair use, parody and first amendment rights that are applicable to composers and performers. As we know, it started with a comment that Republican contender, Gov. Mitt Romney, made to the moderator, Jim Lehrer of PBS , about cutting federal funding for PBS programs, including Lehrer’s own NewsHour and Sesame Street. Mr. Romney specifically singled out Big

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Commissions, Contemporary Classical, Copyright, Orchestras, The Business

Osvaldo Golijov: Thief? Collaborator? Genius?

Seems like it’s been a while since we had some Golijov bashing (and defending) on our site. What do you think about this story about a Eugene Symphony premiere, with its disturbing allegations of extended theft of another composer’s work? The reporter doesn’t mention that Golijov’s m.o. these days is to collaborate with pop/folk musicians, making the question of authorship in works such as Ayre particularly murky. Nevertheless, if nearly 50% of the work is music by another composer, shouldn’t that composer get a conspicuous co-credit on the composition? Golijov does credit his collaborators, but you usually have to dig down

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Contemporary Classical, Copyright

Copyright vs. Copyleft

In reaction to a roundtable discussion on the subject of copyright on The Hooded Utilitarian blog, NYC composer Jonathan Newman hits several nails squarely on the head: I realize how mercenary this sounds, but how about making art AND money? Ultimately I’m unclear how copyleft (or free culture in general) can maintain my middle class income. As far as I can tell, the current copyright laws are what do that. All that being said, I’m actually a fan of Free. I give away content like crazy on my website…mp3 downloads…score of the pieces as PDFs I released on KDP, etc. I give away CDs,

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Contemporary Classical, Copyright, Recordings, Strange

Ripped your Adams CDs to your computer? The RIAA says pay up.

And you thought the only ones who needed to worry were the illegal file-sharers? After reading this article, think again: …in an unusual case in which an Arizona recipient of an RIAA letter has fought back in court rather than write a check to avoid hefty legal fees, the industry is taking its argument against music sharing one step further: In legal documents in its federal case against Jeffrey Howell, a Scottsdale, Ariz., man who kept a collection of about 2,000 music recordings on his personal computer, the industry maintains that it is illegal for someone who has legally purchased

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