Vivaldi wrote:Also, if what Mr Irons says is true, that the Mahler works are copyrighted because they are published by UE, then publishers worldwide will have a field day. For example, Dover and Kalmus reprinted lots and lots of sheet music that are public domain, they can simply claim copyright for all these PD works and charge a high fee for it. Similarly, if I were to open a publishing company, I can simply reprint public domain works and claim copyright for myself.
Vivaldi wrote:[...] they can simply claim copyright for all these PD works and charge a high fee for it. Similarly, if I were to open a publishing company, I can simply reprint public domain works and claim copyright for myself.
so if you scan and OCR the work and re-render the basic music, you have done nothing wrong.
primomusic wrote:[...] The time it would have taken me to edit just one score would not have been worth it.[...]
HonkyTonk wrote:Which Mahler works being claimed by UE appeared on the ISMLP site?
jhellingman wrote:Project Gutenberg has its Distributed Proofreaders project, (http://www.pgdp.net/), which allows people to fix OCR problems, or transcribe hard to OCR pages on line, one-page-at-a-time. We have been experimenting with music, but this has mainly been limited to small excerpts found in various books. For example, I've dealt with music in Carl Lumholz' "Unknown Mexico", a very valuable resource on Mexican ethnography (see http://www.gutenberg.org/etext/16426, the author died in 1922), where music was transcribed to ABC, and added as newly set scores, as well as small midi files.
A similar system could be set up for music scores. At PGDP we can handle several thousand pages per day, with about 5.000 active volunteers. Music is considerably more labor intensive to transcribe, but there is a huge public for it as well, especially if you develop systems where people can initially play the notes. I know it would take quite some effort to build a kind of on-line lilypond system, but the end results would be very nice.
aslsp-fl wrote:They are known for making multiple editions of the same works, often mixing them up. [...] Please note that in a professional contest these accidents are not musicological discussions but potential disasters involving lost reharsal time and money.
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