#Artistic licence segensworth professional#

As well as writing for the London Symphony Orchestra and King's College Cambridge choir, he has worked with a variety of big names including drum and bass group Chase and Status, Duran Duran and the Rolling Stones ('They're just amazing musicians, Mick is just an amazing performer').Īs part of a Knowledge Exchange Fellowship with (TORCH), Toby has been working with McCaldin Arts, a group of professional opera singers, to explore precisely what it is that makes opera so difficult to engage with.Īpparently, the issue is not simply the cost of going to the opera: 'Actually it's cheaper to go to the opera more often than it is to go to the football.' In addition to his academic work, Toby is also a songwriter exploring the boundary between pop and classical music. Nobody could be better placed to change this. I want to say that opera is for everyone, but at the moment it clearly isn't.' 'Now, stereotypically, the audience is white, middle-aged and fairly wealthy. 'Opera was for a long time very much the music of the people,' he says. This is something that Toby, a true music lover who appreciates everything from 13th-century Armenian folk music to the grime artists recently so instrumental in Jeremy Corbyn's election campaign, is determined to change. What do you think of when you think of opera? 'I think we're past the 'fat lady with horns' now,' says, the Gianturco Junior Research Fellow researching Music and Philosophy at Linacre College.īut while other genres of classical music have been undergoing something of a renaissance, opera remains a niche interest, hampered by the perception of it as a difficult genre reserved for the privileged few. The label references the exception- copied under s200AB.Francesca Moll meets?the pioneering songwriter on a mission to prove that opera is for everyone. it has not been separately published and is not available within a reasonable time at an ordinary commercial price.Īs a general guide it is recommended that a ‘reasonable time’ is six months for textbooks and thirty days for other material.TAFE institutes can copy a whole work on the Internet if: the work is out of copyright (eg old works by Jane Austen or Shakespeare).Once the work is available commercially in a reasonable time, any copies made should be destroyed/removed.To ensure that the work is not about to be reprinted/could be reprinted on demand, you should contact the publisher.the whole of the work is out of print or not available in hard copy within a reasonable time at an ordinary commercial price.the whole of the work has not been separately published (including unpublished works).TAFE institutes can copy a whole work eg a text book, a teacher’s resource or a student activity book if: Any further reproduction or communication of this material by you may be the subject of copyright protection under the Act. This material has been copied in accordance with the statutory licence in section 113P of the Copyright Act. Note that TAFE NSW IP, licenced, public domain or CC content does not need a notice, but all content still needs to be labelled. Examples might be handouts given in class.This is in order to limit the potential liability of the TAFE in the event that a student uses the content in a way that may infringe copyright. Despite this, the National Copyright Unit suggests that it would be good practice to include the following notice - where this is reasonably practicable - on text and artistic works, that have been copied under the statutory licences. There is no longer any statutory obligation to include a notice stating that copyright material has been copied/communicated in reliance on the statutory licence.

This often renders it unsuitable to be included in online course content. Does not conflict with the normal exploitation of the copyrighted material by the copyright owner.Īs part of not conflicting with the normal exploitation of the copyrighted material, the material can only be shown when needed, usually for a specific class time, and must be taken down as soon as possible. Is not for commercial advantage or profitĤ. It does not cover 'just in case' ie to back up a collection you might use in the futureģ. Is for identified educational instruction. Is not already covered under any copyright exceptions or the terms of our Text and Artistic Works Licence- you can't use it to exceed the limits of that licence.Ģ. When relying on section 200AB, you must ensure that copying:ġ. The exception may be used where the Text and Artistic Works Licence or one of the other exceptions can't be relied upon.Īs we no longer have a Statutory Screen and Broadcast Licence, and therefore can't rely on that licence, it is most often used for copying sound recordings and films where these are not commercially available in the required format (format shifting).

Artistic licence segensworth