Dear Friends in Music:
Composers increasingly see our music turn up in cyberspace without
our endorsement - and often without being aware of the postings at all.
And we continue to wrestle with what free delivery of data encompasses,
seeking a balance between the potential for expanded reach of a composer's
profile vs. the pitfalls of unrestricted access to copyrighted materials.
Even as discussions of how to safeguard intellectual property proceed
and evolve, I determined to test drive the new medium this summer,
offering artistic work direct to the Internet. The project centers on
collaboration with videographer Mike Bregman to create a Suite of new
music/art videos which pair my music and art by my husband, Gary Zaimont.
The four movements are appearing one per month, June through September.
Our premise is: (1) To present substantial work in the new medium while
accepting the medium's utility primarily as an 'advertising portal' --
and therefore construing the work partially as a 'loss leader'. Therefore,
the music is only single movements from larger works, and comes only
from (older) recordings to which I personally hold the copyright. (In
fact, almost all the music is already up on the Web in approved sound
files.) Similarly, the selection of art was approved especially for this
project by the artist.
And (2) To rely on what video does best: Highlight time passing as the
mechanism to build form. Thus, the videos incorporate a painting's many
stages of development, constructing -- and de-constructing -- a completed
work which becomes an icon for that movement.
The resultant pieces are new creations and will be posted widely on
YouTube, Google video, Vimeo, Buzznet and other video sites.
The second video is now up, a 9:40 sequence of mysterious night visions,
"BOREALIS" ready to view at Youtub -- very different from last month's
light-hearted, first movement, 'The Joy of Dance' (now widely available).
Is this a direction other composers would pursue? How does it strike
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