Saturday, May 2, 2009

Final Push

So this week is going to be BUSY. Have the final composition project due, which smashes together music and music theory from about seven wildly different cultures, two orchestrations, which need a lot of work, a final paper, music for a student film (started, but A LOT OF WORK TO DO), and music for a wedding. And I have to clean this sty of an apartment for the woman who's coming in to hear the wedding music. Which isn't really ready. Sigh.

Oh, yeah, and preparation for a possible job. 

All the deadlines are this week and next. 

Strangely, I'm not nervous. So I'm nervous about not being nervous. 

7 comments:

fairyhedgehog said...

That is a lot to do but you sound like you're enjoying it. Good luck with all of it and keep us posted when you've got time.

writtenwyrdd said...

Keep juggling! Sometimes it's fun to have a lot on your plate, but hopefully this bunch of stuff doesn't extend beyond that point!

Whirlochre said...

In the future, there's a flip side where you luxuriate with ice cream.

Hope it all comes together.

moonrat said...

wedding music? who controls the rights to that once you write it?

Robin S. said...

You're not nervous because you know you're there. You got it, girl.

That's my take.

Sarah Laurenson said...

Did you know that fear and excitement feel the same? So it's just a matter of putting our own twist on what our body's feeling.

Here's hoping for a very successful conclusion to your deadlines!

freddie said...

wedding music? who controls the rights to that once you write it?So glad you asked!

In writing music to be performed live, I would control the rights. At least for now. To date I've not sent anything out to music publishers.

For film, it can go either way depending on the project. For low/no/deferred pay films (often the case in independent films and documentaries), often a composer can negotiate holding on to copyright. This way she can re-license it to other filmmakers or what have you.

In Hollywood - especially for big-budget pictures, it's pretty much a given that a composer will compose under a work-for-hire contract. For high-paying gigs, this is fine, as in those cases a composer will make more money than she could hope to by holding on to the copyright.

I haven't worked out the details yet, but I plan to use my own publishing company for the music to which I'm able to hold on to the rights. This is really more for licensing and re-licensing purposes rather than "getting the work out there and heard." It's my understanding it's very common for composers to do that. But I haven't gotten that far yet!

Thanks, everyone! I feel like a heel not responding to everyone individually, but I gotta run. More later, gaters! : )