|
The importance of the world-wide web in our lives becomes more apparent
every day. Organisations throughout the world are having to address rapid
changes, and music publishers are no exception. But whilst they are busy
dealing with the complexities of music copyright and the internet, more
composers now have their own websites – some as an alternative and
some in addition to having a publisher.
The UK leads Europe in B2C e-commerce (business to consumer e-commerce:
buying with a credit card over the internet) and affordable technology,
rapid growth in training and flat-rate unlimited phone access, are driving
this faster every year. So where does that leave the unpublished composer’s
website? Secure credit-card transactions are only cost-effective after
a certain volume, but composers like Graham Fitkin (www.fitkin.com)
still do a lot of business: “I like the fact that I can respond to
inquiries personally and with deeper musical knowledge than a publishing
house could, and people seem happy to send cheques”.
Fitkin’s site sets out to represent him as an individual rather than
corporate trade, giving him personal control over his image and his dealings
with people. His e-mail rapport has led him to work in Seattle, Rochester
USA and British Columbia. But, as interest grows, so does his commitment
to the Web and there is a down side to this personal touch: “There
will come a point soon where I don't have the time to keep the site updated,
or cope with demand, and I'll need someone else's support”.
No-one believes that the net will replace the handshake or the live performance.
It’s still about who you know, although now in a more global sense.
And until good quality sound-cards (a computer’s chip for decoding
digital musical information) and speakers are standard, the 30-second
mp3 (downloadable sound files from the web) may be as much as most users
will tolerate.
Pete Sinfield of the British Academy of Composers and Songwriters
(www.britishacademy.com) and Geraldine
Allen of Impulse (www.impulse-music.co.uk)
believe that what will take composers’ websites forward are Communication,
Commerce and Community. Martin Dalby (www.impulse-music.co.uk/dalby/)
agrees: “Publishing houses are on the wane. Having your own site
is not the whole answer but it is part of it. The other part is the formation
of composer co-operatives employing a promoter.”
The expanding British Music Information Centre New Voices
project (www.bmic.co.uk) is typical of this,
but Matthew Greenall, BMIC’s Director, sees a few hurdles ahead:
“We need to find the resources in terms of production facilities
and staff that this expansion would require. And this is unlikely to be
fully met through composer subscriptions and sales alone! This might be
one reason why co-operative structures are relatively rare amongst composers
– who among them has the resources, or time, to administer such a
scheme? Also, composing is often a solitary activity and unlike, say,
acting, interaction between composers is relatively rare.”
Another project which promotes the idea of co-operation is the next stage
of Impulse’s development – www.tutti.co.uk.
Tutti provides small record labels and individual composers with
e-commerce for their sheet music and CDs. Initially, they will only take
printed scores, and for a percentage, they will warehouse, advertise,
download samples and provide secure credit-card facilities. But the real
future of the sole trader depends on legislation and licensing fees. Of
a major shopping site, Allen says: “mp3.com openly flouts copyright.
It denies composers their rightful earnings. It damagingly spreads the
myth that music is free. Web-users have to be educated to understand the
value of music... What composers will need are administrative solutions.
The more that these solutions can be carried out on a collective basis,
the more effective they will be for the greater number of composers. We
strongly feel that on a global basis, for each composer, there will be
a niche market and this is where we want tutti to score!”
Paul MacAlindin ( )
The monthly listings magazine new
notes is essential reading for composers, performers, and everyone
interested in what's new in new music. In its printed version new notes
reaches over 5,000 contemporary music enthusiasts in the UK and around
the world.
If you promote new music events you should advertise them in new notes.
Single concert listings are just £50+VAT (new low price!). The magazine
also features ads for festivals, composer competitions, recordings and
more.
new notes also features
monthly articles on issues at the forefront of new music
special offers on CDs, tickets, scores and books for spnm members
information about forthcoming spnm events
a free classified section for spnm members' non-trade ads.
For full details on advertising or inserting leaflets in new notes
please contact the Editor: John Fosbrook
e-mail
telephone
fax
|
Event listings for this
month
Previous articles:
April
2000
Child's
Play
March
2000
tables
turned
February
2000
the
ENO Studio
January
2000
a
challenge from Michael Oliva
December
1999
into
the next century...
November
1999
Joanna
MacGregor writes
October 1999
obsessed with consuming?
September
1999
spnm
welcomes Joanna MacGregor.
July/August
1999
Spectrum 2 - miniatures for
piano.
June
1999
Hoxton Hall New Music Days.
May
1999
Bath International Music Festival is 50.
April
1999
Who is Georges Aperghis?
March
1999
On frost, birth and death
February
1999
Keeping busy...
January
1999
Now that's what I call contemporary!
December
1998
Forty years of madness?
November
1998
To plug in or not to plug in?
October
1998
No, honestly it is a cello
September
1998
Composing for film
July/August
1998
New music on old instruments
June
1998
Blue sheep of record companies
May
1998
spnm looks to the future
April 1998
New Music 98 in Manchester
|
