scholarly journals Commissioned Works as Works Made for Hire under the 1976 Copyright Act: Misinterpretation and Injustice

1987 ◽  
Vol 135 (5) ◽  
pp. 1281 ◽  
Author(s):  
Marci A. Hamilton
Keyword(s):  
Commissioned Works

The Invention of Papal History

2019 ◽  
Author(s):  
Stefan Bauer
Keyword(s):  
Catholic Reformation ◽  
History Writing ◽  
Historical Texts ◽  
The Past ◽  
History Of ◽  
Cultural Standards ◽  
Commissioned Works ◽  
The One ◽  
Late Renaissance ◽  
The Church

How was the history of post-classical Rome and of the Church written in the Catholic Reformation? Historical texts composed in Rome at this time have been considered secondary to the city’s significance for the history of art. The Invention of Papal History corrects this distorting emphasis and shows how history-writing became part of a comprehensive formation of the image and self-perception of the papacy. By presenting and fully contextualizing the path-breaking works of the Augustinian historian Onofrio Panvinio (1530–68), this book shows what type of historical research was possible in the late Renaissance and the Catholic Reformation. Historiography in this period by no means consisted entirely of commissioned works written for patrons; rather, a creative interplay existed between, on the one hand, the endeavours of authors to explore the past and, on the other hand, the constraints of patronage and ideology placed on them. This book sheds new light on the changing priorities, mentalities, and cultural standards that flourished in the transition from the Renaissance to the Catholic Reformation.

Queen Christina of Sweden as a Patron of Music in Rome in the Mid-Seventeenth Century

2012 ◽  
Author(s):  
TESSA MURDOCH
Keyword(s):  
Seventeenth Century ◽  
Chamber Music ◽  
Musical Instruments ◽  
Keen Interest ◽  
Commissioned Works ◽  
Queen Christina Of Sweden

Following her abdication, Queen Christina of Sweden took up residence in the Palazzo Farnese, Rome from 1655. She had already developed a keen interest in music, gained from tuition from a French dancing master, and playing the star role in the ballet The Captured Cupid in honour of her mother's birthday in 1649. Christina's arrival in Rome was marked by performances in her honour in the Palazzo Barberini and Palazzo Pamphili of specially commissioned works by contemporary composers Marco Marazzoli and A.F. Tenaglia, and by her favourite Giacomo Carissimi. Inspired by the chamber music proportions of the cappella of the Collegio Germanico, many of Carissimi's secular arias were composed for his royal Swedish patron. After two years in France, Christina returned to Rome, where she took up residence in the Palazzo Riario on the Janiculum. Inventories record her musical instruments and describe the contents of the Great Hall in which concerts were held.

Monteverdi, Early Opera and a Question of Genre: The Case of Andromeda (1620)

2012 ◽  
Vol 137 (1) ◽  
pp. 1-34
Author(s):  
Tim Carter
Keyword(s):  
Commissioned Works ◽  
Early Opera

ABSTRACTIn 1985, Albi Rosenthal reported his discovery of a printed libretto for the opera Andromeda, composed by Monteverdi for performance in Mantua in Carnival 1620. This libretto deserves a new examination for its dramatic content, its likely musical setting (now lost) and some fundamental questions of genre. Its patron, Prince Vincenzo Gonzaga, used the librettist Hercole Marliani to broker his self-fashioning by imitating both Monteverdi's Orfeo (1607), supported by Vincenzo's elder brother, and Arianna (1608), which in effect belonged to the prince's parents. Monteverdi was typically slow to produce the score. The customary explanation is his disenchantment with Mantua and his new duties at St Mark's, Venice. However, we now see that both the Gonzagas and Monteverdi used Andromeda, like others of his Mantuan-commissioned works, as a bargaining chip in a complex exchange of obligations and favours typical of the courtly world to which the composer still belonged.

Abueva, Napoleon V. (1930--)

2018 ◽  
Author(s):  
Tessa Maria Guazon
Keyword(s):  
National Identity ◽  
Subject Matter ◽  
Fine Arts ◽  
The Philippines ◽  
Turn Of The Century ◽  
Classical Style ◽  
Commissioned Works ◽  
The University

National artist Napoleon Abueva is a pioneer of modernism in sculpture. He trained at the University of the Philippines School of Fine Arts, mentored by Guillermo Tolentino, whose classical style placed him alongside the forerunners of Conservatism in Philippine art at the turn of the century. The modernist vein in Philippine art can be characterized as having increased emphasis on the formal aspects of the design, the expressiveness, the depiction of the unsightly, the shift from urban to rural subjects, the exploration of genre themes, and the heightened awareness of national identity and its manifestations in art. These were greatly evident in Abueva’s early works, which exhibited his versatility, the expanse of his interest in varied themes and subject matter, his skillful manipulation of material as conveyed through form rendered in varying degrees of complexity. His works encompass a panorama of themes and styles and by turns, can be classified as figurative, constructivist, or abstract. They may appear minimalist in silhouette and composition, such as his Allegorical Harpoon (1964), figurative like his many commissioned works for institutions, such as those in the University of the Philippines campuses, or stylized and functional, as the furniture and house parts he designed and made.

Between the Black Box and the White Cube

2020 ◽  
pp. 90-109
Author(s):  
Nuno Barradas Jorge
Keyword(s):  
Black Box ◽  
Art Gallery ◽  
Production Processes ◽  
Production And Consumption ◽  
Short Films ◽  
Commissioned Works ◽  
Production Characteristics

Chapter 5 looks at Pedro Costa’s commissioned works by discussing numerous video installations created and displayed within the international art gallery circuit. The chapter contextualizes the approximation of the art gallery to cinema, a medium which increasingly overlaps aesthetic and production processes with contemporary artistic practices. As this chapter argues, the analysis of Costa’s video installations offers a further context to the intertwinement between aesthetics, production and consumption observed elsewhere in his filmic output. These works for the ‘white cube’ rely on aesthetic, authorial and production characteristics that bond them to those exclusively produced for the ‘black box’. This chapter provides comparisons between these works and short films directed by Pedro Costa between 2007 and 2012, such as The Rabbit Hunters, Tarrafal (also produced in 2007), O Nosso Homem (Our Man, 2010) and Lamento da Vida Jovem (Sweet Exorcism, 2012).

Collecting, Self-Fashioning, and Community

2021 ◽  
pp. 63-107
Author(s):  
Kathryn Babayan
Keyword(s):  
Close Reading ◽  
City Life ◽  
Literary Community ◽  
Commissioned Works ◽  
Words And Images ◽  
The City

Chapter 2 is a close reading of two resident anthologizers, a religious scholar and a painter, and considers the subjects of their collected words and images to show how these practices illuminate their encounter and experience of the city. The anthology of Shi’a cleric Aqa Husayn Khwansari (d. 1687) reveals shared texts that connected him with Isfahan’s literary community. His curatorial choices allow us to hear tensions and ambivalences that nuance this religious scholar’s public face. A reconstruction of the painter Muhammad Qasim’s (d. 1660) dispersed portfolio assembles a patchwork of his life and shows the range of his clients’ commissioned works. Muhammad Qasim created a collage of city life in Isfahan that reveals what the verbal archive conceals. The practices according to which these two migrants to the capital fashioned their urban selves guide my reading of their authorial voices and of their writing of Isfahan’s habitus.

High-Impact Experiences through Commissioned Works and Composer Residencies

2019 ◽  
Vol 105 (3) ◽  
pp. 30-35
Author(s):  
Micah Ewing
Keyword(s):  
Relevant Literature ◽  
Music Educators ◽  
High Impact ◽  
Music Students ◽  
Educational Context ◽  
School Communities ◽  
Music Making ◽  
Musical Works ◽  
Commissioned Works

Music students, their teachers, composers, and school communities experience deep, long-lasting growth in music-making and artistic perspective when provided with opportunities to engage in the commissioning of new musical works in conjunction with composer residencies. Through consideration of relevant literature and case-study examination, the article defines and articulates possible formats for commissioned works projects with composer residencies. A discussion of the beneficial outcomes of such projects for student musicians, music educators, composers, and constituent communities addresses reasons for coordinating projects of this nature. The article concludes with a step-by-step guide that lays out how educators can organize a commissioned work and composer residency project for their students that is appropriate for their specific educational context.

Art and Politics at the Vatican Congregation for the Oriental Churches, 1917-45

2011 ◽  
Vol 38 (1) ◽  
pp. 42-57
Author(s):  
Roy Robson
Keyword(s):  
Twentieth Century ◽  
Catholic Church ◽  
Roman Catholic ◽  
Russian Revolution ◽  
Roman Catholic Church ◽  
Roman Catholicism ◽  
Russian Orthodoxy ◽  
Art And Politics ◽  
The Arts ◽  
Commissioned Works

AbstractIn the period 1917-45, the Roman Catholic Church vacillated in its views of Russian Orthodoxy and the Russian Revolution. Some forces in the Vatican focused on the “consecration” of Russia, connoting support for Orthodoxy. Others preferred to push for the “conversion” of Russia to Roman Catholicism. The tension between these competing views can be seen in the Vatican's patronage of the arts. From 1925-1945, the Congregation for the Oriental Churches commissioned works by four artists—Leonid and Rimma Brailowski, Pimen Sofronov, and Jérôme Leussink. Collectively, their work illustrated the changing mixture of politics, piety, and aesthetics that characterized Rome's view toward Russia in the first half of the twentieth century.

5. Authorship and first ownership

2018 ◽  
Author(s):  
L. Bently ◽  
B. Sherman ◽  
D. Gangjee ◽  
P. Johnson
Keyword(s):  
Copyright Law ◽  
Artistic Works ◽  
Commissioned Works ◽  
Joint Authorship

This chapter examines the concept of authorship, as it is understood in copyright law, as well as the first ownership of copyright and the various exceptions to this rule. It begins by discussing the author of a work as defined in the Copyright, Designs and Patents Act 1988 before elaborating on the task of determining who the author of a work is. Authorship of literary, dramatic, musical, and artistic works and of entrepreneurial works is then considered, along with joint authorship. The chapter also looks at exceptions to first ownership, including works created by employees, those governed by Crown copyright or made under the direction or control of Parliament, and commissioned works. Finally, it analyses the issue of harmonization with respect to authorship and the position of employed authors.

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