Ownership in creationg Essay Example | Topics and Well Written Essays - 1000 words

Ownership in creationg - Essay ExampleBringing the dream of the dreamer into he mind of the listener requires hit of unsung people that set out all made a contri simplyion to our favorite melodys. In the medium of modern engine room and the minds of the audience, the ownership of the creation belongs to all of us in some small way, but the profits belong to a record company.The public mistakenly believes that he latest hit song by a popular artisan found its genesis in the mind of the artist, took form, and became an original work of art. In fact, the song had its beginnings years before as the songwriter was influenced by the melody of the world around them. The artist entrust take the familiar sounds, forms, chord progressions, and melodies that they know and agree their own dimension to come up with a new piece of music. Igor Stravinsky once commented that A good composer does not imitate he steals. From this standpoint, all music is a collaboration between the artist and the past, and no one has a title to its ownership.Once the artist has created the music, it becomes subjected to the process of facsimile and distribution. The artist will have an agent that will handle the business arrangements, contracts, and obligations as they work towards the goal of getting signed to a record label. The record company, known as the label, will get the song recorded, reviewed, promoted, and distributed for sale. By way of a contract, the record label and producer literally owns the artist and the music. While music is easily sh ard with everyone via reproduction and radio broadcasts, the label owns the artist, the music, and the profits. Getting a song from the artist to the public requires that it gets recorded in a studio and reproduced onto a compact disc (CD). The artist will go into a recording studio where the song is brought to life. Often, the artist writes the song on an acoustic guitar or piano, and without the full instrumentation that will after be heard by the public. These pieces are all added later in the studio. The recording of a hit song in a studio involves scores of vocalizers, arrangers, and thespians that are often hired to work on a specific piece of music at an hourly rate of pay. Known as studio musicians, they are heard on hundreds of recordings, yet get little or no notoriety or fame for their performance. Recently, the union pay scale for a studio musician was $181 for a three-hour session (Baker). They also get no royalties or income from the future sale of the CD. The studio musicians own a part of the record, and it is a part of their soul, but they do not own the profits that it generates. Engineering a song entails far more than simply placing a microphone in front of the singer and hitting the record button. Modern technology allows the recording engineer to record each individual part separately and mix it together at a later date. Known as tracks, the engineer may have hundreds of individual tracks t hat make up a song. Occasionally, the parts of a song may be recorded at different locations at different judgment of convictions. The legendary album All the Roadrunning by Emmy Lou Harris and Mark Knopfler was assembled a piece at a time with the help of engineer-mixer Chuck Ainlay, as well as guitarist Richard Bennett and Dire Straits keyboardist Guy Fletcher (Hill).