{"id":11982,"date":"2015-07-03T17:33:25","date_gmt":"2015-07-03T15:33:25","guid":{"rendered":"http:\/\/blogs.nmz.de\/badblog\/?p=11982"},"modified":"2015-07-03T17:33:25","modified_gmt":"2015-07-03T15:33:25","slug":"an-interview-with-dan-tramte-creator-of-score-follower-channel-on-youtube-part-2","status":"publish","type":"post","link":"https:\/\/blogs.nmz.de\/badblog\/2015\/07\/03\/an-interview-with-dan-tramte-creator-of-score-follower-channel-on-youtube-part-2\/","title":{"rendered":"An interview with Dan Tramte \u2013 creator of Score Follower channel on youtube (part 2)"},"content":{"rendered":"

This is the second part of the at-length Q&A with Dan Tramte, creator of „Score Follower“ channel on youtube, also including some fascinating video recommendations!
\n(Moritz Eggert)<\/p><\/blockquote>\n

PART 2
\n
\n7) What is the main motivation for you and your team?
\n<\/strong>
\nThe internet is filled with people doing grind work for little-to-no monetary reward, and I think that sometimes confuses people who equate work\/time with money. It\u2019s not just YouTube. There are media & software pirates who go through the effort and risk of stealing just to experience that feel-good \u2018Robin Hood\u2019 sensation of giving to the people. While we are not stealing, we love being the ones who are providing new music to the public for the same reasons. Not to mention, when we see people hitting the like button, sharing our videos on Facebook and Twitter, and writing such positive comments, it reminds us that we are doing something worth our time.<\/p>\n

Also, we know we\u2019re making an impact on the new music scene. Here are some rather bold claims that we list on our website:
\n\u2022 Hundreds\u2014maybe even thousands\u2014of music professors around the world use our videos in the classroom.
\n\u2022 Major ensembles program works by lesser-known composers because of our videos.
\n\u2022 For many composers\/performers, it is a rite of passage to be featured on our channels.
\nAs educators ourselves, we\u2019re rather proud to make these claims.
\n
\n8) How are publishers\/CD labels treating your efforts?<\/strong><\/p>\n

\u2022 We typically try to upload unpublished works, but if we\u2019re interested in uploading a published work, we ask permission from all appropriate parties, and\/or acknowledge third party consent. We are happy to have obtained limited upload permissions from a few major publishers (Schott, Faber Music, G\u00e9rard Billaudot, etc.), and we plan to strike a few more deals in the near future. In other words, we are currently aboveboard with publishers and record companies, so we have no copyright concerns.
\nOn that note, I am regularly surprised by how polarized the responses are by the score publishers. Some say \u2018no\u2019 EMPHATICALLY, regardless of how enthusiastic the composer is about having his\/her work featured on our channels. Others recognize the shift in copyright culture, and are completely on board. Record labels are consistently supportive. We typically don\u2019t post entire albums, so in a way it serves as an advertising tool, and indeed, we always include purchase links in the info section when we can. <\/p>\n

9) Tell us a little about the positive feedback you get\u2026.<\/strong><\/p>\n

\u2022 We regularly receive thank you comments on our videos. Some people go the extra step and share little anecdotes. For example, one viewer noted that he had (library) access to only a few scores by Schoenberg and Webern during his college years, but now thanks to us, there\u2019s a huge arsenal online.
\n\u2022 I also recently received a comment in person that made me feel particularly good. One of the undergraduate composers at Harvard said he honestly thinks he wouldn\u2019t be here studying music if not for Score Follower and Incipitsify. Needless to say, comments like these are a huge part of what motivates us.<\/p>\n

10) A lot of the scores on your channel fall into the realm of what sometimes is called \u201cnew complexity\u201d \u2013 are there also very simple scores that you like?<\/strong><\/p>\n

\u2022 Yes, I love many of the \u201csimpler\u201d scores featured on our channels. I actually do not consider the complexity of a score as an indicator for quality at all. Complexity (or tablature, or graphic scores, etc.) certainly have a visual wow-factor that might be intriguing to a large percentage of our audience, and I do think that many people watch our videos to learn new notational languages, and to simply look at beautiful scores. It\u2019s possible that these scores are a bit more overrepresented than I would prefer, but I believe this is a major part of what inspires people these days. <\/p>\n

11) Do you sometimes feel that the look of a score is overrated compared to the actual experience of having it performed? Is overtly (and needlessly) complex notation an issue for you?<\/strong><\/p>\n

\u2022 For the past couple of years, I\u2019ve been collaborating with Belgian guitarist, Nico Couck<\/a> . When I first met him, I heard him practicing Simon Steen Andersen\u2019s In-side-out-side-in. I was quite impressed by his playing, but it wasn\u2019t until he turned on the metronome that my jaw dropped. <\/p>\n