Subject: Re: EA Performance Rights
From: Rob Godman (firstname.lastname@example.org)
Date: Wed Nov 02 2005 - 06:26:08 EST
...and possibly a 4th/5th angle! Audio presented as installation
projects has always been rather problematic when it comes down to
licenses and royalties. When a work doesn't have a finite duration,
when it is generative, possibly interactive etc. etc. make filling in
the appropriate PRS form hellish and, in my past experience, rather a
waste of time.
I've always struggled to come to terms with the fact that an
installation of mine may be seen by thousands over a few months and, be
highly unlikely to receive royalties. Where as, an EA concert work,
heard by a handful of people in a certain venue may mean my account
receives a payment.
Clearly, I would hate to restrict small scale promoters from presenting
these types of works for fear of picking up a huge bill. Partly for
this reason, I have assumed that my installation projects will receive
no payment other than anything agreed as an initial payment. But...
On 2 Nov 2005, at 10:21, Lisa Whistlecroft wrote:
> There is a third angle. The ex-student wishes to present new works.
> Some of these will probably be on home-burned CDs direct from the
> composer in response to a call, surely? In that case, the composer
> has given permission. There should be no need to contact a publisher
> unless someone has total rights on all works, published or not!
> If the work is not commercially published, is there still a need to
> contact the relevant performing rights society? I thought the
> composer should do this?
> My thoughts are focused in the UK but it seems to me that several
> answers may lie in whether the concerts are
> a) open to the public
> b) held in a place licensed for public performance (if not, the
> concerts may have to be by invitation!)
> b) free
> Just an English 2pennyworth - I'm neither a lawyer nor a concert
> promoter but I am hoping to co-organise a small series in Lancaster
> some time in the coming year so I also need to know!
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