Association For Protecting Music Education Was Established Against "Performance Fee" at Lessons
2017/04/17 | コメント(0)
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An association aiming at protection and growth of music education was established last February against the measure announced by JASRAC (Japanese Society for Rights of Authors, Composers and Publishers). JASRAC claims for the "fee for performance" at music lessons in private music schools like Yamaha, Kawai, etc., and intends to submit the measure to the Agency for Cultural Affairs. But, what will happen if this plan is enforced? It might affect the choice of repertoires, and thus lose the opportunity of learning a variety of music including contemporary pieces. Therefore, "the association for protecting music education" collects signatures for the Chairperson of the Agency for Cultural Affairs to advise JASRAC on withdrawal of this new measure. Goal: 500,000 signatures by the end of June.The copyright law admits that authors/composers have the right to be performed publicly so that audience can see / listen to their works. However, according to JASRAC, even the demonstration performances in private music schools shall be interpreted as "public performance", and should be charged accordingly. In order to protest against this policy, the association was founded by 7 music companies including Yamaha and Kawai, as well as PTNA as the representative of private music teachers/studios who are possible targets in the future. The association already obtains 300 corporate members.
This association clarifies that "public performance" is meant to be for audience at public spaces, neither teaching nor practicing at educational institutions. It also points out that this policy does not even correspond to the purpose of the copyright law, which aims for the development and diffusion of culture. The establishment of this association evokes a lot of approvals and supportive comments from music teachers, composers, etc. (8,441 likes and 3,513 shares, 362 comments on Facebook of Seikoh Fukuda, CEO of PTNA)
Wataru Miki, the president of the association, addresses that the demonstration performance by teachers are simply aiming at teaching instruments, and is not equivalent to the definition of "public performance" written on the copyright law. Furthermore, according to Miki, private music schools partly play the role of professional education, which could not have realized exclusively by music education in public schools, thus it is unfair to be discriminated (JASRAC does not charge on the public schools). This signature-collecting campaign calls for those older than 18 years old, who understand and support the association's standpoint correctly.
Keiko Seshi, a PTNA Councilor and the representative of PTNA Osaka Branch, says that piano teachers are providing instructions to students, not performances. "It is strange that even playing a short musical phrase could be interpreted as "public performance". We try to nurture audiences and fans for the future generations, but this new measure might decrease it".
There are oppositions from composers as well.
Kazuhiko Koyama, a PTNA Councilor and recipient of PTNA New Composition Prize in 2000, strongly opposes to the JASRAC's new policy, even though he is a truster. He wonders why JASRAC is going to charge fees uniformly 2.5% out of all the income, not on the individual works based on the usage condition. Unless the titles of pieces and frequency of performance at every lesson / institution are checked, fees would not be paid back to composers fairly. "This is not only the problem of administration, but also the problem of culture in general. Music schools might set a limit on repertoires and hesitate to use contemporary music. I hope that music, including those of living composers, to be played in music schools more freely, and that encourages interactions between people and musical environment."
Kazuhiko Koyama, a PTNA Councilor and recipient of PTNA New Composition Prize in 2000, strongly opposes to the JASRAC's new policy, even though he is a truster. He wonders why JASRAC is going to charge fees uniformly 2.5% out of all the income, not on the individual works based on the usage condition. Unless the titles of pieces and frequency of performance at every lesson / institution are checked, fees would not be paid back to composers fairly. "This is not only the problem of administration, but also the problem of culture in general. Music schools might set a limit on repertoires and hesitate to use contemporary music. I hope that music, including those of living composers, to be played in music schools more freely, and that encourages interactions between people and musical environment."
Mika Goto, a PTNA authorized member and a recipient of PTNA New Composition Prize in 2016, concerns about future of the music field. "It might happen that people only use works in the public domain, and there would be less opportunity to know Japanese compositions of good artistic quality. I hope education for children will be kept open and free."
Yasuzumi Tokubi, a PTNA composer member and a recipient of PTNA New Composition Prize in 2012 & 2013, believes that private music schools has complemented music education in public schools, and its role is undeniable. In educational institutions, music delivered to children are all for educational purposes, and JASRAC's policy might destroy the culture of next generations. I strongly hope that JASRAC will support people and places that nurture musicians of the future.
Miho Abe, a PTNA authorized member, a recipient of PTNA New Composition Prize in 2008-2012, and the representative of Chiba-Shirai "Play with Sound" Station, admits that composers would be pleased if their works are known and played as much as possible, based on the premise that creative works should not be used indiscriminately freely given that the illegal copy problems become serious recently. "It is natural that teachers introduce new pieces to students through demonstrative performances, and I doubt that composers would ask "fee for public performance" under this circumstance. I want students to know as many pieces as possible without worrying about copyright fees, at least in educational institutions. It sometimes happens that an encounter with a music entirely changes someone's musical life. JASRAC's policy is far from composers' intentions, neither protect the right of creators.
Naoto Omasa, a PTNA authorized member, an executive member of The Japan Federation of Composers Inc., and a JASRAC member, assumes that JASRAC' latest policy seems to be a forced interpretation for the sake of charging copyright fees. "I personally do not want to ask for performance fees if someone play my music at lessons. And I believe other composers have the same opinion."
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