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Open-Source Bach; Copyright-Free Goldbergs
rDouglass writes "An open source music notation software (MuseScore) and an award winning pianist (Kimiko Ishizaka) are raising money to create a new score and a new recording of Bach's Goldberg Variations. They will release both works to the public domain (copyright-free) using the Creative Commons Zero tool. This bypasses usual copyright protections that are given to each published edition of the score and each individual recording of the piece, and addresses a gap in the availability of free (gratis/libre) versions of the work. MuseScore scores are XML based and are thus like the source code for music. They can also be embedded into websites and linked with YouTube videos, creating rich multimedia experiences. The Kickstarter project has begun recently and $4,000 has been raised."
Are you saying it's not innovating? Classical sheet music is very, very expensive.
The Goldberg Variations were made a pop classic (oxymoron?) by Glenn Gould in 1955, becoming a million seller. If you're new to Bach try The Well-Tempered Clavier. A. Hewitt's recordings of both of the above are more recent and very good in my opinion.
Why not midi? As a musician, I'll ask you a parallel question: Why not write all documents in flat text? Who needs bold, underline, different fonts, pagination etc?? Midi doesn't make pretty sheet music. It only notates "note on" or "note off" or "patch change." It doesn't even notate which score a note should be on. This means, for example, that piano music would be just about impossible to play from a raw midi dump. An XML based markup, or the TeX based Lilypond allow for pretty, easy to read, scores. On the other hand, Lilypond has a midi import feature, so MIDI IS useful. It just requires some editing to make it human playable.
There are several copyright-free scores at IMLSP (direct link).
MIDI is very limited. MIDI was set up 30 years ago as a communication interface, and by today's standards it's a poor one- you're limited to one note per millisecond. IIRC, you are also limited to 16 channels, so composing scores for an entire orchestra is out of the question.
To top it all off, it wasn't meant for music notation. Symbols like Accelerandos, Ritardandos are notably absent- changes to tempos are hardcoded. Many other symbols are absent as well. Sometimes notes need to be formatted in a special way (ie- for readability, or left/right hand on piano).
Anyone who has ever composed in Finale, Sibelius, etc and tried to export to midi will notice the limitations right away. Why, what's your beef with XML anyway?
Sigs are for losers
Real sheet music doesn't indicate aftertouch, and a real piano can't even play aftertouch either. I realize there are more events to midi than the ones above, but I was focusing mostly on what you need to know to play a piece of music on an instrument. These are things like phrasing, dynamics, fingerings. It also involves placing notes on the score in a conventional manner so that they are quickly understandable- Whether the stem of a note points up or down, for example, depends on many things, none of which MIDI notates.
I'm not denying that performances are a new work. What I was trying to get at is that the music that was free can only be had via listening to copyrighted performances, or copyrighted transcriptions. So now you have a situation where music that didn't even have copyright protection at the time it was created (and if they did at that time, they certainly would have entered public domain by now) are only available via copyright.
Material that was in public domain effectively entered copyright. The exact opposite of what the copyright system is meant to facilitate.
Contrary to TFA, there are CC licensed scores in Lilypond format available through Mutopia. As far as PDF scans and such, as other posters have mentioned, there are innumerable resources.
The big questions for me (disclaimer: I'm a professional classical pianist) is that of scholarly review. The go-to publisher for Bach today is Bärenreiter/Neue Bach Ausgabe, and by and large, any edition of Bach that I use that isn't Bärenreiter should ideally be cross referenced with it. Of course, it is very expensive to purchase, but it is one item that any university with a music program simply must have in its library. What concerns me is that TFA simply is vague who or what they mean by scholarly review, and this alone would prevent me from considering it over current alternatives.
IMHO the value in the project will be a (hopefully) excellent recording that is CC licensed, as there doesn't appear to be any decent recordings of the sort (through a cursory search), unless you include Wanda Landowska's eccentric harpsichord recordings from 1945. Genius is already easily available in recordings on piano by Gould (both 1955 and 1981), Schiff, Hewitt, Barenboim, Perahia, and Leonhardt on harpsichord.