I was hoping you'd chime in on this - I'm very interested in your
opinion.

tomjtx;200728 Wrote: 
> 
> Composers did make money from their scores as did the publishers of
> those scores. They are original work product and the composer has a
> right to earn revenue.
> 
> The printed disemination of those scores in turn increased the
> popularity of the composer. If the publisher couldn't earn revenue from
> the printing and distribution of the scores why would the publisher
> incur the expense.

But do you happen to know if this was enforced by law?  I know in the
states it wasn't possible to copyright musical scores until the early
to mid 19th century, but I don't know about the Holy Roman Empire in
the late 18th.  In any case, if Mozart was a bad example, we can always
go back earlier in time - there's been music around for a long while
:-).

> 
> Being a musician, I know a lot of musicians and none of them would
> support abolishing all forms of copyright.
> 
> However most musicians I know don't support the restrictions on fair
> use that DRM causes. But that is a different issue.

I know some that do...  but perhaps more would if there was something
to replace it?  For example, a tax of some sort (on blank CDs for
example) which went to a fund to support artists and public art/music
programs?  A system of artists-in-residence at the federal, state,
county, city, university level?  More public funding for local
orchestras and smaller ensembles?  Done well, it could lead to a huge
increase in the amount of music being made, and people's exposure to
it.  Done badly, it would lead to a bloated and ineffective
bureaucracy.

A less radical option is simply to reform the system as it stands, and
make sure most of the money goes directly to the artists and not to
middlemen.  That already seems to be happening, and I think the current
struggles over DRM are part of it.


-- 
opaqueice
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