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46
THE
MUSIC TRADE
REVIEW
DECEMBER 27,
1924
IN THE WORLD OF MUSIC PUBLISHING
Conducted By V. D. Walsh
New Copyright Bill to Be Presented
During Present Congressional Session
SONGS THAT SELL
AH Alone (New), by Irving Berlin
Oh, Mabel (New)
Charley, My Boy
What'll I Do?
Driftwood
When I was the Dandy and You Were
the Belle
Morning(Won't You Ever Come Round?)
1 Can't Get the One I Want
Seventeen (New)
Show Me the Way (New)
Take Me (New)
Get Yourself a Broom (New)
I Couldn't Get to It in Time (New)
Provides for Adherence to Berne Convention, Defines Radio Broadcasting As Public Performance
for Profit, and Abolishes Present Fixed Mechanical Royalty Rate
T H E draft of a proposed new copyright bill,
containing a complete revision of the law,
prepared by Thorvald Solberg, Registrar of
Copyrights of the Library of Congress, it is said,
will be presented as an administration measure
during the present Congress.
This new bill was prepared at the request
of the Authors' League of America and con-
tains many provisions of interest to the music
industry. It will be up to date, carrying clauses
affecting radio reproduction of books, literature,
music and other copyrighted matters.
Among other things the bill provides for
the issuance of a proclamation by the Presi-
dent of the United States declaring the ad-
hesion of the United States, as a country of
the first class, to the Berne Convention, or In-
ternational Copyright Union, to which most of
the important nations now adhere.
To bring this about the so-called "manufac-
turing clause" has been eliminated. This was
originally incorporated at the behest of the
printing crafts for the purpose of insuring the
printing of all music from type set or plates
made in this country before allowing copyright.
This is now unnecessary as the present tariff
laws afford all protection needed against im-
portations of vast quantities of cheap litera-
ture.
The new bill grants copyrights on both pub-
lished or unpublished works and vests the copy-
right in the author immediately without any
conditions or formalities. No one is given the
status of an author except the actual author
and the conditions under which employers be-
come owners of copyright carefully safeguard the
rights of authors, upon which licenses are grant-
ed to print and publish unless an agreement is
made to the contrary.
Radio broadcasting is specifically defined as a
public performance and in reference to such
performances the new law does not provide
that they must be "for purposes of profit."
Of particular interest to the music industry
is the provision in the new bill which gives to
the composers of music exclusive control of
their mechanical rights. The licensing of one
firm to make records or rolls does not subject
the copyright owner to the compulsory licens-
ing provision as found in the copyright law of
1909.
He can reproduce his work himself or
can license a single other firm to do it or as
few or as many as he chooses.
Neither is the royalty rate fixed at the pres-
ent two cents per copy for mechanical produc-
tion or at any other figure, the law leaving to
the individual to make the best bargains or
price obtainable.
The term of the copyright will be for the
life of the author and for a period of fifty years
after his death, this being the term usually pro-
vided in countries adhering to the International
Copyright Union.
There are many other provisions that will
subject the new law to a series of hearings
from various factions affected by its contents.
Already the Authors' League has had a com-
mittee representing it in Washington in order
to bring the proposed bill to the attention
of members of Congress.
Music Publishers' Association Decides
on Publicity Campaign for Net Marking
Proposed Drive to Reach Teachers, Pupils and Music Buyers Throughout the Country—Held
That There Exists No Real Necessity for Discounts at Present Time
T the meeting of the directors of The Mu-
sic Publishers' Association of the United
States held in New York on December 16, it
was decided to inaugurate an energetic cam-
paign of publicity in support of the Federal
Trade Commission's recommendation to mark
the net selling price on all sheet music, a
policy which has been adopted by the majority
of standard publishers.
It is proposed that the campaign will reach
teachers, pupils and music lovers throughout
the country and will dwell upon the evils which
were prevalent before the adoption of this new
movement.
Those who have not yet adopted the net price
markings, and these instances are few, fail to
do so in order to continue to give discounts
to teachers and others, to desire to protect a
mail order business to such a clientele and at
the same time continue to have their publica-
tions sold through the legitimate sheet music
stores. Naturally they can expect little co-op-
eration from the majority of dealers who should
have the teacher, conservatory and school busi-
ness in their respective territories.
It is the contention of those who are ad-
hering to the Trade Commission's recommend-
ation that there is no need for discounts to
the teachers, schools, pupils, or the general
public. After all most of the music purchasers
A
pay the same price. The fact that the actual
price is marked on the music makes no differ-
ence in the cost but does serve to place the
music business on a higher plane and operate
it on good sound business principles. They
further say that it has always been found in
working out the new prices that the teachers
have no desire for a special discount or, if so,
the cases are rare. At any rate, despite the
few instances where the old ideas remain in
force, the new net actual selling prices are ap-
pearing on the majority of prints to the con-
venience of the public and the delight of the
dealer.
'Oh Katharina" Success
in New "Ghauve Souris'
American Rights to Number Bought by Leo
Feist, Inc.—Will Be Featured in New Shubert
Production
An original Viennese success, later sweeping
through other parts of Europe and finally ap-
pear'ng as the outstanding number in "Chauve
Souris" now playing in Parrs, is called "Oh
Katharina." The number wherever it has been
played has practically been an overnight suc-
cess with the result that several American pub-
BOOKS THAT SELL
TIDDLE DE UKES — Comic Songs for
the Ukulele
Universal
Dance Folio No. 8
X Special 1925
Edition
Peterson's Ukulele Method
—
World's Favorite Songs
4th MUSIC BOX REVUE, 1925
—
In the Shade of a Sheltering Tree
Tell Her in the Springtime
Listening
The Call of the South
Tokio Blues
Rock-a-bye Baby
DIXIE TO BROADWAY
Mandy, Make Up Your Mind
Dixie Dreams
I'm a Little Blackbird
Hits from TOPSY and EVA
Rememb'ring
I Never Had a Mammy
IRVING BERLIN, Inc.
1607 Broadway, New York
lishers have been bidding for the rights in this
country.
Recently Eeo Feist, Inc., cabled Fred Wreede,
American representative for the Wiener IJohme
Verlog, of Vienna, and a well-known theatrical
producer of Berlin, to take over the number
for the Feist organization. This he imme-
diately accomplished.
L. Wolfe Gilbert has written English lyrics
for the American version of this song. The
number is being used in a new Shubert show
which will shortly have its New York premiere
and it will be one of the outstanding numbers
in "Chauve Souris," which will open in New
York in Tanuarv.
Live Standard Issues
"The Gallico Half-Hour Folios," a total of
thirty-two volumes published by the Edward
B. Marks Music Co., and the imported "Han-
>en Edition," distributed by the same organi-
zation, arc among the standard issues that
aroused the interest of musicians.