Hi Federico (et al.), >> I've thought for a long time that the right way to go is to seek >> public funds for engraving public domain contents
> Me too. I think it’s telling that most of the non-publishing music world is going in exactly the opposite direction: schools are adding “musical entrepreneurship” courses, programs, and degrees all over, in an attempt to teach musicians how to avoid the trap of relying only on public funds; and there is a significant (and mostly successful) grassroots effort to abandon the dying “not-for-profit” model of musical organziations in favour of a model where pleasing the paying audience actually matters to some extent. > I started thinking about bringing LilyPond in music schools. Even though I > never tried because of lack of time, I can imagine two major issues: > 1. LilyPond is not considered as a professional tool because it's not used by > the publishing companies. In general schools teach what the market asks. > That's why I think that this effort by Urs is important. > 2. Text input. Frescobaldi is doing a good job here, but still. From the [many] discussions I’ve had with music schools large and small, the second is *far* less important than the first. And rightly so: all other things being equal, higher education should be teaching students skills and tools [!!] which they can immediately apply to their careers. Unfortunately, as long as Lilypond is a pariah amongst publishers, it does a disservice to students to teach them Lilypond at the expense of other things. Cheers, Kieren. ________________________________ Kieren MacMillan, composer ‣ website: www.kierenmacmillan.info ‣ email: i...@kierenmacmillan.info _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
