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Angelo Gilardino Net Postings 1998-2000
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Re: Copyright and copies
- To: <cguitar-list@xxxxxxxxxx>
- Subject: Re: Copyright and copies
- From: "Angelo Gilardino" <winter@xxxxxxxx>
- Date: Thu, 8 Oct 1998 16:11:37 +0200
-----Messaggio originale----- Inviato: giovedě 8 ottobre 1998 7.39 Subject: Re: Copyright and copies My question for my fellow lister's is: Is it OK for me to copy my own purchased copy to use in a binder at my gigs? A.G. Yes, it is a correct behaviour. No publisher may want or expect to sell more than one copy of a score to each performer, and one copy bought by one single person enables him/her to squeeze the best use of it. The point is that, with buying a published piece of music, a player buys not only the printed paper, but the right of reading it according to his/her own needs and criteria: for instance, if a score is printed is too small note size, a buyer has all the right of reproducing it in an enlarged format and, on the opposite, if a score gives problems with awkward page turns, a player has the right of reproducing in a smaller size its pages, and to group them (two or also four in the space of one) in order to be allowed to read it fluently. --------- I like to keep my sheet music in 'new' condition as a part of my own little library. Is this wrong? A.G. No, it is correct, for the above mentioned reasons. May I add that a composer who entrust her/her published pieces with belonging to a high musical level does not care very much about the incomes coming from the sell of copies, and relies much more - not to say exclusively - upon the incomes coming from public performances, broadcasting and recordings. Actually, the sell of copies is to be regarded only as a preliminary step to the diffusion of a piece among players (and listeners), and the best publishers do not hesitate to offer to players free copies of their publications when they see a concrete perspective of getting public performances as a return. Of course, this does not apply to the case of didactic music, methos, tutors, etc., whose contents are not expected to produce any royalty from public performances: authors and publishers of this category of books are understandbly much more sensitive to the problem of photocopies. If you are a successfull author of concert guitar pieces and you want to know how many readers you have, take the number of copies that your Publisher has declared to you and multiplicate it by 20 (twenty): this is the average prolification of photocopies from each of a true copy of your piece - considering of course that each photocopy produces are photocopies, etc. The true problem of composers nowadays is not the illegal reproduction of their pieces, but the difficulty in collecting royalties from all the world over. Angelo Gilardino Composer and Editor The Artistic Director of the "Andrés Segovia" Foundation of Spain 13100 Vercelli, Italia, via Failla, 7 tel. & fax 0161 255346 email <winter@net4u.it> -------- Is it also an infringement of copyright permissions to play music without direct percentages paid to the composer/arranger? Do resturants, coffeshops, etc pay ASCAP, BMI fees for what I play at gigs?
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