On Feb 4, 2006, at 10:58 AM, Kim Patrick Clow wrote:
I'm wondering if anyone has thoughts on the impact Finale has made on publishing music.
I could go on forever about it, but I'll try to be concise in responding.
Has it and the creation of desktop publishing had any impact on the business models?
I wouldn't be a publisher, otherwise. With engraving software it is possible to publish on a shoestring, and as a sole proprietor. Almost an 18th-c. pattern.
I know that in the United States, there are fewer and fewer publishers of classical music scores (technically there aren't any US based labels now that RECORD classical music for that matter),
Now *that* at least is untrue! Innova and MMC, at the very least, come to mind.
so with fewer and fewer publishing houses, would the advent of small presses be a good thing?
I wonder where you get that figure, what standards are used to define a publisher, and who's doing the counting. My own impression is that there are a lot *more* classical publishers, but they're mostly people like me, who might well fall below the radar.
Supposedly computers and the Internet is the great democracy of things (blogs versus traditional mainstream media), mp3 swapping versus buying cds in stores, artists recording and offering their own music on personal websites etc. Has anything like this happened with music and Finale (or any music publication software such as Finale)
Well, both Finale and Sibelius have tried to set up online archives of scores, but they're so full of junk that nobody uses them that I know of. In our field at least it remains a truism that you get what you pay for.
Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
