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Scan 198
Harvard Dictionary Of Music(1950), 1950
21 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1COPYRIGHT
3(no line here) one of two readings
4allows: in the case of a dramatico-musical or a choral or orchestral composition, $100 for the first and $50 for every subsequent infringing performance; in the case of other musical compositions, $10 for every infringing performance [Sec. 25]; but in no case shall such damages be less than $250.
6The copyright secured by the Act of March 4, 1909 shall endure for 28 years from the date of first publication, but usually within one year prior to the expiration of the original term the proprietor of the copyright, or the composer and his heirs, can apply for extension for a further 28 years [Sec. 23]. The revised Berne Convention Art. 7 suggests the legal protection of the author for his lifetime and 50 years further. The British Copyright Act of 1911, effective since July 1, 1912, follows this suggestion.
8After the First World War an act was approved on December 18, 1919, in order to protect authors who in consequence of the war had not been able to secure copyright in U. S. A. Under similar conditions the recent amendment of September 25, 1941 [cf. supra I] authorizes the President to proclaim an extension of time for authors and proprietors of copyrightable works to comply with the conditions of the American Copyright Law in cases where they were unable to do so because of the disruption or suspension of facilities essential for such compliance.
10The developments of the last decades, particularly the increase of musical performances by broadcasting and recordings, make it almost impossible for the single author or proprietor to adequately protect his rights in individual capacity. Consequently, collective musical organizations have been established in most countries. The leading American organization is the American Society of Composers, Authors and Publishers (ASCAP). See G. H. Thring, "The Copyright of the Composer" (ML i, no. 4).
12IV. The need for legal protection of copyright passes national boundaries. Scarcely any branch of modern law is subject to international regulations in a like degree to copyright. Several international conferences and numerous international treaties are the signposts of this development.
14(1) The first Convention of Berne creating an International Union for the protection of literary and artistic works went into operation September 9, 1886. Three conferences followed, one at Paris (1896), one at Berlin (1908), the third at Rome (1928). The revised text of the Rome conference was signed by delegates of 28 countries [cf. Solberg, Miscellany, No. 7]. The United States has not as yet joined this Copyright Union although many attempts in that direction have been made in recent years. (About recent bills of 1925, 1930, 1935, 1937 cf. Solberg, Miscellany, nos. 7 and 15.)
16(2) A special series of agreements has been entered into by the United States and South- and Central-American countries, known under the designation of Pan-American Copyright Conventions. Only two of these Conventions were ratified by the United States, namely, the Second Convention, signed at Mexico City on January 27, 1902 (proclaimed in 1908), and the fourth Convention, signed at Buenos Aires on August 11, 1910 (proclaimed July 13, 1914). The latter practically supersedes the former, and is in effect between the United States and the following Latin-American countries: Brazil, Colombia, Costa Rica, Dominican Republic, Ecuador, Guatemala, Haiti, Honduras, Nicaragua, Panama, Paraguay, Peru, and Uruguay.
18(3) International copyright can be secured by individual treaties between single states, such as the treaties between the United States and China (1903), Japan (1906, 1908), Hungary (1912), Siam (1920).
20(4) The law of the United States provides that, even without a treaty, mutual protection of copyright (reciprocity) can be acknowledged by a proclamation of the President. The copyright secured by the Act of 1909 extends to the work of an author or proprietor who is a citizen or subject of a foreign state or nation, when the foreign state or nation grants to citizens of the United States the benefit of
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