An an American composer who's lived across the pond for a long time, I
have a question tangential to this:
Noel Stoutenburg wrote:
.
In reference to John's question about whether this would or constitute
publication, or not, I'm not sure, but I would note that in the U.S.
since the mid 1970's, and in much of the rest of the world since before
that, publication is of less significance than formerly. The
significance of publication in the U.S. until the mid 1970's, was that
in order to be copyrighted, material had to be published. In the mid
1970's, the U.S. adapted the interpretation used in the rest of the
world, and on items created since the mid 1970's, copyright exists from
the time an item is placed in fixed form, either written in a score, of
recorded.
In my experience, I can amplify this by noting that in ordinary rights
(not grand rights) situations, and excepting cases where large numbers
of scores/parts will be sold (i.e. educational), there's little or no
money to be made in selling the scores themselves, as the bulk of the
income will derive from licenses for concerts, broadcasts, and
recordings. In Germany, the blanket licensing situation is very good,
in that I can assume that radio stations, concert halls, schools, or
churches will have paid their licenses, and if I can report the
performance I will get paid from the blanket license. How true is that
now in the US? Can I make the assumption that all schools and
Universities have entered into a license arrangement or not?
Daniel Wolf
Frankfurt
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