4 Comments

  1. lentigogirl
    November 7, 2013 at 11:44 am

    A minor caveat: the Library does have an important regularized path for the treasures to get here long before their primary value has been extracted. The Library routinely receives extraordinary treasures (including music) through copyright deposit, right at the beginning of their economic life. In addition, donors and sellers of many of the unique items in the Library’s collections (including the Sagan papers as well as musical treasures) quite frequently retain copyrights and are able to continue collecting the economic value after the items become part of the Library’s collections.

  2. Butch Lazorchak
    November 7, 2013 at 12:03 pm

    Great point! We certainly have a variety of paths for how we receive things. I was trying to emphasize how we’d benefit from greater input, rigor and standardization on the creator end.

  3. Thad McIlroy
    December 7, 2013 at 12:25 am

    Nice summary. I work on studies of metadata in book publishing which seems like child’s play compared to the complexities of the music industry(s).

  4. John Spencer
    June 8, 2014 at 12:11 pm

    To lentigogirl,
    I had not recently viewed this message thread, but I would like to address your comments. I concur that the Copyright Office collects a wide swath of metadata, but, they do not accurately collect the performers and their roles of a specific recording with respect to a “circle P” copyright. In most parts of the world, performers are paid for terrestrial broadcast of their recordings. They are not in the US (nor Iran or North Korea, and there is one more country I forgot..). If these laws were ever to change in the US, it would be extremely important to have that information recorded along with the sound recording copyright so that the performers could be compensated for their work.

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