Via YouTube channel “gerubach”, which has been presenting “scrolling score” youtube videos of musical compositions for many years, I stumbled upon the following gem of a playlist:
All of Book I of Bach’s Well-Tempered Clavier is being rendered there in MuseScore animation: as you hear the audio, not only do you see the score on screen (two systems at a time) and a pointer scrolling across the notes being played, but at the bottom of the screen, you see the notes currently sounding displayed on a piano keyboard.
Especially in combination with YouTube’s ability to play back videos at reduced speed without altering the pitch, this is a marvelous self-tutoring tool for keyboard playing as well as music theory.
The audio is taken from the performance by pianist (and former competitive weight lifter!) Kimiko Ishizaka [official website]. The MuseScore team could legally do so as the (IMHO excellent) performance was released in the public domain (!)
The onetime child prodigy pre-funds her recordings through Kickstarter campaigns (most recently, she ran one for a “Libre”recording of Bach’s The Art of Fugue), then releases them online under PD or Creative Commons licenses. The word “Libre” she uses has some currency in the open source software developer community: It refers to one of the two words in French (and other Romance languages) that correspond to the English “free”, namely libre (without restrictions, “free as in speech”) vs. gratis (without cost, “free as in lunch”). She does not work gratis, but on what I have been calling a “massively distributed commissioning” model, and what is becoming known as a “threshold pledge” model: she sets a funding goal, solicits pledges from patrons on Kickstarter, and if her threshold is met, the work is performed and the money collected. For her last campaign, the threshold she set was 20,000 Euro, and the minimum pledge was 10 Euro — the price of an album at a CD store (remember those). Larger pledge amounts (20 Euro, 50 Euro, 100 Euro) get various extra goodies, such as live recordings from recent concerts, a physical CD of the music, and admission to one of three “meatspace” live concerts.
D. Jason Fleming has been talking a lot about the “Open Culture Movement”. I believe this is an interesting example, and may actually point a way toward the future for classical performers. The big losers here, of course, are the classical music labels, who in this model are about as profitable as illegal CD bootleggers….