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This is an accepted version of this page This is the latest accepted revision, reviewed on 25 December 2024. British record label The topic of this article may not meet Wikipedia's notability guidelines for companies and organizations. Please help to demonstrate the notability of the topic by citing reliable secondary sources that are independent of the topic and provide significant coverage ...
Music licensing is the licensed use of copyrighted music. [1] Music licensing is intended to ensure that the owners of copyrights on musical works are compensated for certain uses of their work. A purchaser has limited rights to use the work without a separate agreement.
This and similar projects aim to preserve and make readily available thousands of public domain music files, many of which have been recorded by projects dedicated to recording music for public use. Music on the Creative Commons: The Creative Commons is a nonprofit organization created for the purpose of housing the public domain.
Corporate music (or corporate production music) is a term for background music, made to work with company presentations: rather subtle, understated and unobtrusive. [16] However, it should not be confused with "corporate pop" - pop music produced by corporations and that "blurs the line between independent and mainstream". [17]
The Free Music Philosophy [1] generally encourages creators to free music using whatever language or methods they wish. A Free Music Public License (FMPL) [2] is available for those who prefer a formal approach. Some free music is licensed under licenses that are intended for software (like the GPL) or other writings (the GFDL).
The phrase "incidental music" is from the German Inzidenzmusik, which is defined in the Methuen Drama Dictionary of the Theatre as "music that is specifically written for a play but does not form an integral part of the work". [1] The use of incidental music dates back to ancient Greek drama and possibly before the Greeks. [2]
With Kirwan's input, Green completed the piece and it was recorded just two months after Kirwan joined, without Spencer present. [13] Fleetwood Mac spent two days recording and mixing "Albatross", which was a considerable amount of time to spend on one song according to Mike Vernon , who served as the band's producer.
In another example, the finale of Steven Spielberg's E.T. the Extra-Terrestrial was edited to match the music of his long-time collaborator John Williams: as recounted in a companion documentary on the DVD, Spielberg gave Williams complete freedom with the music and asked him to record the cue without pictures; Spielberg then re-edited the ...
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