Recent discussions on the abolition of patents for inventions in the United Kingdom, France, Germany, and the Netherlands : $b Evidence, speeches, and papers in its favour
General
Recent discussions on the abolition of patents for inventions in the United Kingdom, France, Germany, and the Netherlands : $b Evidence, speeches, and papers in its favour
Patents
The taste for music is more widely diffused than that for painting and
sculpture, from which it differs in a way that causes very considerable
embarrassment when the question of Copyright comes to be particularly
dealt with. Like paintings and statues, music may be reproduced in a
permanent form; but, unlike them, the chief value of its Copyright
privilege is reproduction in sounds, and, therefore, in a form
unsubstantial and transient. He, therefore, who would deal satisfactorily
with this branch of the wide question of Copyright has to provide for a
demand, and overcome difficulties, such as do not belong to literary and
artistic Copyright. But, still further, music—say that of an opera—may be
separated into parts without serious diminution of its revenue-bearing
value. Once more, there is the _libretto_; it belongs to the range of
literature. Questions, therefore, arise, and must be provided for, with
respect to the affinity of that part with the music, its reproduction in
the form of translation, and its being, as it occasionally is, the work
and property of an author other than the composer of the music.
There is still so much uncertainty, approaching to confusion, as to what
really is the law, especially with regard to international Copyright,
in this branch, that thorough revision and immediate international
negotiations are absolutely necessary.
The laws of Copyright should be divested of all ambiguity and superfluous
legal verbiage. In fact, they should be made so plain that “he that runs
may read,” and understand them. The payment of a royalty on foreign works
is not a new thing here. Chappell pays 1s. a copy, besides a considerable
sum for the Copyright, of the last work of Rossini—viz., the “Messe
Solennelle,” for the exclusive selling of the work, and for the right of
performing it here. Any other information I can give you I shall be happy
to afford.
I am, dear Sir, yours obediently,
C. H. PURDAY.
To R. A. Macfie, Esq., M.P.
EXTRACTS FROM CORRESPONDENCE ON COPYRIGHT LAW IN CANADA.
LAID BEFORE THE CANADIAN PARLIAMENT BY COMMAND OF HIS EXCELLENCY THE
GOVERNOR-GENERAL.
_Extract from a Report of a Committee of the Honourable the Privy Council
of Canada, approved by His Excellency the Governor-General in Council, on
the 27th May, 1868._
Public-domain text, read in full here on John Shaqi.
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