>MM can license it without the things mentioned >above. Do you see any mention of my name >regarding the Space Systems plug-in in Fin2012?
sure, but i don't have to agree with this way of doing things. and i do see a TGTools menu in the default PI bundle... MM could acknowledge it somewhere, i simply think that is good business policy. i suppose that in the end, it is what you negotiate, if you are in the position of doing so. for example, my name and weblink, as well as that of the artist who drew the hands from photos i took, appear in the new edition of "pression" (lachenmann) that is coming out this month. in "notations 21", i was in fact the person who coordinated getting the brice pauset and mathias spahlinger examples in the book and simply didn't take care to make sure i got mentioned as the copyist / designer (i assumed it would be... silly, naïve little jeffy). it would be very relevant because the book was about graphic notation, not about publishing. in the case of pauset it is particularly absurd, because the example is a page i prepared when working on my spacing prefs for new music and despite discussions about me making a new version of the score, it never came to be; the only published example is hand-written, the version you can see in "notations 21" exists *only* as a private example of my work. -- one summer in a music library job, i took example from the book publishing industry, where in good editions even the typesetter is mentioned. i started including a "copyright page" on the backside of the title page for various kinds of information, because i believe the production of the score is dependent on everyone who contributed, not just the publisher, to whom the composer has signed over their distribution rights. my copyright pages list: work title, composer name, ensemble type (string trio; large ensemble) - commissioner - performers of the premiere - any agency that somehow contributed (commissioning / festival grant etc.) - significant awards the piece has won - copyist in addition to simply recognizing and documenting properly, librarians sometimes have extreme difficulty processing music scores if they are unfamiliar with the work / composer. also this way the musicians that come across the score immediately have some information about the history and context of the piece. _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
