Copyright term, film labeling, and film preservation legislation : hearings before the Subcommittee on Courts and Intellectual Property of the Committee on the Judiciary, House of Representatives, One Hundred Fourth Congress, first session, on H.R. 989, H.R. 1248, and H.R. 1734 ... June 1 and July 13, 1995 (1996)

Record Details:

Title:
Copyright term, film labeling, and film preservation legislation : hearings before the Subcommittee on Courts and Intellectual Property of the Committee on the Judiciary, House of Representatives, One Hundred Fourth Congress, first session, on H.R. 989, H.R. 1248, and H.R. 1734 ... June 1 and July 13, 1995
Date:
1996
Publisher:
Washington : U.S. G.P.O. : For sale by the U.S. G.P.O., Supt. of Docs., Congressional Sales Office
Volume:
Copyright term, film labeling, and film preservation legislation : hearings before the Subcommittee on Courts and Intellectual Property of the Committee on the Judiciary, House of Representatives, One Hundred Fourth Congress, first session, on H.R. 989, H.R. 1248, and H.R. 1734 ... June 1 and July 13, 1995
Leaf #:
00089
Language:
English
Subjects:
Copyright -- United States, Copyright -- Motion pictures United States","Motion pictures -- Labeling United States","Motion pictures -- Conservation and restoration United States
Collection:
Government & Law and Books
Format:
Books
Contributor:
Boston Public Library
Sponsor:
Kahle/Austin Foundation and Omidyar Network
Coordinator:
Media History Digital Library
Description:
Date Added:
July 19, 2022
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83 -6 From a business standpoint, duration of the publisher's opportunity to exploit a work and recover his or her initial investment is crucial. While this is true for all categories of music, it is particularly true for serious works, classical works and musical theater. According to the Music Publishers' Association, an organization whose constituency is primarily involved with the production of sheet music, the rising costs of production make investment in serious copyrighted material a very speculative undertaking. MPA has stated that, in the U.S., printing costs alone for a symphonic work average $15,000. Printing costs for a full operatic work range from $100,000 to $150,000. The markets for recovering such investments are small (and, have been harmed greatly by increasingly sophisticated photocopying technology). The problem confronting publishers of such works is compounded because much serious music gains little public exposure or acceptance until many years after its creation. For example, the famous Barber composition, "Adagio for Strings," experienced only modest economic success following its debut in 1939. It became popular 25-years later, however, when the piece was used in connection with the funeral of President Kennedy. Another Barber work, the opera "Anthony and Cleopatra," premiered in 1966, but was not performed or recorded again until 1991. TTiis cycle of earnings, which is typical of serious and classical works, means that a composition which may some day be recognized as an American classic may not return a profit to the creator's descendants or to the music publisher owner within the current term of copyright protection.