Copyright reviewed

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  • Dave2002
    Full Member
    • Dec 2010
    • 18034

    Copyright reviewed

    Yesterday I wanted to check up on some details, so I looked at the scores of Mahler's 7th on IMSLP. I was surprised to discover that according to the site one of the documents does not become public domain in the US until years in the future - maybe 2056 - which won't concern me much.

    While I think that copyright laws do help some people - for example authors, composers and their families, they may also hinder creative development.

    Here is a list of countries with their current copyright limits - https://en.wikipedia.org/wiki/List_o...ons_by_country

    Will the dreaded B word affect this in the UK, and will any changes be beneficial?

    Personally I feel that following the US which seems to extend the copyright period from time to time to suit the whims of large companies and organisations (e.g Disney, MCA) would be a really bad idea. There is "reasonable" and something else .....

    So I shall put off writing a work with excerpts from "Singin in the Rain" - even inverted or retrograde - oh - I guess I'll be dead before I could do that legally!
  • ahinton
    Full Member
    • Nov 2010
    • 16123

    #2
    Originally posted by Dave2002 View Post
    Yesterday I wanted to check up on some details, so I looked at the scores of Mahler's 7th on IMSLP. I was surprised to discover that according to the site one of the documents does not become public domain in the US until years in the future - maybe 2056 - which won't concern me much.

    While I think that copyright laws do help some people - for example authors, composers and their families, they may also hinder creative development.

    Here is a list of countries with their current copyright limits - https://en.wikipedia.org/wiki/List_o...ons_by_country

    Will the dreaded B word affect this in the UK, and will any changes be beneficial?

    Personally I feel that following the US which seems to extend the copyright period from time to time to suit the whims of large companies and organisations (e.g Disney, MCA) would be a really bad idea. There is "reasonable" and something else .....

    So I shall put off writing a work with excerpts from "Singin in the Rain" - even inverted or retrograde - oh - I guess I'll be dead before I could do that legally!
    Composer copyright and publisher copyright are two different things. Mahler the composer has been out of copyright worldwide for quite some time but publications of his works might be another matter.

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    • Bryn
      Banned
      • Mar 2007
      • 24688

      #3
      Originally posted by ahinton View Post
      Composer copyright and publisher copyright are two different things. Mahler the composer has been out of copyright worldwide for quite some time but publications of his works might be another matter.
      Especially since the critical editions have been published. The Dover republications are of out of copyright editions, for instance.

      Comment

      • Pulcinella
        Host
        • Feb 2014
        • 11061

        #4
        This looks like it would have been an interesting program(me): MTT on Stravinsky's Copyright Blues.

        Comment

        • Bryn
          Banned
          • Mar 2007
          • 24688

          #5
          Originally posted by Pulcinella View Post
          This looks like it would have been an interesting program(me): MTT on Stravinsky's Copyright Blues.
          https://michaeltilsonthomas.com/mtt-...pyright-blues/
          I wonder whether it dealt with the other side of the coin where Petrushka is concerned, or Greetings Prelude, come to that?

          Comment

          • Pulcinella
            Host
            • Feb 2014
            • 11061

            #6
            Originally posted by Bryn View Post
            I wonder whether it dealt with the other side of the coin where Petrushka is concerned, or Greetings Prelude, come to that?
            Or The star-spangled banner!

            In 1939, Igor Stravinsky emigrated to the United States, first arriving in New York City, before settling in Cambridge, Massachusetts, where he delivered the Charles Eliot Norton lectures at Harvard during the 1939-40 academic year.

            Comment

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