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17 Bull. Copyright Soc'y U.S.A. 311 (1969-1970)
Copyright Registration for Aleatory and Indeterminate Musical Compositions

handle is hein.journals/jocoso17 and id is 339 raw text is: Keziah. Aleatory and Indeterminate Music. 311 PART I. ARTICLES 131. COPYRIGHT REGISTRATION FOR ALEATORY AND INDETERMINATE MUSICAL COMPOSITIONS By DOROTHY PENNINGTON KEZIAH Introduction The creative activity of artists in general and musicians in par- ticular responds to and reflects the social, political, technical, and philo- sophical climate of the society in which they live. Changes in the thought patterns of this society and shifts in values result in changes in the forms of their artistic expression. These new forms frequently create new copy- right problems. The purpose of this paper is to discuss the development of two new forms of musical expression, aleatory and indeterminate musical compo- sitions, and the problems they present with respect to copyright registration. Aleatory and indeterminate musical compositions should be dis- tinguished from a number of other new forms of musical expression, namely, tape studio music (electronic, concrete, and tape-music), syn- thesizer music, and computer-produced mechanical music. Although the period of ultrapurism in avant-garde music is pretty well finished and various musical forms are, particularly in recent works, now being freely combined in a single work, a number of basic distinctions may still be drawn. Aleatory and indeterminate compositions are essentially works in which the sounds are produced live by live performers during the course of a live performance. The other three forms of music involve tape recorded sounds, i.e., sounds that the composer, with the aid of electrical equipment, has arranged and prepared for performance on two or more tracks of magnetic tape (or a disc copy of the original tape) and specifically designed to be heard through loud-speakers. The three methods of Head, Music Section, Examining Division, Copyright Office. The views expressed in this article are those of the author, and do not necessarily represent the official position of the Copyright Office.

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