Re: Lilypond lobbying?

[Robert Schmaus]

Hi Lilyponderers,

I agree with Joseph - let's not blow this out of proportion and start
creating conspiracies. of course I also agree with everyone else that
this ist simply annoying and stupid, not to mention unprofessional, on
part of the contest organisers. 

who, by the way, replied to my request why specifically they ask for
sibelius or finale. here's what they wote:

> The winner composition will be played in concert 
> and edited. I hope you understand the implications of it.

(yes, that's the full answer to my question. it's a bit odd - my
question was "how do you determine the score was actually typeset by
either of these programs?". I'm not sure *they* understand the
implication of it ... in particular the part where the composition will
be played in concert - what's that got to do with anything?)

so as (one can't stress it enough) infuriating that rule may be - the
reason could just be publication (and maybe it was really the
*publisher* who made this rule because that's the only software they can
handle - just like publishers who run away screaming if you turn up with
a beautifully LaTeX-typeset text because it's not a Word "document"). 

Best,
Robert



On Mon, 22 Aug 2011 11:34 +0200, "Joseph Wakeling"
<address@hidden> wrote:
> On 08/19/2011 09:47 AM, Henning Hraban Ramm wrote:
> > No, they don't. They don't want a free world at all - did you read their
> > rules?
> > 
> > The "winner" has to give all rights to this city hall, and the contest
> > and its sponsors must appear an all publications of the piece forever!
> 
> Er, no.  They are asked to give up the usual authors' rights for
> _performance of the winning work during the contest_ (until the 18th
> December 2011).  It says nothing about rights for future performances.
> 
> It's not an unreasonable request -- it's just there to simplify the
> performance-rights issues during the contest and doesn't affect future
> income or the composer's control over the wider use of their work.
> 
> In practice it means (i) the festival has the legal right to perform of
> the work during the festival and (ii) they don't have to worry about
> author fees for those performances (not unreasonable as the winner is
> already walking away with thousands of euros).
> 
> There's no long-term transfer of rights involved.
> 
> As for the request that you mention the fact that it was competition
> winner in all future CD liner notes, programme notes etc., that's hardly
> an onerous obligation is it?  It's only polite, not to mention mutually
> beneficial.
> 
> > You're not allowed to put the piece under a free license or donate it to
> > the public! You wouldn't even allowed to perform it yourself in a
> > simplified form!
> 
> Wrong.  The Festival requests a very specific, limited set of rights
> (the right to perform the work without author fees or per-performance
> author permissions) that last for the duration of the festival only.
> 
> They do say that the publication of the works will be made in
> partnership with the Town Hall and "a given publishing house", but also
> that it will be "in agreement with the composers".  So it doesn't look
> like there is any particular attempt to define the terms of the
> agreement.  (They don't even define the publishing house, possibly
> because some composers may already have an exclusive publishing deal and
> therefore it would be undesirable to restrict publication to a single
> organization.)
> 
> > Why does anyone using LilyPond care about these blokes at all?
> 
> Because even if they were requesting full copyright transfer, it's not a
> good thing that they exclude composers on the basis of the software used.
> 
> > (Why does anyone care about a concerts for six organs at all? I'm just a
> > humble folk musician, but I know there are great organs around where you
> > don't need six organists playing at once. I can't imagine there's any
> > musical advantage of six small organs over a good, big one...)
> 
> There are things you can do with twelve hands, that you can't with two
> ...  To be honest, musically speaking this looks like a fantastic
> concept: the opportunity to write music for a very particular location
> with very particular acoustic and sonic properties.
> 
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