Royalty Software

Royalty Software in Music

Once upon a time, book royalty contracts stipulated royalties based on a simple percentage of all books “sold,” and royalty accounting was a minor part of a publisher’s overall accounting workflow. If 10,000 books sold in a year, and the author’s contract stipulated a royalty rate of 20%, the publisher would cut a check for $2,000. That simplicity is long gone.
In today’s bookselling landscape, even the most simple book contracts involve a mind-boggling number of calculations. In each of the basic categories of hardcover, trade paperback, and mass-market paperback, there are separate calculations for print, e-book (both wholesale and agency), physical book (again, both wholesale and agency). Each of these specific segments of a book’s sale demands its own royalty calculation. In practice, a single book can span several of these sales categories.
On top of this segmentation between “types” of sales, the majority of book contracts involve sales thresholds, or “escalators.” These allow for a separate and differing royalty rates to be paid, depending on the numbers of books sold. For example, an initial royalty rate may be set on the first 10,000 sales of a book. Once that benchmark is hit, a separate rate – an “escalator” – may kick in.
Keeping on top of royalty contracts is critical for publishers, for both profitability and regulatory compliance. However, without an efficient way to run the major bookkeeping operations involved, managing royalties can eat into time that should be spent on finding great new books to bring to market, and working with authors to do so. Publishers need specific tools to manage royalty processing, so that they can focus on the core functions of their business. This is why dedicated royalty processing software is becoming ubiquitous in publishing, for organizations large and small.
How Good Royalty Software Works
Good royalty management software supports multiple or unlimited royalty recipients per contract, and author splits, so that managing dozens or hundreds of royalty recipients per contract is automated. Many books attribute royalties to more than one author, and publishers can’t spend time hammering out separate royalty amounts for multiple authors on a single contract. Flexibility in parceling out royalties can be a huge time-saver in the long run, and the ability to slice up royalty calculations in many ways within a single contract is one of the very first, and most time-saving benefits of using royalty software. In addition, royalty contracts will typically have clauses for when books get sold at discount prices. Given that so many books do end up with a discounted retail price, automatically re-calculating royalty rates based on final sale price is another area in which royalty software proves it’s worth. A good royalty management system will be able to easily incorporate any changes in actual sale price of a book; and if at a later point an author wants to pore through their royalty earnings, data on when discount prices were set, and how they affected royalty payments, is all documented.

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Southbank targets new audiences with UK’s biggest classical music programme

Pioneering initiatives to draw young people to classical concerts are among hundreds of events planned by London’s Southbank Centre in the UK’s biggest classical music programme.

One-hour orchestral performances on Sunday afternoons will offer bite-size tastings of classical fare, drinks will be allowed into more informal events and audiences will be brought closer to musicians by means of a walk-through video installation simulating being on stage with a “virtual” Philharmonia Orchestra.
A raft of such projects, along with concerts by some of the world’s foremost classical musicians, have been announced by the Southbank and its resident orchestras for its 2011/12 season in the Royal Festival Hall, Queen Elizabeth Hall, Purcell Room and other areas.
Despite buoyant box office figures for its current season, the UK’s largest arts centre is all too aware that classical concerts primarily attract older audiences, and it is reaching out to new audiences, breaking down perceptions of what classical music concerts mean.
Marshall Marcus, the Southbank’s head of music told the Guardian: “We have audiences who come regularly and have a great time, but we’re perfectly aware that classical music can sometimes have an image that’s too rigid -– that you have to know the music and have to be careful when you clap or cough.”
Noting that younger audiences can be wooed partly through younger performers, he added: “The stage should be a mirror of society.”
While the Orchestra of the Age of Enlightenment will analyse pieces of music to make them more accessible ahead of their performance, the Philharmonia Orchestra will perform its latest digital project, an “immersive” multimedia performance Holst’s The Planets.
It follows the success of its innovative 2009 Rite of Spring performance, which drew packed audiences in the UK. It has just been performed in Lisbon, where it attracted 14,000 people over a fortnight.
The orchestra has also launched Philharmonia Digital, a new company to expand its digital projects. Richard Slaney, its head, said: “It’s a way of exciting [young people] about classical music.”
Among more conventional concerts, the Southbank has scored a particular coup in securing a rare visit from the revered Claudio Abbado to conduct Bruckner’s Symphony No 5 and other works with the Lucerne Festival Orchestra. Sir Simon Rattle will conduct the Orchestra of the Age of Enlightenment in rare period instrument performances of Debussy’s seminal Prélude à l’Après-midi d’un Faune and La Mer.
The Venezuelan sensation Gustavo Dudamel and the Simón Bolívar Symphony Orchestra of Venezuela return for a week-long residency following their 2009 visit which drew 60,000 visitors to the Royal Festival Hall. The musicians are products of El Sistema, Venezuela ‘s revolutionary social programme which engages more than 350,000 young people in music, many of them from underprivileged backgrounds. (original link)

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Journey With an Orchestra

We have been touring with the Orchestra of the Americas for a month and a half now. It has been really fun but I believe a lot of the musicians are getting really tired of traveling- including myself. We learned the different cultures, how to play their music , some of us learned how to dance, and some just watched- all this thanks to classical music. We are on this tour to play classical music mainly, but in our free time anything could’ve happen. We all went sightseeing. The tour visited 4 countries; Colombia, Peru, Ecuador and Brazil. In this countries we shared unforgettable moments with our colleagues, coaches and specially guest artists. We were lucky enough to meet Joshua Bell and party with him- also with Ilya Gringolts (Russian violinist) who played with us a few concerts in Brazil and, composer in residence Philip Glass for whom we had the honor to record his cello concerto. I think those memories will be in our minds for a long time if not forever. As classical musicians, when we get to be with the big guys and work closely with them- you feel like all these years worth of practice are finally paying off. It is the end of the tour but not the end of our careers. We will look forward to the next time we get to do this again and play with people like them-it is a great learning process for all of us. We can watch and listen closely so that one day we can be like them.

Many bad things happened but I believe good things dominate the tour. The worse thing was when the staff of the orchestra sent home one of the cellist due to his behavior but the best thing was how we interact as musicians from 20 different countries and learn a little bit from each other. Our different ways of music interpretation became one to form a unique sound, the orchestra of the america’s sound. We all have new friends for the rest of our lives that share the same passion, the same love. It is such a small world that when you meet a fellow musician you are 95% sure that he will know someone you also know. You might find out that you have lots of mutual friends on Facebook, it’s crazy! And it is because it is a small world that we have to maintain it unified ! We own the classical music world and we have to protect it and promote it so that people can learn art- and enjoy art.

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Franz Joseph Haydn

Franz Joseph Haydn

Franz Joseph Haydn

Franz Joseph Haydn (31 March 1732 – 31 May 1809), known as Joseph Haydn was an Austrian composer, one of the most prolific and prominent composers of the Classical period. He is often called the “Father of the Symphony” and “Father of the String Quartet” because of his important contributions to these forms. He was also instrumental in the development of the piano trio and in the evolution of sonata form.A life-long resident of Austria, Haydn spent much of his career as a court musician for the wealthy Hungarian aristocratic Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, “forced to become original”.At the time of his death, he was one of the most celebrated composers in Europe.Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor. He was also a close friend of Wolfgang Amadeus Mozart and a teacher of Ludwig van Beethoven.

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Jacob Clemens non Papa

Jacobus Clemens non Papa (also Jacques Clément or Jacob Clemens non Papa) (c. 1510 to 1515 – 1555 or 1556) was a Flemish composer of the Renaissance based for most of his life in Flanders.He was a prolific composer in many of the current styles, and was especially famous for his polyphonic settings of the psalms in Dutch known as the Souterliedekens.

Jacob Clemens non Papa

Nothing is known of his early life, and even the details of the years of his artistic maturity are sketchy. He may have been born in Middelburg, Zeeland, though the evidence is contradictory; certainly he was from somewhere in modern Belgium or the Netherlands. The first unambiguous reference to him is from the late 1530s, when Pierre Attaingnant published a collection of his chansons in Paris.

Between March 1544 and June 1545 he worked as succentor at the cathedral of Bruges, and shortly thereafter he began a business relationship with Tielman Susato, the publisher in Antwerp, which was to last for the rest of his life. From 1545 until 1549 he was probably choirmaster to Philippe de Croy, Duke of Aerschot, one of Charles V’s greatest generals, where he preceded Nicolas Gombert. In 1550 he was employed as sanger ende componist (“singer and composer”) by the Marian Brotherhood in ‘s-Hertogenbosch. There is also evidence that he lived and worked in Ypres and Leiden. It is speculated on slender evidence that he also worked in Dordrecht.

There are several theories regarding the origin of the epithet “non Papa”. One holds that it was jokingly added by his publisher, Susato, to distinguish him from Pope Clement VII—”Jacob Clemens—but not the Pope.” Another states that it is to distinguish him from Jacobus Papa, a poet also from Ypres. However, considering that Pope Clemens VII died in 1534, before any of Clemens’s music was published, and that the confusion with the poet is unlikely in that the surnames were quite distinct, it is likely that the nickname was merely created in jest rather than for practical reasons. Nonetheless, the suffix has remained throughout the ages.

Details about his death are not known, but he probably died in 1555 or 1556. The 1558 text in Jacobus Vaet’s Continuo lacrimas, his deploration on Clemens’s death, suggests that he met a violent end, though if true, the circumstances are not given. According to a 1644 source, Clemens was buried at Diksmuide near Ypres in present-day Belgium.

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Adrian Willaert

Adrian Willaert (c. 1490 – 7 December 1562) was a Flemish composer of the Renaissance and founder of the Venetian School. [1] He was one of the most representative members of the generation of northern composers who moved to Italy and transplanted the polyphonic Franco-Flemish style there.
He was probably born at Bruges, although a secondary source has suggested Roeselare. According to his student, the renowned late 16th century music theorist Gioseffo Zarlino, Willaert went to Paris first to study law, but instead decided to study music. In Paris he met Jean Mouton, the principal composer of the French royal chapel and stylistic compatriot of Josquin des Prez, and studied with him.
Sometime around 1515 Willaert first went to Rome. An anecdote survives that indicates the musical ability of the young composer: Willaert was surprised to discover the choir of the papal chapel singing one of his own compositions, most likely the six-part motet Verbum bonum et suave, and even more surprised to learn that they thought it had been written by the much more famous composer Josquin. When he informed the singers of their error – that he was in fact the composer – they refused to sing it again. Indeed Willaert’s early style is very similar to that of Josquin, with smooth polyphony, balanced voices and frequent use of imitation.
In July 1515, Willaert entered the service of Cardinal Ippolito I d’Este of Ferrara. Ippolito was a traveler, and Willaert likely accompanied him to various places, including Hungary, where he likely resided from 1517 to 1519. When Ippolito died in 1520, Willaert entered the service of Duke Alfonso of Ferrara. In 1522 Willaert had a post at the court chapel of Duke Alfonso; he remained there until 1525, at which time records show he was in the employ of Ippolito II d’Este in Milan.
Willaert’s most significant appointment, and one of the most significant in the musical history of the Renaissance, was his selection as maestro di cappella of St. Mark’s at Venice. Music had languished there under his predecessor, Pietro de Fossis, but that was shortly to change. The Venetian Doge Andrea Gritti had a rather large hand in Willaert’s appointment to the position of maestro di cappella at St. Mark’s.
From his appointment in 1527 until his death in 1562, he retained the post at St. Mark’s.[4] Composers came from all over Europe to study with him, and his standards were high both for singing and composition.
During his previous employment with the dukes of Ferrara, he had acquired numerous contacts and influential friends elsewhere in Europe, including the Sforza family in Milan; doubtless this assisted in the spread of his reputation, and the consequent importation of musicians from foreign countries into northern Italy. In Ferrarese court documents, Willaert is referred to as “Adriano Cantore”.[5] In addition to his output of sacred music as the director of St. Mark’s, he wrote numerous madrigals, a secular form; he is considered a Flemish madrigal composer of the first rank.
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How can you write arpeggiated chords on the Mozart Notation Software?

I can’t seem to find a way to arpeggiate my chords on Mozart.

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Does listening to Mozart really stimulate the mind?

I’ve heard about studies where listening specifically to Mozart helps stimulate the mind. I’m a little confused. Why Mozart? Why not someone else? What quality of music is specifically in Mozart’s music that stimulates the mind? Does ALL of his music stimulate the mind? His operas? His sonatas? His symphonies?

Secondly, but probably most importantly, how does it stimulate the mind to begin with? As in, what’s going to happen to your mind if you listen to "Mozart" more?

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What's the difference between Mozart, Beethoven, and Bach's music?

I know all of it is classical and I haven’t really listened to any of it except for Mozart. I was wondering how you would be able to tell the difference between all of their music. Do you like this kind of music? If you do, who do you like most?

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What was the first instrument that Mozart learnt to play?

In a lot of paintings depicting young Mozart sat at a clavier, does anybody know if it is a harpsichord or a clavichord?

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