![]() In hopes of helping to set the record straight, Dean organized a session for the 2018 Chorus America Conference involving Foss and four more industry colleagues. ![]() So they just go with what others have told them.” The right answers can be hard to find. Dean feels issues arise “mostly because people feel copyright law is complex and they don’t understand it. To be clear, Foss, Dean, and their fellow publishers do not believe deliberate theft is rampant in the choral field. “And it’s stealing from the composer,” he adds. “I can’t talk percentages of sales we’re losing but it’s a high number,” says Scott Foss, concert and classical choral editor at Hal Leonard Corporation. When choruses don’t abide by copyright regulations-for whatever reason-publishers lose sales and composers do not receive the royalties they deserve, so they take the issue seriously. In effect, these people were being taught that the practices are acceptable. He asked a few musically educated friends and colleagues, Did a professor ever give you a photocopied piece of music? Did you sing with a choir that passed out copied music? Most of them responded that they’d witnessed these practices. ![]() The types of copyright questions coming across the transom at Pepper feed his doubts, as do some practices-like illegally photocopied scores-that he’s witnessed in rehearsal and concert halls.ĭean wondered about the reasons for the knowledge gap he observed, so he decided to conduct an informal survey. Over the years, he’s also come to realize that this knowledge is not necessarily shared widely in the choral community. Tom Dean is not a lawyer, but thanks to his experience teaching, doing graduate research, and working in Classroom and Choral Product Sales for music publisher J.W. ![]()
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