The confluence of three technologies--personal computers, music notation software, and the World Wide Web--has made do-it-yourself publishing an attractive and practical career choice for a significant number of contemporary composers. Purchasing from these artists' personal Web sites is typically the only way to acquire their self-published scores. Cross-checking the composers' Web-based sales catalogs with WorldCat holdings indicates that self-published, self-distributed music--in contrast to scores that are being published and distributed through established mainstream channels--is largely being overlooked and underserved by libraries. Libraries must develop new routines appropriate to this distinctive new form of digital publication that would allow for the identification, selection, and acquisition of self-published and self-distributed scores. In lieu of such routines there is an inexorable danger that libraries will miss the only opportunity they may have to preserve and document--thoroughly and faithfully--the musical culture of our time.
steve reich desert music score pdf 17
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The occasion for composer Fromental Halevy's remark was a debate over whether to impose legal restraints on Parisian street musicians who were exploiting tunes from contemporary operatic productions without observing the niceties of buying scores or paying royalties. Halevy was an expansive thinker: an early entrant into the Bach revival and an experimentalist who went so far as to employ quarter-tones in his 1849 cantata, Promethee enchaine. (2) Here, he comes down firmly on the side of letting the street musicians ply their craft without hindrance. Indeed, he recognizes their role in the musical ecology as a benefit to composers like himself; by taking tunes out of the opera houses and into the streets, the "grinders" were engaging in a form of marketing, and helping to build the music's popularity. 2ff7e9595c
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