IASA COPYRIGHT COMMITTEEAuthor(s): Derek LewisSource: Fontes Artis Musicae, Vol. 28, No. 1/2, TWELFTH INTERNATIONAL CONGRESS OFMUSIC LIBRARIES, ARCHIVES AND DOCUMENTATION CENTRES: CAMBRIDGE/ENGLAND(Januar-Juni 1981), pp. 112-113Published by: International Association of Music Libraries, Archives, and Documentation Centres(IAML)Stable URL: http://www.jstor.org/stable/23505774 .

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112 IAML-IASA

TV soundtracks, and private recordings. The collector experienced great difficulty in obtaining infor

mation on the last three mentioned especially, and acquisition was even more difficult in all four cate

gories. For commercial releases, long unavailable, the collector had resource to specialist dealers, but

access to radio and film archives was almost impossible, and the position complicated by problems of

copyright. In principle a record company should be able to make its holdings available to collectors, but in practice this was rarely the case. However Polzin noted that his own company Ariola-Eurodisc was something of an exception in that they went to a great deal of trouble to meet all bona-fide re

quests for deleted material. In conclusion he advocated the need for freer exchange of information -

perhaps through the channels of an international data-bank - and the renewed effort to standardise international regulations governing the dissemination of recordings. The goal should be not only to

preserve, but to give as wide an access as possible. Tony Trebble spoke of the particular position of the BBC in relation to requests to its Sound

Archives for original broadcast material. He referred to a report by an independent committee set up in 1979 to examine the whole problem of BBC Archive policy and its subsequent responsibilities. It was generally felt that the present arrangement whereby the British Institute of Recorded Sound took

copies of all BBC Archive discs and tapes, and also had the right to record other items of air, best met the external research need, with their controlled listening facilities on their premises. Copying of such material for distribution to other organisations or individuals was necessarily limited by the strict rules

governing individual copyrights and mechanical rights, and there was no way in which these could be circumvented. If anything, signs were that these would become even more stringent in future.

Joachim von Hecker's paper concerned itself with the similar position in Germany. Here, access to

radio sound archives was basically free and open to all - in respect of information. This was recog nised as a normal part of a station's responsibilities as a public legally-authorised organisation. The

problem came when copies of broadcasts were requested. He instanced the legal, financial, and orga nisational problems that arose. Joachim von Hecker noted the main types of requests, including those

for purely private use, those for some professional or commercial use, and those for public offices, libraries and similar institutions. Each request was carefully considered on its merits by the Bavarian

Radio but in most cases the regulations regarding copyright prohibited dissemination of the material.

He referred to the increasing number of 'pirate' recordings, circulating at the expense not only of

composers and performers, but also of the broadcasting stations and record companies. He urged the

need for stronger legislation, and also the necessity for more clearly defined limitations on the access

to archives.

Speaking for the I.F.P.I. Trevor Pearcy offered further comment on the legal and practical problems

facing the record companies, in addition to the obvious ones of illicit copying, theft and piracy. Most

record companies were ill-equipped to provide a full public access service, and in this time of recession in the industry, it was doubtful that any such scheme would be given priority. He summarised an

interesting statement of policy adopted at Council meetings in 1978 and 1979. This urged that I.F.P.I.

and its National Groups should:

a) encourage the setting-up of state-financed national archives of sound recordings and the

opening to the public of those archives which certain states maintain for copyright purposes; b) recommend to member companies that they voluntarily deposit in the national archives two

copies of every recording first fixed or first published in the country where the archive is located and

those fixed or published by a national of that country elsewhere;

c) recommend to member companies that they maintain a catalogued archive of their own record

ings and give access to representatives of the national archives, providing copyright restrictions are

observed.

It is understood that the opening to the public of archives should be subject to suitable security

precautions being taken so as to prevent unauthorised reproduction of phonograms contained in the archives. It is further understood that member companies should not be expected to give accès to their own archives to the general public.

There followed further discussion with comments from the floor, particularly in respect to condi tions pertaining in their own countries from members attending the session. The Chairman noted that this had been a most informative and productive meeting and the session closed.

Derek Lewis, Secretary

I ASA COPYRIGHT COMMITTEE

Session held on Friday, 8th August 1980; Chairman: Robert Ternisien (CBC)

Owing to the last-minute withdrawal of some speakers, it was possible to hold only one session this

year. Robert Ternisien noted that this was his final year of office, and that a new Chairman was being

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IA M I.-IA SA U3

sought. The matter was being dealt with by the IASA Executive Committee, and an announcement of a successor would be made in the near future. Ulf Scharlau would be withdrawing from the Committee and it was hoped to find another representative from Germany.

The following matters were on the agenda:

1. Resolution of IASA in Respect of Tax to be imposed on Blank Magnetic Tapes

A draft letter had been compiled at the 1979 Annual Meeting, and the final version was now avail able. The problems of exemption from the tax by recognised and accredited archival institutions were discussed. These varied from country to country, with a major factor being the means of funding the institution, and procedures for reclamation of tax paid. Mr. Trevor Pearcy, representing the UK branch of the 1.F.P.I, was able to report on the progress of discussions so far, and noted that there was to be a further meeting of the 'Private Copying Committee' sometime in September.

2. Report to the General Secretary of UNESCO

The report in its final form was now complete. Briefly, it detailed the terms of reference of the IASA Copyright Committee, and suggested that liaison between the Committee and the Copyright Division of UNESCO would prove beneficial, with the aim of clarifying many at present obscure legal points in the matter of dissemination and exchange of sound documents between authorised sound archives. The sending of the report awaited the election of a new Chairman of the IASA Copyright Committee.

3. U.S. Copyright and Sound Recordings

Gerald Gibson of the Library of Congress had prepared an extremely valuable paper documenting the changes relating to sound recordings in the recently revised Copyright Law in the USA. This was

signed on October 19th, 1976, and became lawon January 1st, 1978 Unfortunately Mr. Gibson was not

present to deliver this interesting résumé himself, and it was read on his behalf.

4. Model Contract

The Chairman referred to the previously discussed 'model contract' which would attempt to con tain all provisos regarding legality of exchange of sound documents between accredited archives. This could only become effective with the co-operation of interested parties in supplying examples of such contracts at present existing within their own organisations. So far response had been limited.

There being no further matters to discuss the meeting closed, with Rolf Schuursma, representing the IASA Executive Board, proposing a vote of thanks to Robert Ternisien for his work as guiding light of the Copyright Committee over the past years.

Derek Lewis, Secretary

IAML-IASA COMMITTEE ON MUSIC AND SOUND ARCHIVES / COMMISSION ON EDUCATION AND TRAINING

The Training of Sound Archivists

Session held on Wednesday, 6th August 1980; Chairman: Derek Lewis (BBC London), Panel:

Mrs. Prue Neidorf (National Library of Australia, Canberra), Huib Deetman (Openbare Muziekbiblio

theek, Amsterdam), Mark Jones (BBC London), Hansjörg Xylander (Bayerischer Rundfunk, Munich)

The Chairman invited Mrs. Neidorf to open the discussion. She began with the contention that

'training' could be a misleading term. She felt strongly that one could not 'train' someone to be a suc

cessful sound archivist. There had in the first place to be a basic expertise or 'flair' which would only show itself in practical working conditions. It was an attitude that could be encouraged and developed, but not in the long run, taught. The most that could be achieved with suitable candidates was to de

velop an existing potential. Her paper aimed to present an identification of the term 'sound archivist', its relation to existing

standards, with special emphasis on IASA based needs. She surveyed the present situation regarding suitable courses (or lack of them) and examined career prospects. Before we could attempt to assess

what might be a suitable course of study for the prospective sound archivist we should need to estab

lish accurate requirements. Huib Deetman then described the various courses available to students interested in pursuing a

career as a sound recording archivist as presently available in the Amsterdam Library School. Courses

covered the outlines of librarianship generally, with follow-up courses of up to two years in length

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