文章基本信息

标题：Zarzuela in the Rio Grande Valley
本地全文：下载
作者：Richard Davis
期刊名称：South Central Music Bulletin
电子版ISSN：1545-2271
出版年度：2003
卷号：1
期号：2
页码：7
出版社：College Music Society - South Central Chapter
摘要：I am alarmed at the lack of knowledge by American arts and performing professionals concerning their obligations toward their compatriot composer colleagues when commissioning or performing new music. A composer in mid-career, I find this lack has increased, not lessened, since the 1970s. In response, I offer this short introduction to the topic for consideration. Question: How do composers get paid for their labor to compose new works? In America, this is answered by negotiation between the composer and her market, as best she can create one. Composing is a skill, and this skilled labor is compensated by wages paid by an individual or organization interested in the composer's product. Material costs must be added as line items in the contract or the composer will find herself underpaid and unable to stay in business. Would-be professional concert composers, who are talented and original contributors but lacking in personal resources and connections, find little shelter or support in this society, much to the impoverishment of our American culture. The largest survey of all types of U.S. music writing, commercial and noncommercial, was conducted through the auspices of Meet the Composer. Their resulting pamphlet “How to Commission a Composer” (1992) remains the best summary to date of American protocol, pricing, and resources. The best .pdf version of this pamphlet resides on my own website http://www.buckthornstudios.com (click on “brochure, ” or “ how to commission”). Anyone can commission a piece of music, and for any price. Creative fund raising is key, as with any venture. Research and forward planning can bring good things to pass. Fine art compositions are fee-based enterprises in which the composer retains the copyright and all other rights due to creators of intellectual property.