Copyright - Revision history

Martinwguy: /* Copyright owners */

2021-12-23T13:57:53Z

← Older revision		Revision as of 13:57, 23 December 2021
Line 16:		Line 16:
	Recent EU legislation<ref>[https://en.wikipedia.org/wiki/Orphan_Works_Directive EU Proposal for a Directive on Orphan Works (2009)]</ref> puts anything into the public domain as an "orphan work" if the people or organisations owning them cannot be traced by a "good faith, due diligence search".		Recent EU legislation<ref>[https://en.wikipedia.org/wiki/Orphan_Works_Directive EU Proposal for a Directive on Orphan Works (2009)]</ref> puts anything into the public domain as an "orphan work" if the people or organisations owning them cannot be traced by a "good faith, due diligence search".

	The referent for Delia's unpublished music is her ''de facto'' heir, sometimes referred to as "The Delia Derbyshire Estate", who is [[Clive Blackburn]].<ref>The London Gazette Notice on [[77 Cambridge Street]].</ref> It would have belonged to her husband, [[David Hunter]], who she married in 1974 and never divorced. Clive Blackburn said in 2005 that “After she died we advertised for him to come forward but he never did.”<ref>The [[Mail on Sunday article]].</ref> and [[Brian Hodgson]] said in 2008 that		The referent for Delia's unpublished music is her ''de facto'' heir, sometimes referred to as "The Delia Derbyshire Estate", who is [[Clive Blackburn]].<ref>The London Gazette Notice on [[77 Cambridge Street]].</ref> It would have belonged to her husband, [[David Hunter]], who she married in 1974 and never divorced, but he had died in 1998.<ref name=FS>[https://www.familysearch.org/tree/person/details/G44L-BNP David Hunter's entry in the Mormon Family Search database]</ref>
	~~“The husband didn't reappear on her death.~~
	~~I don’t think anyone really knew how to get hold of him~~, but ~~there was~~
	~~enough publicity, if he wanted to make himself known, to have made himself~~
	~~known.”<ref>Brian Hodgdon interviewed for [[Breege Brennan's thesis]], 4th August 2008.</ref>~~
	~~In fact, that was because~~ he died in 1998.<ref name=FS>[https://www.familysearch.org/tree/person/details/G44L-BNP David Hunter's entry in the Mormon Family Search database]</ref>

	=UK law=		=UK law=

Martinwguy: /* Copyright owners */

2021-12-23T13:56:55Z

← Older revision		Revision as of 13:56, 23 December 2021
Line 21:		Line 21:
	enough publicity, if he wanted to make himself known, to have made himself		enough publicity, if he wanted to make himself known, to have made himself
	known.”<ref>Brian Hodgdon interviewed for [[Breege Brennan's thesis]], 4th August 2008.</ref>		known.”<ref>Brian Hodgdon interviewed for [[Breege Brennan's thesis]], 4th August 2008.</ref>
			In fact, that was because he died in 1998.<ref name=FS>[https://www.familysearch.org/tree/person/details/G44L-BNP David Hunter's entry in the Mormon Family Search database]</ref>

	=UK law=		=UK law=

Martinwguy at 13:15, 17 April 2020

2020-04-17T13:15:03Z

← Older revision		Revision as of 13:15, 17 April 2020
Line 65:		Line 65:
	=References=		=References=
	<references/>		<references/>

			[[Category:WikiDelia]]

Martinwguy: /* UK law */

2019-01-17T00:59:46Z

UK law

← Older revision		Revision as of 00:59, 17 January 2019
Line 24:		Line 24:
	=UK law=		=UK law=
	In the UK, the term of copyright in a musical composition is limited to the life of the author plus 70 years, while the term of copyright in a sound recording is limited to 50 or 70 years depending on the date of recording.		In the UK, the term of copyright in a musical composition is limited to the life of the author plus 70 years, while the term of copyright in a sound recording is limited to 50 or 70 years depending on the date of recording.
	UK copyright law changed in November 2013 extending terms of copyright in sound recordings non-retroactively from 50 to 70 years. Under this new law recordings made in 1963 or later remain in copyright until 1st January 2034 while recordings made in 1962 or before are in the public domain.<ref name=OMAFAQ>[http://www.openmusicarchive.org/faq.php The Open Music Archive's FAQ].</ref>		UK copyright law changed in November 2013 extending terms of copyright in sound recordings non-retroactively from 50 to 70 years. Under this new law, recordings made in 1963 or later remain in copyright until 1st January 2034 while recordings made in 1962 or before are in the public domain.<ref name=OMAFAQ>[http://www.openmusicarchive.org/faq.php The Open Music Archive's FAQ].</ref>

	The tracks that Delia recorded in 1962 are [[Mattachin]], [[Towards Tomorrow]], [[Time On Our Hands]], [[City Music]], [[Science Serves the Arts]], [[Arabic Science and Industry]] and [[Closed Planet]].		The tracks that Delia recorded in 1962 are [[Mattachin]], [[Towards Tomorrow]], [[Time On Our Hands]], [[City Music]], [[Science Serves the Arts]], [[Arabic Science and Industry]] and [[Closed Planet]].

Martinwguy at 00:57, 17 January 2019

2019-01-17T00:57:15Z

← Older revision		Revision as of 00:57, 17 January 2019
Line 14:		Line 14:
	Any of Delia's work that was specifically commissioned by BBC programme producers is copyright to that body. Works created for other bodies outside the BBC are usually copyrighted to whoever commissioned them though, in a few cases, the rights for all uses other than the specific commission were retained by [[Kaleidophon]], [[Unit Delta Plus]] or [[Electrophon]]. The situation for non-BBC works in which Delia reused her own sounds or makeup tracks, originally created for BBC works, to make other pieces, is debatable.		Any of Delia's work that was specifically commissioned by BBC programme producers is copyright to that body. Works created for other bodies outside the BBC are usually copyrighted to whoever commissioned them though, in a few cases, the rights for all uses other than the specific commission were retained by [[Kaleidophon]], [[Unit Delta Plus]] or [[Electrophon]]. The situation for non-BBC works in which Delia reused her own sounds or makeup tracks, originally created for BBC works, to make other pieces, is debatable.

	Recent EU legislation<ref>[~~http~~://ec.~~europa~~.eu/~~internal_market~~/~~copyright/orphan_works/index_en.htm~~ EU Proposal for a Directive on Orphan Works (2009)]</ref> puts anything into the public domain as an "orphan work" if the people or organisations owning them cannot be traced by a "good faith, due diligence search".		Recent EU legislation<ref>[https://en.wikipedia.org/wiki/Orphan_Works_Directive EU Proposal for a Directive on Orphan Works (2009)]</ref> puts anything into the public domain as an "orphan work" if the people or organisations owning them cannot be traced by a "good faith, due diligence search".

	The referent for Delia's unpublished music is her ''de facto'' heir, sometimes referred to as "The Delia Derbyshire Estate", who is [[Clive Blackburn]].<ref>The London Gazette Notice on [[77 Cambridge Street]].</ref> It would have belonged to her husband, [[David Hunter]], who she married in 1974 and never divorced. Clive Blackburn said in 2005 that “After she died we advertised for him to come forward but he never did.”<ref>The [[Mail on Sunday article]].</ref> and [[Brian Hodgson]] said in 2008 that		The referent for Delia's unpublished music is her ''de facto'' heir, sometimes referred to as "The Delia Derbyshire Estate", who is [[Clive Blackburn]].<ref>The London Gazette Notice on [[77 Cambridge Street]].</ref> It would have belonged to her husband, [[David Hunter]], who she married in 1974 and never divorced. Clive Blackburn said in 2005 that “After she died we advertised for him to come forward but he never did.”<ref>The [[Mail on Sunday article]].</ref> and [[Brian Hodgson]] said in 2008 that

Martinwguy: Undo mess

2019-01-17T00:53:57Z

Undo mess

← Older revision		Revision as of 00:53, 17 January 2019
Line 3:		Line 3:
	If it is true that the common good is damaged by those who find a treasure and		If it is true that the common good is damaged by those who find a treasure and
	do not share it, but hide it away and do not enrich the world with it as they should, then I would have made a greater error if I, having in my hands the		do not share it, but hide it away and do not enrich the world with it as they should, then I would have made a greater error if I, having in my hands the
	~~papers~~ of Delia Derbyshire, which are a musical treasure, had not brought them to light to be seen by many people who, by means of this work, are sure to be enlightened and enriched. Thus, to avoid this sin, I have resolved to publish		works of Delia Derbyshire, which are a musical treasure, had not brought them to light to be seen by many people who, by means of this work, are sure to be enlightened and enriched. Thus, to avoid this sin, I have resolved to publish
	these ~~papers~~ which until now have been hidden away merely because their custodian, out of modesty and humility, shuns the glare of publicity.		these works which until now have been hidden away merely because their rightful custodian, out of modesty and humility, shuns the glare of publicity.
	Thus I have become his intermediary, out of love for humanity and respect for		Thus I have become his intermediary, out of love for humanity and respect for
	their author, in such a way that he might remain in his privacy and at the		their author, in such a way that he might remain in his privacy and at the
	same time the world might not be defrauded of so much good.		same time the world might not be defrauded of so much good.
	</BLOCKQUOTE>		</BLOCKQUOTE>
	[paraphrased from [http://~~www.~~freaknet.org/martin/libri/Trattato Trattato della Religione], 1592]		[paraphrased from [http://freaknet.org/martin/libri/Trattato Trattato della Religione], 1592]
	~~----~~
	~~All of Delia's work that was specifically commissioned by the BBC will be in BBC copyright for eternity.<ref>Since 1955, copyright terms have been extended by 20 years once every 20 years.</ref>~~

	~~I am told~~ that ~~the~~ BBC is ~~claiming~~ that other ~~pieces of Delia's~~, in ~~which she used~~ a ~~sound originally created~~ for ~~a BBC piece~~, or ~~that were realised using~~ BBC ~~equipment~~, ~~are also covered by~~ BBC ~~copyright~~, ~~both of which are absurd~~.		=Copyright owners=
			Any of Delia's work that was specifically commissioned by BBC programme producers is copyright to that body. Works created for other bodies outside the BBC are usually copyrighted to whoever commissioned them though, in a few cases, the rights for all uses other than the specific commission were retained by [[Kaleidophon]], [[Unit Delta Plus]] or [[Electrophon]]. The situation for non-BBC works in which Delia reused her own sounds or makeup tracks, originally created for BBC works, to make other pieces, is debatable.

	Works commissioned by other entities, such as theatre effects and film music, is copyright to whoever paid of it or, in some cases, the eternal rights were retained by [[Kaleidophon]], [[Unit Delta Plus]] or [[Electrophon]]. Recent EU legislation<ref>[http://ec.europa.eu/internal_market/copyright/orphan_works/index_en.htm EU Proposal for a Directive on Orphan Works (2009)]</ref> puts ~~them~~ into the public domain as "orphan ~~works~~" if the people or organisations owning them cannot be traced by a "good faith, due diligence search".		Recent EU legislation<ref>[http://ec.europa.eu/internal_market/copyright/orphan_works/index_en.htm EU Proposal for a Directive on Orphan Works (2009)]</ref> puts anything into the public domain as an "orphan work" if the people or organisations owning them cannot be traced by a "good faith, due diligence search".

	Delia's unpublished music ~~belongs to~~ her ~~and hence~~ to ~~her heir [[~~The Delia Derbyshire Estate]], ~~currently~~ [[Clive Blackburn]].<ref>[[~~77_Cambridge_Street~~]]</ref>		The referent for Delia's unpublished music is her ''de facto'' heir, sometimes referred to as "The Delia Derbyshire Estate", who is [[Clive Blackburn]].<ref>The London Gazette Notice on [[77 Cambridge Street]].</ref> It would have belonged to her husband, [[David Hunter]], who she married in 1974 and never divorced. Clive Blackburn said in 2005 that “After she died we advertised for him to come forward but he never did.”<ref>The [[Mail on Sunday article]].</ref> and [[Brian Hodgson]] said in 2008 that
			“The husband didn't reappear on her death.
			I don’t think anyone really knew how to get hold of him, but there was
			enough publicity, if he wanted to make himself known, to have made himself
			known.”<ref>Brian Hodgdon interviewed for [[Breege Brennan's thesis]], 4th August 2008.</ref>

			=UK law=
			In the UK, the term of copyright in a musical composition is limited to the life of the author plus 70 years, while the term of copyright in a sound recording is limited to 50 or 70 years depending on the date of recording.
			UK copyright law changed in November 2013 extending terms of copyright in sound recordings non-retroactively from 50 to 70 years. Under this new law recordings made in 1963 or later remain in copyright until 1st January 2034 while recordings made in 1962 or before are in the public domain.<ref name=OMAFAQ>[http://www.openmusicarchive.org/faq.php The Open Music Archive's FAQ].</ref>

			The tracks that Delia recorded in 1962 are [[Mattachin]], [[Towards Tomorrow]], [[Time On Our Hands]], [[City Music]], [[Science Serves the Arts]], [[Arabic Science and Industry]] and [[Closed Planet]].

	=EU law=		=EU law=
	~~==EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society==~~		The ''EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society, 22 May 2001''<ref name=EU2001>[http://eur-lex.europa.eu/LexUriServ/LexUriServ.do?uri=CELEX:32001L0029:EN:NOT EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society, 22 May 2001]</ref>
	The ''EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society, 22 May 2001'' <ref name=EU2001>[http://eur-lex.europa.eu/LexUriServ/LexUriServ.do?uri=CELEX:32001L0029:EN:NOT EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society, 22 May 2001]</ref>
	affords to authors, performers, phonogram producers, film makers and broadcasting organisations:		affords to authors, performers, phonogram producers, film makers and broadcasting organisations:
	<BLOCKQUOTE>		<BLOCKQUOTE>
Line 28:		Line 36:
	and, to the same five groups		and, to the same five groups
	<BLOCKQUOTE>		<BLOCKQUOTE>
	the exclusive right to authorise or prohibit (authors:) communication or (the other four:) the making available to the public of their works.		the exclusive right to authorise or prohibit (for authors:) communication or (for the other four:) the making available to the public of their works.
	</BLOCKQUOTE>		</BLOCKQUOTE>

Martinwguy: Reverted edits by Martinwguy (talk) to last revision by Admin

2019-01-17T00:52:15Z

Reverted edits by Martinwguy (talk) to last revision by Admin

← Older revision		Revision as of 00:52, 17 January 2019
Line 3:		Line 3:
	If it is true that the common good is damaged by those who find a treasure and		If it is true that the common good is damaged by those who find a treasure and
	do not share it, but hide it away and do not enrich the world with it as they should, then I would have made a greater error if I, having in my hands the		do not share it, but hide it away and do not enrich the world with it as they should, then I would have made a greater error if I, having in my hands the
	~~works~~ of Delia Derbyshire, which are a musical treasure, had not brought them to light to be seen by many people who, by means of this work, are sure to be enlightened and enriched. Thus, to avoid this sin, I have resolved to publish		papers of Delia Derbyshire, which are a musical treasure, had not brought them to light to be seen by many people who, by means of this work, are sure to be enlightened and enriched. Thus, to avoid this sin, I have resolved to publish
	these ~~works~~ which until now have been hidden away merely because their ~~rightful~~ custodian, out of modesty and humility, shuns the glare of publicity.		these papers which until now have been hidden away merely because their custodian, out of modesty and humility, shuns the glare of publicity.
	Thus I have become his intermediary, out of love for humanity and respect for		Thus I have become his intermediary, out of love for humanity and respect for
	their author, in such a way that he might remain in his privacy and at the		their author, in such a way that he might remain in his privacy and at the
	same time the world might not be defrauded of so much good.		same time the world might not be defrauded of so much good.
	</BLOCKQUOTE>		</BLOCKQUOTE>
	[paraphrased from [http://freaknet.org/martin/libri/Trattato Trattato della Religione], 1592]		[paraphrased from [http://www.freaknet.org/martin/libri/Trattato Trattato della Religione], 1592]
			----
			All of Delia's work that was specifically commissioned by the BBC will be in BBC copyright for eternity.<ref>Since 1955, copyright terms have been extended by 20 years once every 20 years.</ref>

	~~=Copyright owners=~~		I am told that the BBC is claiming that other pieces of Delia's, in which she used a sound originally created for a BBC piece, or that were realised using BBC equipment, are also covered by BBC copyright, both of which are absurd.
	~~Any of Delia's work~~ that ~~was specifically commissioned by~~ BBC ~~programme producers~~ is ~~copyright to~~ that ~~body. Works created for~~ other ~~bodies outside the BBC are usually copyrighted to whoever commissioned them though~~, in a ~~few cases, the rights~~ for ~~all uses other than the specific commission were retained by [[Kaleidophon]]~~, ~~[[Unit Delta Plus]]~~ or ~~[[Electrophon]]. The situation for non-~~BBC ~~works in which Delia reused her own sounds or makeup tracks~~, ~~originally created for~~ BBC ~~works~~, ~~to make other pieces, is debatable~~.

	Recent EU legislation<ref>[http://ec.europa.eu/internal_market/copyright/orphan_works/index_en.htm EU Proposal for a Directive on Orphan Works (2009)]</ref> puts ~~anything~~ into the public domain as an "orphan ~~work~~" if the people or organisations owning them cannot be traced by a "good faith, due diligence search".		Works commissioned by other entities, such as theatre effects and film music, is copyright to whoever paid of it or, in some cases, the eternal rights were retained by [[Kaleidophon]], [[Unit Delta Plus]] or [[Electrophon]]. Recent EU legislation<ref>[http://ec.europa.eu/internal_market/copyright/orphan_works/index_en.htm EU Proposal for a Directive on Orphan Works (2009)]</ref> puts them into the public domain as "orphan works" if the people or organisations owning them cannot be traced by a "good faith, due diligence search".

	~~The referent for~~ Delia's unpublished music is her ~~''de facto''~~ heir~~, sometimes referred to as "~~The Delia Derbyshire Estate~~", who is [[Clive Blackburn~~]]~~.<ref>The London Gazette Notice on [[77 Cambridge Street]].</ref> It would have belonged to her husband~~, [[~~David Hunter]], who she married in 1974 and never divorced.~~ Clive Blackburn ~~said in 2005 that “After she died we advertised for him to come forward but he never did.”<ref>The [[Mail on Sunday article]].</ref> and [[Brian Hodgson~~]] ~~said in 2008 that~~		Delia's unpublished music belongs to her and hence to her heir [[The Delia Derbyshire Estate]], currently [[Clive Blackburn]].<ref>[[77_Cambridge_Street]]</ref>
	~~“The husband didn't reappear on her death~~.
	~~I don’t think anyone really knew how to get hold of him, but there was~~
	~~enough publicity, if he wanted to make himself known, to have made himself~~
	~~known.”~~<ref>~~Brian Hodgdon interviewed for~~ [[~~Breege Brennan's thesis~~]]~~, 4th August 2008.</ref>~~

	~~=UK law=~~
	In the UK, the term of copyright in a musical composition is limited to the life of the author plus 70 years, while the term of copyright in a sound recording is limited to 50 or 70 years depending on the date of recording.
	UK copyright law changed in November 2013 extending terms of copyright in sound recordings non-retroactively from 50 to 70 years. Under this new law recordings made in 1963 or later remain in copyright until 1st January 2034 while recordings made in 1962 or before are in the public domain.<ref name=OMAFAQ>[http://www.openmusicarchive.org/faq.php The Open Music Archive's FAQ].</ref>

	The tracks that Delia recorded in 1962 are [[Mattachin]], [[Towards Tomorrow]], [[Time On Our Hands]], [[City Music]], [[Science Serves the Arts]], [[Arabic Science and Industry]] and [[Closed Planet]].

	=EU law=		=EU law=
	The ''EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society, 22 May 2001''<ref name=EU2001>[~~https~~://en.~~wikipedia~~.~~org~~/~~wiki~~/~~Orphan_Works_Directive~~ EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society, 22 May 2001]</ref>		==EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society==
			The ''EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society, 22 May 2001'' <ref name=EU2001>[http://eur-lex.europa.eu/LexUriServ/LexUriServ.do?uri=CELEX:32001L0029:EN:NOT EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society, 22 May 2001]</ref>
	affords to authors, performers, phonogram producers, film makers and broadcasting organisations:		affords to authors, performers, phonogram producers, film makers and broadcasting organisations:
	<BLOCKQUOTE>		<BLOCKQUOTE>
Line 36:		Line 28:
	and, to the same five groups		and, to the same five groups
	<BLOCKQUOTE>		<BLOCKQUOTE>
	the exclusive right to authorise or prohibit (~~for~~ authors:) communication or (~~for~~ the other four:) the making available to the public of their works.		the exclusive right to authorise or prohibit (authors:) communication or (the other four:) the making available to the public of their works.
	</BLOCKQUOTE>		</BLOCKQUOTE>

Martinwguy: /* EU law */

2019-01-17T00:51:37Z

EU law

← Older revision		Revision as of 00:51, 17 January 2019
Line 29:		Line 29:

	=EU law=		=EU law=
	The ''EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society, 22 May 2001''<ref name=EU2001>[~~http~~://~~eur-lex~~.~~europa~~.eu/~~LexUriServ~~/~~LexUriServ.do?uri=CELEX:32001L0029:EN:NOT~~ EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society, 22 May 2001]</ref>		The ''EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society, 22 May 2001''<ref name=EU2001>[https://en.wikipedia.org/wiki/Orphan_Works_Directive EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society, 22 May 2001]</ref>
	affords to authors, performers, phonogram producers, film makers and broadcasting organisations:		affords to authors, performers, phonogram producers, film makers and broadcasting organisations:
	<BLOCKQUOTE>		<BLOCKQUOTE>

Martinwguy: Martinwguy moved page WikiDelia:Copyrights to Copyright over redirect

2019-01-12T18:32:49Z

Martinwguy moved page WikiDelia:Copyrights to Copyright over redirect

← Older revision	Revision as of 18:32, 12 January 2019
(No difference)

Martinwguy: /* EU law */

2016-11-02T11:14:01Z

EU law

← Older revision		Revision as of 11:14, 2 November 2016
Line 29:		Line 29:

	=EU law=		=EU law=
	The ''EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society, 22 May 2001'' <ref name=EU2001>[http://eur-lex.europa.eu/LexUriServ/LexUriServ.do?uri=CELEX:32001L0029:EN:NOT EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society, 22 May 2001]</ref>		The ''EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society, 22 May 2001''<ref name=EU2001>[http://eur-lex.europa.eu/LexUriServ/LexUriServ.do?uri=CELEX:32001L0029:EN:NOT EU Directive on the harmonisation of certain aspects of copyright and related rights in the information society, 22 May 2001]</ref>
	affords to authors, performers, phonogram producers, film makers and broadcasting organisations:		affords to authors, performers, phonogram producers, film makers and broadcasting organisations:
	<BLOCKQUOTE>		<BLOCKQUOTE>