Friday, March 4th, 11:00am
Scores Publishing and Distribution: Adapting to a Changing Landscape
I. Self-publishing composers. A growing number of today’s composers are distributing their scores from their own websites. Some libraries have begun to adapt their acquisitions workflows accordingly, but a cross-check between reported holdings in WorldCat and self-publishing composers’ websites demonstrates the opportunity and the urgency to do significantly more, especially given that websites themselves are notoriously ill-suited to long-term preservation. And what can composers themselves tell us about the hows and whys of publishing their own work? Some of the answers may surprise.
II. E-scores and e-readers. If the extra effort and expense it takes to download, print, and bind each digitally-born score is not enough of a strain on libraries’ capacities, the challenges in making a digital score available digitally (that is—able to be read, studied, played, and engaged interactively by a musician with some type of e-device) is considerably greater.
III. Traditional publishing. Meanwhile, if the deluge of new releases announced every month by our major score vendors is a reliable indicator, the traditional printing and publishing model is more robust than ever. Will this trend continue, and what are the signs for the future?
- Kent Underwood, New York University
- Lisa Hooper, Tulane University
- Christine Clark, Theodore Front Musical Literature
- Live Streaming?