by American Symphony Orchestra League in Washington, DC (777 14th St. N.W., Suite 500, Washington 20005) .
Written in English
|Statement||prepared by Richard G. Green.|
|Contributions||American Symphony Orchestra League.|
|LC Classifications||KF3045.2.Z9G74 1990|
|The Physical Object|
|Pagination||4 leaves ;|
|LC Control Number||92147973|
It's essential to stay abreast of the basics of copyright law and fair use. Kenneth D. Crews has completely revised his classic text to remap the territory with fresh, timely insights into applications of copyright law for librarians, educators, and by: visitor survey. We are always looking for ways to improve customer experience on We would like to ask you for a moment of your time to fill in a short questionnaire, at the end of your visit. If you decide to participate, a new browser tab will open so you can complete the survey after you have completed your visit to this website. Familiar to conductors, orchestra managers, and music librarians, this classic sourcebook of information necessary to plan orchestral programs and organize rehearsals has been greatly expanded and revised. The fourth edition features nearly 6, compositions that cover the standard repertoire for American orchestras, clearer entries, and a Cited by: 6. The book is based on hundreds of questions from educators and school librarians who are constantly facing copyright issues related to classroom teaching, the Internet, music, research, non-classroom activities and school library/media centre operations.
What librarians seek as copyright law and related rules are being reshaped for the digital age is to maintain for users, and for libraries and educational institutions acting on their behalf, their rights to at least the same extent as they have enjoyed them in the analog environment. There are currently no degree programs for orchestral librarians. However, orchestra librarians need to have a broad range of training. They may acquire the necessary working knowledge either through apprentice/internship situations or on-the-job training. Most orchestra librarians begin their musical training as performers. Ensemble librarianship (or performance librarianship) is an area of music librarianship which specializes in serving the needs of musical ensembles, including symphony and chamber orchestras, opera houses, ballet companies, wind ensembles and educational institutions. Ensemble librarians acquire printed music and prepare it for performance. It is impossible to honor professional cores values of librarians—first amendment, equity of access, and inclusion—without copyright law. Without it, libraries would be unable to loan books, preserve content, and exercise fair use.
Fear and uncertainty about copyright law often plagues educators and sometimes prevents creative teaching. This course is a professional development opportunity designed to provide a basic introduction to US copyright law and to empower teachers and librarians at all grade levels/5(84). Familiar to conductors, orchestra managers, and music librarians, this classic sourcebook of information necessary to plan orchestral programs and organize rehearsals has been greatly expanded and revised. The fourth edition features nearly compositions that cover the standard repertoire for American orchestras (a 42 increase over the /5(25). Ellen Terrell writes: “Some may not know it, but May 8 is a bit of a red letter day. Back on May 8, , the world’s first Coca-Cola was served at Jacobs’ Pharmacy in Atlanta, Georgia. It was the creation of Dr. John Pemberton as a tonic for common ailments. He likely had no idea what was in store for his product, the company, and an industry that would grow into . A great deal thus depends upon how copyright law is formulated and applied. Additional Resources. The literature on copyright theory is vast, but unfortunately relatively little of it is available online. The following is a reasonably representative set of materials. Many more sources can be found in the footnotes to these articles. Overviews.