July 3, 2007
Alex Rosselli Releases Series Of Instrumental Guitar Recordings
The New Release [PA] - Primer 55 (CD 2001)
What Is Music Copyright Law?
With the popularity of the Internet, many people are violating music copyright law and do not even know it. Music copyright law can be very tricky. There are multiple music copyrights that you must keep in mind – lyrics, composition and the recording of the music by an artist. Using someone’s music may involve you acquiring many different licenses such as mechanical, synchronization, performance and publishing licenses.
Music copyright law has separate copyrights for the vocal or instrumental recordings of a composition or performance and the copyright of the written lyrics and music. Standard music copyrighting practices usually entail that the writer of the song retains the rights to the right to the music composition which the studio that did the recording of the music holds the rights of the recording. Music copyright law can get very complicated. It can involve negotiations with the writers, producers, agents, heirs and more.
Many artists and studios are upset with the decline in music sales. They are attributing this decline to people who are violating copyright laws by downloading music on the Internet. Music files are under the same copyright law as music recordings and the owners of these copyrights are entitled to royalties or compensation for the music that people are illegally downloading on the Internet.
The simple fact is you are stealing if you make copies of copyrighted music recordings without authorization. If people were sued for the music they had downloaded illegally, it could result in thousands of dollars. Music copyright law states that it is illegal to duplicate and distribute creative work. If you send someone an email with a song that you have illegally downloaded on the Internet, you could be in for some serious trouble. To put it bluntly and plainly, if you download (or upload) music that is copyrighted without permission, you are breaking the law.
Many people violate music copyright law and do not even understand how their actions are criminal. If you purchase a music CD you can make a copy of it for yourself on your MP3. However, if you then use that recording and put it on your website or blog and make it available for everyone to download, you are performing an illegal act. Even if you join a site and pay a fee to download music, you are in violation of music copyright law.
Sony/ATV Music Publishing to acquire Famous Music LLC
Sony/ATV Music Publishing and Viacom Inc. said Wednesday they have signed an agreement for Sony/ATV to acquire Famous Music LLC from Viacom.
They have not revealed the deal’s value. U.S. media reported, however, that the deal is worth $400 million.
man who sheds light on the music, The
Puccini saw the play in London in 1900 and rushed backstage afterwards to find Belasco and make an immediate bid for the rights so as to turn it into an opera. Being a man much impressed by technical innovation, Puccini was especially struck by the dawn lighting and went on to incorporate the episode in his opera, as the culmination of Butterfly’s nightlong vigil, waiting for the return of the faithless Pinkerton.
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The lighting designer Peter Mumford has lit a number of productions of Madama Butterfly in his time and will be tackling the dawn sequence again for Opera North this autumn.
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He is unusual in a profession in which many people tend to move constantly between opera, dance and drama, alongside forays into film and television. ‘I trained as a stage designer originally, ‘ he says. ‘I was at the Central School of Art, taught by Ralph Koltai, who was very interested in lighting, which meant that it was covered within the course, but only as a supplementary subject. I don’t think there was any specific training for lighting in those days and, as a separate discipline, a recognised artform, it’s a relatively new phenomenon. It was really just a matter of the chief electrician following instructions from the director saying “I need more light here.” ‘When I left Central I became part of an experimental theatre company called Moving Being. That was in the late 1960s, early 1970s, and we were using film and projection a great deal, and a mixture of dancers and actors. I ended up taking on every aspect of the design, including lighting. After that I moved into the dance world, mostly contemporary work, and very often the pieces were created on empty stages — the lighting was the design. And that’s really how I gained a reputation as a lighting designer more than anything else.’ When you watch a rehearsal with ‘working lights’, in an unchanging lighting state, there is an air of flatness, a lack of detail and subtlety in what you see. Once a lighting designer gets to work that changes dramatically. ‘It is in a sense the last creative act in the process of putting a production together, ‘ says Mumford. ‘My work is a response to both the content of the performance and also to the surface of the design, which I regard as a canvas on which to work.
It’s a painterly sort of discipline. I plan an overall palette for the look of the production and then work at the detail when I’m actually in the theatre, with all the other elements of set and costume design already in place.
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Open Question: Muse At Wembley?
William Kentridge at the Brooklyn Academy of Music
William Kentridge has long had an affiliation with theater, and he previously designed one opera, a production of Monteverdi’s II Ritorno d’Ulisse, which was mounted at several venues, including New York’s John Jay Theater, in 2004 (it was revived in Brussels this May). In 2005 he turned to Mozart, devising a production of The Magic Flute in Brussels by (as with Ulisse) the Theatre de la Monnaie; it traveled to South Africa and landed in mid-April 2007 at the Brooklyn Academy of Music. Kentridge’s display at Marian Goodman in 2006 of preparatory materials for the opera won best gallery exhibition of the year from the International Association of Art Critics (AICA). At BAM, Kentridge’s all black-and-white combination of drawing and film took over the stage in a continually changing display of lush, orientalizing backdrops, ingenious gliding props, light shows (the lighting director was Jennifer Tipton) and large and small animations, some transpiring on portable blackboards. These visuals evanescently propelled the opera along, even through passages where the staging can tend to stagnate.
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