About Masterclass Lady
Rosanne (Giallonardo) Simunovic began her musical career in Timmins, Ontario. She studied piano with Anne Pizzale and later, at an advanced level, with Soeur Anita Vaugeois (Sister Cecile of Les Soeurs De L’Assomption in Timmins). Her vocal and accompaniment skills were nurtured by her aunt, the late Dorothea Mascioli.
When Rosanne graduated from O’Gorman High School, she moved on to the University of Toronto where she continued her piano and vocal studies while attaining a Bachelor of Arts Degree. She was hired as a piano accompanist for several musical companies, most notably, the National Ballet Of Canada. She presently holds an A.R.C.T. Teacher’s Diploma in Voice from the Royal Conservatory of Music in Toronto.
Rosanne has studied choral conducting with numerous well known Canadian Conductors, including Wayne Riddell of Montreal, Quebec and the internationally renowned Dr. Elmer Iseler.
She has been a founding member of numerous community-based arts organizations: the Timmins Arts Council, later known as Arts & Culture Timmins, the Timmins Symphony Orchestra, and, the Timmins Youth Singers…as well as the TYS Alumnus choir, the Timmins Concert Singers. In 1987, she was also selected to be the conductor of the Timmins Board Of Education Choir, comprised of talented students from Grades 5 to 8.
In 1988, she was elected to the Board Of Directors of the Ontario Choral Federation (now known as Choirs Ontario), where she served as Chair of the Festivals Committee for six consecutive seasons. In 1996, in honour of the Ontario Choral Federation’s 25th Anniversary, Rosanne was selected as one of 25 recipients of the OCF’s Distinguished Service Award for outstanding contribution to the choral art. The ceremony was presided by Lieutenant Governor, Hal Jackman.
In November 1997, Rosanne Simunovic was selected by the Rotary Club Of Timmins to receive the prestigious Paul Harris Award for her years of dedication to the artistic development of young musical talent in Timmins.
In August of 2002, Rosanne Simunovic was selected by the Board Of Directors of Choirs Ontario to serve as Conductor of both the Provincial Junior and Teen Choir Camps, now renamed in honour of the Camp Benefactors, Don and Lillian Wright.
In November 2002, Rosanne was the one of the recipients of the Commemorative Medal for the Golden Jubilee of Queen Elizabeth II, honouring her work in the development of the arts in Timmins.
Under Rosanne Simunovic’s direction, the Timmins Youth Singers and the Timmins Concert Singers have been featured in numerous choral festivals and performing opportunities outside of Timmins. In 1985, they were selected to partici
May 7, 2011 
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Actually this is a very interesting discussion about intellectual property rights. Their argument is that as a writer of music you have very little control. I think there is such a thing for plays, that is if your group wants to perform a play you need permission, but no one needs permission to record a song once it’s out in the public domain. Also, it’s likely (am I wrong?) that a performer gets paid better than a writer, so if someone else performs a song you wrote, they could profit from your work, especially if they have already formed an audience while you as a writer/performer are just starting out. I don’t think intellectual property rights should last forever, but it would be nice if they lasted long enough for a writer to profit from his/her own work.
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$$$$ – This gets into the tender arena of who owns the
Intellectual property (IP); that is, Copyrights, Trademarks, and Patents – those wonders that spring from the mind and soul.
This is as old as time because the world has always been a rough and tumble place for “creative” people. The classic stereotype is that the “artist” often works year after year under very impoverished, painful, and difficult conditions — for the LOVE of their work. There is a large kernel of truth in this.
Creativity tends to spring from passion and not necessarily common “$en$e”. Many of these artistic-type personalities have no patience for the bookkeeping side of the business. I have seen so many “BRILLIANT” people that lack that other “SMART” sense. They do not even (and often do not wish to) see themselves as Realists.
Therefore, they can get badly burned when (at first) all they want to do is share their excitement and marvelous products. When they find others profiting from their material, sadly, their passionate nature can become defensive and even vengeful.
Even sadder is when, for want of a better word, the “juices” dry up and all that is left is the desire to create — a bitter state that some never overcome.
Athletes, artists, inventors all have had these issues. Once in a great while an Edison, Tiger, or Madonna will be able to market themselves and capitalize on their abilities — but even their success has had a price.
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This brings up one of my favorite instances when a song was incorrectly attributed to an artist. The song was “I Will Always Love You.” I knew that Dolly Parton had written & recorded the song because my mother was a huge Dolly Parton fan. But many people believed that it was Whitney Houston’s song. Dolly did get royalties from Whitney’s performances but it was annoying to me when people seemed to think that Whitney had written it. I don’t know the details of how Whitney Houston was allowed to record the song. But to me there is plenty of room in the world for both version (I will always like Dolly’s version better than Whitney’s because I just like Dolly better).
Now, having said that, I think Prince & Adam Lambert need to lighten up a little (also for the record they are both artists I adore – I just had the privilege of seeing Prince live or the first time ever & all I can say is “wow”). I think their core premise that when a song is “covered” that the original “ceases to exist” is a bit much. Yes, protect your intellectual property – ask for other artists to pay appropriate royalties before singing a song that you worked very hard to write & perform. Perhaps have a time period during which no one else could perform/record your work – 5 years maybe? 10 years seems a little long but I suppose a case could be made for the longer time period. By then, any reasonably productive artist will have moved on to new work.
But what would happen if operas could not be performed by multiple companies & in various venues? Plays? Choral music? It would be a less vibrant world for those of us who love the arts. I believe there is a period of time during which the composers of an opera exercise pretty tight control over who can perform their new work – legitimately they don’t want it badly performed. I suspect choral work is a little less tightly controlled; people like Stephen Paulus sell their music to publishers & then receive some of the money back.
I hope I’m making sense here. I’m a little caffeine-deprived. But I wanted to make a comment while I could. This is an interesting issue. Thanks, MCL, for posting the article.
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Here is the longer, original article with quotes from additional authors.
http://www.hollywoodreporter.com/thr-esq/should-covering-songs-be-illegal-183759
I interpreted Adam’s comment as a reinstatement of Prince’s point of view rather than as a definitive statement that cover songs should never be done. Adam has had great success performing cover songs as encores on his Glamnation tour (Ring of Fire, Mad World, Whole Lotta Love among others) and I think his statement is merely an observation that performers of cover songs may be successful or they may not be. Adam has always given credit to the original artists, and he has been open to having covers of his own music posted on youtube unlike Prince.
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Thanks for your comments everyone. I just find it ironic that Adam forged his way to success by covering songs on American Idol.
And, quite frankly, it is the utmost compliment, you would think, to have countless artists arrange and perform your original song. And pay to do so!
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Thanks Sue. So funny that Rod Stewart said:
Rod Stewart: “He’s (Prince) got a good point there, but I don’t know… I haven’t thought about it, I’d have to give that great consideration.”
He has made a ton of money covering The Great American Songbook.
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There’s the pain of hearing someone butcher a writer’s song and having the song get the blame instead of the performer. A writer’s main hope for recognition and control is becoming singer/songwriters and yet they’re forced to compete on songs they wrote. In the same way I sometimes think the real star of Glee is whoever does those wonderful arrangements of the songs, who remains anonymous (to me at least), I think writers can be frustrated that they get no fame as artists while performers become household names.
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Darlene and all,
There is an interesting story about Dolly’s “I’ll Always Love You.” Dolly is a very smart business woman and has always made a practice of holding her own publishing rights to all of her songs. She originally wrote this song to express her feelings to Porter Wagner after having left her performing partnership with him.
Elvis heard the song and decided that he would like to record it so he had his manager, Colonel Tom Parker, contact Dolly to make the arrangements. When he told her that Elvis was interested in recording the song she was delighted but when he ask her how much she wanted for it she told him it wasn’t for sale. They had the classic rock and a hard place scenario. She never sold her songs and Elvis never recorded a song without holding the publishing rights to it, so she turned him down.
The Whitney Houston cover came about as about of the soundtrack of the movie, “My Bodyguard” in which she actually sings the song, rather than it only being part of the background music. This time the movies producers had the normal royalty arrangement with Dolly which I have heard her say very proudly, has made her a lot of money.
What these guys are complaining about is that the law doesn’t allow you to pick and choose who you can allow to RECORD your song. Anyone can record it but they must pay the holder of the publishing rights the appropriate royalties and follow a prescribed system of notification in order to do so.
When someone performs a song live that another person or company holds the rights to, they do not have to pay royalties. This is what Adam does when he performs the songs mentioned above at the end of his shows. If he wanted to record those songs, he can do so without permission of the copyright holder, but he does have to notify them of his intentions and he would have to pay royalties to them.
In the case of Dolly and Elvis, if this law was the law of the land at that time, he wouldn’t have needed to ask her permission to record the song, only notify her and pay her royalties. The deal still would not have gone through because of the reasons stated above.
Dolly, BTW, loves Whitney’s version. I like them both but I prefer the simplicity of Dolly’s original version and also like her duet with Vince Gill.
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Thanks for the info, this is a really interesting discussion. Dolly is supposed to be quite the savvy business woman. I remember Prince being a symbol for a while to protest or get out of some sort of contract. I didn’t realize everyone actually gets permission to record the song. Do they have to do the same to perform it? I’ve seen several artists perform “Rolling in the Deep,” though they probably didn’t officially record it. So now these covers are being published in a forum where I’m not aware as to whether the artist is even paid, much less the writer, kind of competing with a fairly newly released original. On the one hand, free publicity, on the other, the possibility of being eclipsed by another artist.
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Gene. When my choir recorded Billy Joel’s River Of Dreams, I was forced to contact his personal lawyer to gain recording rights. Which I did.
Seems to me that it is up to the composer and/or artist to stipulate whether their song is made available through the Reproduction Rights offices or whether they wish to maintain control, as Billy Joel does.
By the way, I was granted permission and saved and framed the letter. 🙂
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I agree with you Rosanne that it’s an honor for an artist have their own songs covered and recorded. The only issue I have with this is I don’t like song covers released as singles on the radio. I think it’s great to have them included on albums and performed in concerts though.
David Archuleta sings covers many times in his concerts, and it’s such a treat!! He sings “Angels” many, many times. David’s voice just soars with this one, and is absolutely stunning!! Colbie’s “Bubbly” is another one he’s covered a few times. Colbie wrote and released this song as a single, but David got his hands on it, and actually sings it so much better! It’s like hearing the song for the first time. His voice is so sweet and breathtaking!! David did include “Angels” on his debut album. But, David is one of those singers everyone MUST see in concert, because he sings so much better live!!!
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I think you’re making more of this than necessary. First of all, he does NOT say he doesn’t like covers! He merely points out the twin sword of risk when people cover your songs: they might suck and make your song sound awful OR they might do it better than you! And that is a perfectly sane and valid point. Secondly, the original article is from Hollywood Reporter where they took Prince’s discussion of the LEGALITY of UNAUTHORISED covers and then asked several artists what they thought about it. Adam’s two lines of response basically amount to – “yeah I see where he’s coming from”, which is what almost all of the others said too. He is NOT saying no-one should do covers or making any bold statement about the issue either way, however much the UK article tries to lead you to believe he is. Adam’s reply, if anything, is rather vague – as if it’s not a debate he really wanted to get into.
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Gene W – Why can’t American Idol show anyone singing Crazy by Gnarles Barckly (spelling?) if you can perform a cover song live without the songwriter’s permission? Have I understood you correctly that someone would have to pay royalties only if they record it?
Great article for discussion MCL, thanks.
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Thanks awestruck and you’ve raised a valid point. Television rights are very difficult to obtain. You have to go through all sorts of hoops and channels to obtain permission to perform a cover song on live television.
Obviously, Gnarles Barcley is very protective of his music and that is his decision of course. Another indication that cover songs can be protected if a composer goes to great lengths to do do.
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Reading this latest brouhaha over artists doing covers of another artist’s song, written by them, reminded me of a few interesting pieces of music history.
When I was doing research online about Same Cooke, I watched a documentary on youtube about his career. I never knew that he established his own record label and started signing and producing artists. Bobby Womack was very close to Sam Cooke and he wrote a song called “It’s All Over Now”. They recorded it and Bobby thought that this would be his ticket to stardom. However, Sam Cooke told him that the Rolling Stones wanted to do the song. Of course, Bobby didn’t want them to take away his labor of love. Sam said that it was a business decision. As we all know, the Rolling Stones recorded and released this and it became a huge early hit for them. As for Bobby Womack, no one even knows that he wrote and recorded it first. When Bobby related the story in the documentary, he talked about how devastating it was to have his song taken away. Then he said that when he got his first royalty check, suddenly he didn’t feel that bad anymore! He was chuckling as he remembered that moment. He got very rich off the song that he created, even though the Rolling Stones got the hit record. He had modest success as a singer, but he is okay with how it all turned out.
I think the Rolling Stones would have had their success no matter what. But it’s funny how things work out sometimes. I will say that I did listen to Bobby’s version of his song and there is no comparison to the Rolling Stones recording of the song.
I was also thinking about how Elvis became famous with the song “Hounddog”. No one knew that Big Mama Thornton had recorded it a few years earlier. Covers are a funny thing. Sometimes an artist will do a song and their version becomes a huge hit, bigger than the original.
In the end, isn’t the point that it’s about having the music heard? What about the song “Crazy”? That was Willie Nelson’s song, but Patsy Cline was the one who did the definitive version that everyone remembers. Even Willie has said that her version is his favorite. So what’s the big deal? As long as the writer of the song gets paid for the right to cover their song, what’s the big problem?
No one is saying that anyone has the right to do unauthorized covers of songs. So what if someone does a better version of your song? Will the world end? Will the heavens fall? I cannot imagine a world in which someone couldn’t do a cover of another artist’s song.
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I also wanted to add that Sam Cooke was savvy enough when he was signed to RCA records to insist that he own the publishing rights to his songs. He was no dummy! Maybe he saw what happened to a lot of black artists at that time, when they got cheated out of royalties for their songs.
I also thought of Frankie Lymon, the young teenage singer who wrote “Why Do Fools Fall in Love” and sang it withe the Teenagers. I don’t remember the name of the record label exec who signed the group, however, he totally ripped off Frankie Lymon and pocketed the money for himself. Frankie Lymon didn’t have a Gordy Berry who founded Motown, around at the time to protect him. He became a heroin addict and died of an overdose, totally destitute.
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MCL and Awstruck,
I was referring to the “compulsory licensing law” which was the topic of the article linked above. I did a search on it and found a Wikipedia article about which states basically what I said above.
The wiki piece is here:
http://en.wikipedia.org/wiki/Compulsory_license
I didn’t read all of it, only the portion related to recording and live performance. You guys take a look at it and let me know if you draw different conclussions.
MCL, my guess, in your case the difference would have to do with one of three things. Either it is because you are in Canada and subject to different copyright laws or it has to do with the time frame of the events as it relates to the passage of the law. The third case might be that because you are a choir leader maybe you were seeking permission to record the piece but not pay royalties or some arrangement that is different from the typical commercial recording artist. Do you think any of those explanations could be correct?
I was surprised by this law myself because I was familiar with the Dolly / Elvis story and knew that he had ask permission to use her song. I don’t know how long this has been in effect or what prompted it’s passage in the first place.
As a side note, If Dolly had sold her song to Elvis, he would be listed on the lable as the writer / composer of the song.
Mindy,
Bobby Womack should be credited as the songs writer on the label or jacket. So any geek like me would know he wrote the song.
You said:
“No one is saying that anyone has the right to do unauthorized covers of songs”
That is what the law says, if by authorized you mean “ask and received permission.” That is what Prince is steamed up about. He isn’t against all covers but he wants to be able to pick and choose who can do them of songs that he owns.
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I failed to address the question TV broadcast rights to perform a cover song. It’s an interesting question, but the answer is that I have no idea. Apparently a different set of laws and regulations are in effect there. I don’t think this is unique to Gnarles Barcley though because we all know how much trouble they go to in an effort to gain clearance for the use of all of the songs they use.
The answer may be in the wiki article but it will be a while before I can look at the rest of it.
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Gene – all artists have to go through Billy Joel’s lawyer. I know of artists who wanted to record River Of Dreams and were having trouble gaining permission to do so. They were astounded that i received clearance. I said ” all you have to do is pick up the phone” 🙂
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MCL, I think you need to read the original article. I see your point on this debate, but you are heaping a lot on the shoulders of Adam Lambert for a vague two sentence answer.
Your headline is very condemning.
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Have a very Happy and Blessed Mother’s Day everyone!!!
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As far as Bobby Womack’s name being on the record that the Rolling Stones put out, that doesn’t mean that people will read it and realize – oh wow, this guy wrote this song!
Bobby Womack put out his own recording of “It’s All Right Now”, but no one knows about it. He was completely overshadowed by the Rolling Stones big success with their own record. He never got the kind of recognition that he deserved, however he had to settle for the huge paycheck he received. I will also say that the Rolling Stones had the better version and I don’t think Bobby would quibble with that.
In a way, I am sorry that I got involved in this discussion. I made the points I wanted to make and that’s really all I have to say on the subject.
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There’s no doubt that we as an audience benefit from all the cover songs. We get to hear songs that could have been lost to us over time, updated to a form that our modern ears appreciate. Those of you who are performers get to stand on the shoulders of giants when you perform a great writer’s song. Adam Lambert brought songs to my attention I wasn’t even aware of, just as Casey did this season. This doesn’t stop me from sympathizing with Prince when someone compliments or criticizes his “cover” of one of his own songs. It’s great that we’re giving an issue that we largely take for granted some thought. Thanks Masterclass Lady!
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Gene – MCL thanks for all the info and Gene I will get to that article…
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Thanks everyone for your contribution to this topic. You know, as often as, say, White Christmas has enjoyed performances by thousands of artists over the years, I never lose sight of the original artist, Bing Crosby. His performance is iconic and legendary.
I can say the same for so many other singers: Frank Sinatra, Barbra Streisand, Billy Joel, Elton John, Ella Fitzgerald, Aretha Franklin. The list is endless. These singers are still revered in the music industry and it is through their vocal gift that the songs became famous.
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Mindy, thanks so much for writing about the Elvis/Dolly connection. I was totally unaware of Elvis’s having wanted to record “I Will Always Love You”. I learn something every day.
Hope everyone is having a wonderful Mother’s Day.
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I enjoyed your story, MCL and appriciate the additional info. After reading it I decided to search some more on the Compulsory License provision of the copyright laws of the USA and this time I found a document entitled “Copyright Licensing in Music Distribution,
Reproduction and Public Performance” which appears to be a copy of the law along with a summery that was prepared by a group named CRS (?) for the Congress. Here is that document:
Click to access RL33631_060830.pdf
My reading of it suggest that MCL is completely correct regarding asking permission to cover a song and that Awestruck is also correct regarding rights being granted for live performances when they are done for profit in rooms larger than 3750 square feet or smaller rooms if there are more than six speakers involved in the delivery of the music. Yeah, it actually sates that! I think what is unusual about MCL’s situation was that Billy Joel uses his own lawyer to handle such request and most artist use a common service to do this.
By my reading of the document linked above it seems to be the complete opposite of the Wikipedia article with regard to asking permission to use copywrited material.
The document also points out that there may be two copyright holders for a single song. The first is the person who holds the right to the written word and the possible second would be the person or entity that holds the rights to the original recording of the song. The two sets of rights vary considerably. It also details the differences between copyrighted digital media and analog media, which were considerable. It also says that most artist use a service that handles these request for use of the copywriter music for recording purposes and that groups like ASCAP handle the collection and distribution of performance royalties. Some groups are exempt from this system such as teachers, critics and none profit performers and those performing in small rooms with bad PA systems. . If you are ever having trouble falling asleep, this would make for good reading.
What is confusing now is that if this document represents the current state of the law, what is Prince’s beef? I’m also confused about why the Wiki article seems to say just the opposite of what the copyright law says and it also seems to agree with the complaint that Prince raised.
I offer my apologies to MCL, Awestruck and Mindy. I think (?) my first statements based on the Wiki page are more likely to be wrong than the copy of the actual law that I linked above. It is an interesting topic. The Dolly and Elvis story comes from Dolly herself from a biographical documentary that I saw on TV.
MCL, There is a new series premiering tonight on the new OWN network about your old friend Shania Twain. I think it’s at 10:00 eastern time.
I hope all the mothers are having a wonderful Mothers Day!
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Gene – thank you for doing all this research. You are very thorough and I thank you for this. I have gone through many hoops to obtain copyright permission for my recordings. The Billy Joel experience was actually easier than I thought it would be, but some of the musical theatre pieces and a couple of classical works were tedious. But, I did receive permission.
I had forgotten about Shania this evening Thank you for reminding me.
Did you see her on Oprah? I had no idea she was a product of an abusive father. When she was a teen, she told me that she spent her weekends trapping wildlife and planting trees with her Dad. She was a difficult teen to deal with – talented but difficult- but I had no idea she was living in such a sad environment.
I am happy she has found happiness in a relationship once again. Her life has been a roller coaster.
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gene – no problem and I will add my thanks as well for the research you did. Interesting reading.
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J,
I cannot find your performance reviews. I really would like to see those again! I’ve looked under “Posts”, “Top Posts”, “Recent Posts”, but it’s not under any of these! I’ve even looked under “Contributors”. Can you help me with this Jennifer or Rosanne, please?
Thanks.
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On this Mother’s Day, I’ve thought alot about my dad who passed away in Sept. of 2008. I listened to Jacob Lusk’s “Dance With My Father” tonight. It just tears me up , as it did the first time Jacob sang this. What an incredibly beautiful song and performance this was! Thanks Jacob for reminding me of my dad, and my mom who misses him so very much!
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Anita – here you go. https://masterclasslady.com/2011/05/02/js-observations-from-the-deck-american-idol-season-10-top-6-performances/
I am going to have to check this out tomorrow and come up with a page to add Js articles. Thanks for pointing this our to me.
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Rosanne,
Thank you so very much!!
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MCL,
Thank you. I hope you didn’t think I was being argumentative or disrespectful of the personal experience you told us about with the Billy Joel song. I was just trying to understand the process and the information I was looking at seemed to be in conflict with your experience.
It’s even more interesting that recording rights for the classical and the musical theater pieces was more difficult to obtain than the rights from a current pop artist. I would have thought that the classical pieces were public domain and that the copyright holders of a theater piece would be more than happy that someone wanted to perform their play. If you’re not learning, you’re not living I guess.
I didn’t see Shania on Oprah. Advertisements for the Oprah Winfrey Network (OWN) run on several of the other cable networks, so that’s how I knew about the upcoming series. There was quite a bit of interesting information that was new to me in the teasers for this new series, like the fact that she couldn’t sing anymore. I hadn’t heard that, and didn’t know why, but the show revealed that it was due to emotional issues that arose from her husband running off with her best friend. I didn’t know that there had been abuse in her home either but I had heard about her parents dying and that she had to become the head of the family at a young age.
I got to see some of your hometown and kept expecting your smiling face to pop up at any minute, but they left me disappointed!
Would it be possible to restore the auto fill feature to the “Leave a Reply” box? It used to recognize you and pre-fill the name and email lines and now you have to do it manually each time. The changes are nice except for this minor annoyance
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Gene – not a problem. This copyright issue is confusing to everyone.
And, the modern day classical songs were an issue because they were not public domain.
The musical theatre songs were tricky to pinpoint because there are so many “owners” involved with each song.
Also, because I had changed ONE word in one of the songs, they didn’t give me the green light on one of the numbers, so I couldn’t include it on the Scenes From A Dream CD. And it was one of the best numbers. Better to be safe than sorry. I am happy I asked – I had a feeling it was going to cause me trouble down the line.
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Gene- re the auto fill problem – I will look into this. I wonder if this is happening because I recently changed themes? And I paid for this premium theme, so hopefully, they will rectify the situation ASAP.
Shania’s show premieres Friday. Don’t expect to see me. I was a small influence in her life, although her sister always kept me aware of what she was doing once she left Timmins.
It will be interesting to see if she mentions Mary Bailey, her first manager, who was ultimately responsible for Shania’s encounter with Mutt Lange. Shania gave Mary her walking papers soon after she became a star. It was quite the brouhaha!
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Thank you for looking into the auto fill problem.
Her show premiered Sunday here. I hope I didn’t spoil any of it for you.
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Not at all Gene. Apparently she speaks about demons from her past? Now that has piqued my curiosity.
Does the autofill work correctly now?
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No, it’s still not working for me.
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Rosanne,
I think you started a very interesting and informative topic. I just have to add that I agree with Zena only in that I am a huge Adam fan and the ‘tone’ of the topic was not very complementary of Adam or Prince. The posts here added a lot to the conversation that the original article started. Thanks for expanding your column to cover The Voice. Loved Rebecca Loebe and was very disappointed that she was eliminated before the live shows. I am one of those ‘rabid’ Adam fans and had to comment today.
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