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.
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