THE COMPOSERS' PLIGHT

 In 2016, the complete original manuscript of Gustav Mahler’s Symphony No. 2 in C Minor was sold at auction in London for US $5.68 Million – the highest price ever paid for a musical score. (you can read more on it here by following this link: https://theviolinchannel.com/mahler-manuscript-symphony-2-record-auction-sothebys/ ). On the other hand, ‘supposed’ musicians in ‘our part of the world’ find it problematic for their colleague musicians – composers – to sell their music sheets.

Most at times, individuals are awarded, without any regard to their coaches – the people who helped them achieve what they are being awarded for. Similarly, people perform the works of composers, some perform for a fee, and find it difficult to understand it when composers want to sell their music.

Music is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes, or as an entertainment product for the marketplace. When music was only available through sheet music scores, such as during the Classical and Romantic eras, music lovers would buy the sheet music of their favorite pieces and songs so that they could perform them at home or at functions.

If you know that music is not just about performing, and also understands the concept of ‘musicians understanding their music territory’, (read more on ‘Understanding Your Music Territory’ by following the link: http://nanakrhythms.blogspot.com/2016/11/understand-your-territory.html ) you will know that the music theorist analyses concepts and findings from the ethnomusicologist, after which the composer creates from these concepts, findings, or ideas. The music/song teacher then teachers the music created by the composer to a choir or other musicians. Other performers, who can learn on their own, such as singers, conductors and instrumentalist, also learn to perform. Finally, the music is staged by either a choir and a conductor or instrumentalists.

The ethnomusicologist’s and theorist’s works are published for sale. The music/song teacher is paid for teaching a choir. The organists are paid for learning the music and accompanying the choir while they perform. Other performers, such as trumpeters, guitarists, vocalists are remunerated. A professional conductor/director also receives a stipend. But it is very pathetic to know that people frown on composers making money from their works, which most of the above musicians make money from.

Once a friend suggested that composers should always stage their works and make money from it; but I strongly opposed this idea because not all composers are performers. The fact that you can transcribe music doesn’t make you a composer. The fact that you beat drums doesn’t mean you are a drummer. There have been several occasions where performers (choirs, organists, etc) have performed the works of composers very well done what the composer himself wanted to communicate. And so, the fact that you are a composer doesn’t make you are a good performer of your own works. I asked him whether what he said meant that if you are a composer and not a performer, as well, can’t you make money or a living from your works? He still haven’t given me an answer.

Composition is the act or practice of creating a song, an instrumental music piece, a work with both singing and instruments, or another type of music. In many cultures, including Western classical music, the act of composing also includes the creation of music notation, such as a sheet music "score", which is then performed by performers (singers, instrumentalist, conductors, etc ). In popular music and traditional music, the act of composing, which is typically called songwriting, may involve the creation of a basic outline of the song, called the lead sheet, which sets out the melody, lyrics and chord progression. In classical music, the composer typically orchestrates her own compositions, but in musical theatre and in pop 

music, songwriters may hire an arranger to do the orchestration. In some cases, a songwriter may not use notation at all, and instead compose the song in her mind and then play or record it from memory.

Once, a friend recounts when his father had registered for a Law program in Europe and the materials he was to receive from the school for his exams hadn’t arrived. He dared not photocopy a colleague’s book, neither to even ask of a soft copy from his colleagues; it was a breach of the author’s copyright, and they uphold it very much. According to the American copyright laws, choirs are to purchase copies of music sheets and use. If a choir accidentally forgets to carry its legally acquired scores for a concert, permission is sorted for the choir to photocopy scores, which are subject to destruction right after the show. 

In ‘our part of the world’, we are still learning, it will take a little time, but we need to learn well and fast. Self-duplication of music scripts had been the order of the day, from Genesis. ‘So-called’ musicians find nothing wrong in sharing the works of co-musicians on social media platforms but they find it wrong when composers want to sell their works. Purposeful platforms have been created for the circulation of composers’ works, with or without their knowledge. Some ‘professional composers’ of our time have begun

  compiling their works for publishing and sale; such a great move that up-coming ‘professional composers’ must follow. Musicians run to purchase the ideas of visual artists put on paper, with paint, but will quickly criticize ‘sound artists’ (musicians) for putting down that same ideas on paper, with sounds.

Not long ago, it was so pathetic to witness, on a social media platform of virtuosos and maestros, a ‘so-called’ musician requesting for a ‘pictured-score’ from a book that was being launched on the same night when it was been launched. Even when others asked him to stop, he found nothing wrong with that.

We, musicians, should not be ignorant in our own field; we should get it right. The fact that somebody is working for free doesn’t mean everybody must do the same work for free. If some musicians find it as a pleasure to compose for free, composers who make a living from their works should not be mocked at, especially by their colleagues. The fact that you can put two pitches together doesn’t make you a composer, composition goes a very ‘long way’ as it is seen by most people.

Composers are encouraged to give out their best and quality produce. As many good composers or ‘professional composers’ who want to make a living from their quality works are also encouraged to write, compile, and publish. No SERIOUS musician, who is well informed that music can be a hobby or a profession, will condemn a co - musician who want to make a living from being a musician – whether being an ethnomusicologist, theorist, composer, song teacher, vocalist, instrumentalist, etc. All musicians aren’t equal, there are different music territories and at least somebody who calls himself a music should identify himself with one. Let us not belittle the efforts of composers; for without composers, most of us who are performers will get nothing to perform and generate income from.