A Music Teacher Describes How Copyright Hinders Music Education

(Translations: 中文)

Portait of Janet Underhill

Janet Underhill has been teaching music for 30 years at a private school in Chicago. She has taught piano, voice, guitar, recorder and general music to students of all ages, from kindergarten to graduate school. In this article, she tells how copyright prevents her from providing her students the best possible materials.

I teach general music. My goal is to engage all of my students in music making, to develop their musical skills, and then to send them on to their choice of band, chorus, private lessons, ensembles. Hopefully, my students will continue to connect with music, singing and playing, as part of their lives.

I need materials that are formatted for the elementary student that will foster the development of musical skills as well as provide the materials for enjoyable singing experiences. Such music should contain the changes that the beginning guitar student can handle. True, there are plenty of songs written expressly for the music classroom. They come with permission to copy for classroom use; they're cute, clever, integrated with the broader curriculum, written in the service of math, social science, English -- and have no connection whatsoever to the wider world of parents, grandparents, the community and the culture. The songs are disconnected, expressively flat, remarkably forgettable. They cannot be shared with parents and grandparents, aunts and uncles. They don't exist outside of the walls of the school. The children sense this, and do not take them very seriously.

The Surprising History of Copyright and The Promise of a Post-Copyright World

 

by Karl Fogel

Translations: 中文, Italiano, česky, Polski, latviešu valoda.

(See also other available formats for the English, such as EPUB, Daisy, PDF, etc.)

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There is one group of people not shocked by the record industry's policy of suing randomly chosen file sharers: historians of copyright. They already know what everyone else is slowly finding out: that copyright was never primarily about paying artists for their work, and that far from being designed to support creators, copyright was designed by and for distributors — that is, publishers, which today includes record companies. But now that the Internet has given us a world without distribution costs, it no longer makes any sense to restrict sharing in order to pay for centralized distribution. Abandoning copyright is now not only possible, but desirable. Both artists and audiences would benefit, financially and aesthetically. In place of corporate gatekeepers determining what can and can't be distributed, a much finer-grained filtering process would allow works to spread based on their merit alone. We would see a return to an older and richer cosmology of creativity, one in which copying and borrowing openly from others' works is simply a normal part of the creative process, a way of acknowledging one's sources and of improving on what has come before. And the old canard that artists need copyright to earn a living would be revealed as the pretense it has always been.

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