{"id":500,"date":"2017-08-13T22:13:51","date_gmt":"2017-08-13T21:13:51","guid":{"rendered":"http:\/\/musique-libre.org\/doc\/?p=500"},"modified":"2026-03-18T23:53:05","modified_gmt":"2026-03-18T22:53:05","slug":"la-licence-ethymonics","status":"publish","type":"post","link":"https:\/\/musique-libre.org\/doc\/la-licence-ethymonics\/","title":{"rendered":"La licence Ethymonics"},"content":{"rendered":"

Bonjour tout le monde !<\/p>\n

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Voici un article dans le but de, non seulement pr\u00e9server le texte de la licence Ethymonics Free Music Licence (une des premi\u00e8res licences de musique libre, pr\u00e9c\u00e9dant la licence Creative Commons), mais aussi de vous en faire partager les raisons de sa cr\u00e9ation\u00a0! Pourquoi cette licence existe\u00a0? Pourquoi, un jour, Tony Hardie-Bick d\u00e9cide-t-il de faire na\u00eetre une licence qui permettrait aux musiciens de publier sans copyright\u00a0? Quel besoin, quelle situation vient-elle r\u00e9soudre, et l\u2019a vue na\u00eetre\u2026\u00a0? Bref\u00a0! Que du bon, je vous souhaite une agr\u00e9able lecture \ud83d\ude00<\/p>\n<\/div>\n

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\u00ab\u00a0<\/span>[<\/span>\u2026<\/span>] L<\/span>a musique, <\/span>avait <\/span>selon ma (l\u00e9g\u00e8rement na\u00efve) opinion, besoin de retourner \u00e0 ses racines cr\u00e9atives.\u00a0\u00bb<\/span><\/p>\n<\/div>\n

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\u00ab\u00a0I innocently made a link between the world of Free Software, which had returned engineering to its creative roots, and music, which was, in my (slightly naive) opinion, in need of returning to its creative roots also.\u00a0\u00bb\u00b9<\/i><\/span><\/p>\n<\/div>\n

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Faire sortir la musique de l\u00e0 – u<\/b>ne histoire de contrat.<\/b><\/p>\n<\/div>\n

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Nous sommes dans les ann\u00e9es 90. L\u2019underground Londonien bout de cr\u00e9ativit\u00e9 -foisonnant d\u2019artistes, certains connus, d\u2019autres non. Parmi eux, un artiste, joueur de clavier semi-professionnel. Il a un r\u00eave\u00a0: celui de d\u00e9crocher un contrat aupr\u00e8s d\u2019une maison de disques. D\u2019irradier dans le monde\u00a0; de \u00ab\u00a0faire sortir la musique de l\u00e0\u00a0\u00bb\u2026
\nEt pourtant, me disait-il au travers de notre \u00e9change, l\u2019espoir de d\u00e9crocher un contrat en tant que musicien pro\/semi-professionnel pouvait sembler \u00ab\u00a0cool et enthousiasmant, mais en fait c\u2019\u00e9tait d\u00e9sesp\u00e9rant\u2026\u00a0\u00bb
\n<\/i>\u00ab\u00a0Je vais essayer de d\u00e9crire le probl\u00e8me que j\u2019ai exp\u00e9riment\u00e9 en tant que (il y a longtemps) joueur de clavier semi-professionnel \u00e0 Londres. La \u00ab\u00a0sc\u00e8ne\u00a0\u00bb inclut beaucoup de personnes brillantes et cr\u00e9atives, d\u2019excellents musiciens, certains connus, d\u2019autres non. Certains d\u2019entre eux avaient un contrat d\u2019enregistrement qui \u00e9tait effectivement un projet \u00e0 gros risque, d\u00e9ductible d\u2019imp\u00f4t, aupr\u00e8s d\u2019une compagnie de disques. Quand quiconque d\u00e9crochait un contrat d\u2019enregistrement, c\u2019\u00e9tait comme des animaux au zoo \u00e0 l\u2019heure du repas. J\u2019\u00e9tais l\u2019un d\u2019entre eux. [\u2026] Tr\u00e8s peu pouvaient atteindre le sommet de cette haute pyramide […]\u00a0\u00bb\u00b2<\/b><\/i><\/span><\/p>\n

\u00ab\u00a0C<\/span>ertains musiciens d\u00e9crochent un contrat, et beaucoup le m\u00e9ritent, car ils sont exceptionnels. <\/span>Mais ils ont \u00e9volu\u00e9 dans un contexte musical<\/b><\/span>, un underground ou les sons fusionnent et \u00e9mergent; leur voix s’est fa\u00e7onn\u00e9 au travers d’une multitude. <\/span>Un underground m\u00e9connu dont beaucoup sont inconnus.<\/b><\/span> E<\/span>t cet underground \u00ab\u00a0on the edge\u00a0\u00bb,\u00a0\u00bb <\/span>explique T. Hardie-Bick,<\/span> \u00ab\u00a0<\/span>devenait d\u00e9sesp\u00e9r\u00e9<\/b><\/span>, <\/span>rendu<\/span> confus par le d\u00e9sir d’\u00eatre couronn\u00e9 de succ\u00e8s au sens conventionnel du terme.\u00a0\u00bb<\/span><\/p>\n

N.B.\u00a0: ce qui suit est constitu\u00e9 en majeure partie des mots de T. H-B. lui-m\u00eame. Les deux langues sont accessibles et successives. Le texte sera donc entrecoup\u00e9 de citations originales.<\/i><\/span><\/span><\/p>\n

Pression et Cr\u00e9ativit\u00e9\u00a0:
\n<\/b><\/span>1_L\u2019impact du syst\u00e8me \u00e0 \u00ab\u00a0succ\u00e8s\u00a0\u00bb sur la cr\u00e9ativit\u00e9 de l\u2019Underground
\n<\/b><\/span>A<\/span><\/span>insi, le d\u00e9sir du succ\u00e8s menait \u00e0 une pression consid\u00e9rable cette foule d\u2019artistes\u00a0; une pression qui ne s\u2019arr\u00eatait pas au d\u00e9sespoir, mais allait jusqu\u2019\u00e0 an\u00e9antir le fun <\/span><\/span>c<\/span><\/span>r\u00e9atif <\/span><\/span>musical\u00a0:<\/span><\/span><\/p>\n

\u00ab\u00a0It came to haunt every successful recording session – what might start <\/i><\/span>out as a friendly jam, might, with luck and hard work, turn into a gem, <\/i><\/span>a wonderful piece that would charm those of us who had recorded it, and <\/i><\/span>sometimes others too. But so often then, the fun would evaporate, and <\/i><\/span>months of playing the music to producers, djs, maybe even getting record <\/i><\/span>contracts talked about. It was actually, 99% nonsense, whereas the music <\/i><\/span>was clearly a real thing.\u00a0\u00bb<\/i><\/span><\/p>\n

\u00ab\u00a0\u00c7a en est arriv\u00e9 au point de hanter toute session d\u2019enregistrement \u2013 ce qui pouvait commencer comme un jam amical, pourrait, avec de la chance et du travail dur, devenir une gemme, une pi\u00e8ce merveilleuse qui charmerait ceux d\u2019entre nous l\u2019ayant enregistr\u00e9e, et quelquefois les autres aussi. Mais, si souvent alors, le fun s\u2019\u00e9vaporait en mois pass\u00e9s \u00e0 consacrer de la musique \u00e0 des producteurs, des djs, peut-\u00eatre arriver \u00e0 un contrat d\u2019enregistrement dont je parlais. C\u2019\u00e9tait, alors, 99\u00a0% de non-sens, tandis que la musique elle, existait pour de bon.\u00a0\u00bb<\/p>\n

Il observait donc une dualit\u00e9<\/u> entre l’innocence et la d\u00e9termination de l’artiste, min\u00e9e<\/b> par ce qui suivait l’\u00e9v\u00e8nement cr\u00e9atif, qui typiquement pouvait se r\u00e9sumer en \u00ab\u00a0la tentative infructueuse de \u00ab\u00a0faire sortir la musique de l\u00e0\u00a0\u00bb (\u00ab\u00a0get the music out there\u00a0\u00bb).
\n<\/span><\/p>\n

Ainsi c\u2019est la cr\u00e9ativit\u00e9 m\u00eame de l\u2019artiste qui en \u00e9tait affect\u00e9e\u00a0! Pour peu que la musique reste \u00ab\u00a0cantonn\u00e9e\u00a0\u00bb au lieu physique du concert, du jam, alors peu \u00e0 peu sa d\u00e9termination, son enthousiasme s\u2019en trouvaient affaiblis\u2026<\/span><\/span><\/p>\n

\u00ab\u00a0I began to realise this was completely wrong, completely unartistic. Great musicians find their way through the business, because the work of art is naturally a product of some kind. But experiments, the great mass of work that goes on in a city like London, is not naturally a product, and yet the work of the artist is of great *value*.\u00a0\u00bb<\/i><\/span><\/p>\n

\u00ab\u00a0<\/span>Je commen\u00e7ai \u00e0 r\u00e9aliser que cela \u00e9tait compl\u00e8tement mauvais, compl\u00e8tement <\/span>inartistique<\/b><\/span>. <\/span>De grands musiciens trouvent le<\/u><\/span>u<\/u><\/span>r voie au travers du business<\/u><\/span>, car le travail de l\u2019art est naturellement un<\/span>e certaine sorte de<\/span> produit. Mais les exp\u00e9rimentations, la grand<\/span>e<\/span> masse de travail qu\u2019il y a dans une ville comme Londres, n\u2019est pas par nature un produit, alors m\u00eame que <\/span>le travail de <\/b><\/span>l\u2019artiste<\/b><\/span> <\/b>est<\/b><\/span> <\/b>d\u2019<\/b><\/span>une grande valeur\u00a0<\/b><\/span>\u00bb<\/span><\/p>\n

A<\/span><\/span>u temps de la FML, Tony cherchait donc une solution. Ces \u00ab\u00a0<\/span><\/span>artistes <\/span><\/span>en marge<\/span><\/span>\u00a0\u00bb<\/span><\/span> dont il faisait partie \u00e9taient d<\/span><\/span>evenus<\/span><\/span> trop <\/span><\/span>d\u00e9sesp\u00e9r\u00e9s<\/span><\/span>\u2026<\/span><\/span> trop confus par le d\u00e9sir d<\/span><\/span>e<\/span><\/span> r\u00e9ussir<\/span><\/span>, dans <\/span><\/span>le<\/span><\/span> sens <\/span><\/span>conventionnel<\/i><\/span><\/span> du term<\/span><\/span>e. <\/span><\/span>Pourtant <\/span><\/span>l\u2019art Underground<\/span><\/span> est d\u2019une grande valeur dans la cr\u00e9ation artistique, et musicale\u00a0! C\u2019est un terreau fertile en id\u00e9es, un engrais artistique, une trame de fond cr\u00e9ative. <\/span><\/span>Ce que nous explique joliment Tony\u00a0:<\/span><\/span><\/p>\n

2_Le r\u00f4le primordial du contexte\/de l\u2019Underground dans la cr\u00e9ation musicale<\/b><\/span><\/span><\/span>
\n<\/b><\/span><\/span><\/span>\u00ab\u00a0I must say that I believe that some of the greatest music ever made, has been so-called popular music, whether that be of the BGs or Daft Punk, Amy Winehouse… whoever. The point is that beneath all those great names, behind all their great music, <\/span><\/span>is a turbulent mass of brilliant, collective, creativity<\/u><\/span><\/span>, which occurs in cities like London, Berlin, and at various times in New York, Detroit…\u00a0\u00bb<\/span><\/span><\/i><\/span><\/p>\n

\u00ab\u00a0<\/span><\/span>However, underneath <\/span><\/span>all that, <\/span><\/span>are roots, where sounds merge and emerge, form and morph<\/b><\/span><\/span> into new creatures, new musics. If you read the biography of any of the great musicians, you will see <\/span><\/span>how much context went into the shaping of their voices<\/b><\/span><\/span>, then to combine with genius of an unusual kind. But this context, that is where a lot of music comes from. The unknown, the largely unheard, those who sing and play and <\/span><\/span>discover in the darkness, creating light<\/u><\/span><\/span>.<\/span><\/span><\/i><\/span><\/p>\n

Some are known. Many are unkown.\u00a0\u00bb<\/i><\/span><\/span><\/span><\/p>\n

\u00ab\u00a0Je dois dire que je crois que certaines des plus grandes musiques jamais faites, ont soi-disant \u00e9t\u00e9 appel\u00e9es musiques \u00ab\u00a0populaires\u00a0\u00bb, qu\u2019il s\u2019agisse de Bgs ou Daft Punk, Amy Winehouse\u2026 n\u2019importe. L\u2019essentiel est que au-dessous de tous ces grands noms, derri\u00e8re toute leur grande musique, existe <\/span><\/span>une masse de turbulente, brillante, collective cr\u00e9ativit\u00e9<\/u><\/span><\/span>, qui se produit dans des cit\u00e9s comme Londres, Berlin, et \u00e0 de nombreuses fois \u00e0 New York, Detroit\u2026\u00a0\u00bb<\/span><\/span><\/span><\/p>\n

\u00ab\u00a0<\/span><\/span>Tout <\/span><\/span>ceci, sont <\/span><\/span>des racines, d\u2019o\u00f9 les sons fusionnent et \u00e9mergent, se forment et se transforment<\/b><\/span><\/span> en de nouvelles cr\u00e9atures, de nouvelles musiques. Si vous lisez la biographie de <\/span><\/span>n\u2019importe quel grand musicien, vous verrez <\/span><\/span>combien le contexte a fa\u00e7onn\u00e9 leur voix<\/b><\/span><\/span>, <\/span><\/span>ensuite combin\u00e9e avec un g\u00e9nie d\u2019une sorte nouvelle. Mais ce contexte, c\u2019est de l\u00e0 que beaucoup de musiques viennent. L\u2019inconnu, <\/span><\/span>l\u2019in<\/span><\/span>entendu, ceux qui chantent et jouent et <\/span><\/span>font leurs d\u00e9couvertes dans l\u2019obscurit\u00e9, cr\u00e9ant de la lumi\u00e8re.<\/u><\/span><\/span><\/span><\/p>\n

Certains sont connus. Beaucoup <\/span><\/span>sont inconnus<\/span><\/span>.<\/span><\/span>\u00a0\u00bb<\/span><\/span><\/span><\/p>\n

V<\/span><\/span>oil\u00e0, cet underground fertile <\/span><\/span>et m\u00e9connu<\/span><\/span>, <\/span><\/span>d\u00e9chir\u00e9 par la question de la valeur qu<\/span><\/span>e la<\/span><\/span> production commerciale donne \u00e0 l\u2019\u0153uvre\u2026<\/span><\/span> or, <\/span><\/span>au <\/span><\/span>c\u0153ur<\/span><\/span> du concept des Logiciels Libre, l\u2019<\/span><\/span>on trouve <\/i><\/span><\/span>pr\u00e9cis\u00e9ment <\/i><\/span><\/span>une id\u00e9e de valeur autre que mon\u00e9taire<\/i><\/span><\/span>.<\/span><\/span><\/span><\/p>\n

Une valeur non mon\u00e9taire\u00a0:
\n<\/b><\/span><\/span>1_La \u00ab\u00a0rencontre\u00a0\u00bb entre THB et Linux \u2013 le lien entre Libre, <\/span><\/span>hacking et cr\u00e9ativit\u00e9<\/span><\/span><\/b><\/b><\/p>\n


\n<\/span><\/span>\u00ab\u00a0<\/i><\/span><\/span><\/b>Around 2000 I had just got into Linux, and really \u00ab\u00a0got religious\u00a0\u00bb about it. Being an engineer, I had become disillusioned with the complete lack of access to the workings of operating systems and computers, which contrasts greatly with the hacking mentality prevalent in the UK in the 1980s, and which was also a key aspect of the work of Steve Wozniak when he started Apple with Steve Jobs. This is the heart of creativity. I innocently made a link between the world of Free Software, which had returned engineering to its creative roots, and music, which was, in my (slightly naive) opinion, in need of returning to its creative roots also.\u00a0\u00bb<\/i><\/span><\/span><\/span><\/p>\n

\u00ab\u00a0A<\/span>ux alentours des ann\u00e9es 2000, j\u2019avais tout juste d\u00e9couvert Linux, et en \u00e9tai<\/span>s <\/span>devenu un <\/span>r\u00e9el<\/span> \u00ab\u00a0adepte\u00a0\u00bb. <\/span>En tant<\/span> qu\u2019<\/span>ing\u00e9nieur, j\u2019avais \u00e9t\u00e9 d\u00e9sillusionn\u00e9 par le manque total d\u2019acc\u00e8s aux fonctionnements des <\/span>O.S<\/span>. et des ordinateurs, qui contrastait compl\u00e8tement avec la mentalit\u00e9 de bidouille\/hacking pr\u00e9valente au Royaume-Uni dans les ann\u00e9es 80, <\/span>laquelle<\/span> avait \u00e9t\u00e9 aussi un aspect-cl\u00e9 du travail de Steve Wozniak quand il a lanc\u00e9 Apple avec Steve Jobs. Cette mentalit\u00e9 est le <\/span>c\u0153ur<\/span> de la cr\u00e9ativit\u00e9.<\/span><\/span><\/span><\/p>\n

J’ai innocemment fait un lien entre le monde du Logiciel Libre, qui avait fait ret<\/span>rouver aux<\/span> Sciences de l’<\/span>I<\/span>ng\u00e9nieur <\/span>leurs<\/span> racines cr\u00e9atives, et la musique, qui avait, selon ma (l\u00e9g\u00e8rement na\u00efve) opinion, <\/span>tout autant besoin de retourner \u00e0 ses racines cr\u00e9atives.\u00a0\u00bb<\/span><\/b><\/span><\/span><\/p>\n

2_Ram Samadrula<\/a><\/span><\/b><\/p>\n

\u00ab\u00a0I would say that Ram had identified the idea of licensing music analagously to Free Software before I had done (maybe by a few months or longer). And he articulated the philosophy more clearly, and I think his web pages were present before I put the FML online. I think the FML is kindof a homage to the GPL, and an attempt to get as close as possible to that framework, and achieve a specific effect on the attitude of musician and audience. I came up with the idea – and the License – independently, but once I started to look online, I discovered that others were thinking along similar lines, although Ram was probably the first one to clearly articulate the idea as applied to music. I think he should get credit for that.\u00a0\u00bb<\/i><\/span><\/span><\/span><\/p>\n

\u00ab\u00a0J<\/span>e dirais que Sam Samadrula avait identifi\u00e9 l\u2019id\u00e9e d\u2019attribuer une licence \u00e0 la musique -analogiquement aux Logiciels Libres- avant que je ne l\u2019aie fait (peut-\u00eatre quelques mois auparavant ou un peu plus\u2026). Et il a su en articuler la philosophie plus clairement, et je pense que ses pages web \u00e9taient pr\u00e9sentes avant que je ne mette la FML en ligne.<\/span><\/span><\/span><\/p>\n

Je pense que la FML est une forme d\u2019hommage \u00e0 la GPL, et une tentative de s\u2019approcher le plus possible de cette structure, et parvenir \u00e0 <\/span>un certain effet sur l\u2019attitude du musicien et de l\u2019audience.<\/u><\/span> J\u2019ai propos\u00e9 cette id\u00e9e \u2013 et la Licence \u2013 ind\u00e9pendamment <\/span>de Ram<\/span>, mais une fois que j\u2019a<\/span>i<\/span> cherch\u00e9<\/span> en ligne<\/span>, j\u2019ai d\u00e9couvert que d\u2019autres \u00e9taient en train de penser des id\u00e9es semblables, bien que Ram ait probablement \u00e9t\u00e9 le premier \u00e0 articuler clairement ces concepts articul\u00e9s \u00e0 la musique.<\/span><\/span><\/span><\/p>\n

Je pense qu\u2019il dev<\/span>r<\/span>ait avoir d<\/span>e la reconnaissance pour cela.\u00a0\u00bb<\/span><\/span><\/span><\/p>\n

Fondations\u00a0:
\n<\/b><\/span><\/span><\/span>1_La FML et la GPL
\n<\/b><\/span><\/span><\/span>En ce qui concerne les fondations l\u00e9gales de la FML, Tony Hardie-Bick nous apprend qu\u2019il a consist\u00e9 principalement en un remaniement de la GPL\u00a0:<\/span><\/span><\/span><\/p>\n

\u00ab\u00a0It was basically a reworking of the GPL, which I think might be, technically, illegal, since its copyright belongs to the FSF. I have yet to get any complaint from Richard Stallman (or any word at all)! I cannot remember clearly, but I may have sent an email asking if they mind, but certainly got no reply.\u00a0\u00bb<\/i><\/span><\/span><\/span><\/p>\n

\u00ab\u00a0C\u2019\u00e9tait basiquement un remaniement de la GPL [ndt\u00a0: Global Public License], ce qui pourrait \u00eatre, techniquement, ill\u00e9gal, dans la mesure o\u00f9 son copyright appartient \u00e0 la FSF [ndt\u00a0: Free Software Foundation]. Je n\u2019ai pas eu de plainte de Richard Stallman (pas le moindre mot en fait)\u00a0! Je n\u2019arrive pas \u00e0 me souvenir clairement mais il me semble avoir envoy\u00e9 un email demandant si c\u2019\u00e9tait un probl\u00e8me, mais n\u2019ai certainement pas eu de r\u00e9ponse.\u00a0\u00bb<\/span><\/span><\/span><\/p>\n

Oui, la GPL. Pourtant \u00e0 l\u2019\u00e9poque existait d\u00e9j\u00e0 la Free Arts License, mais elle ne convenait pas, pour des raisons propres aux \u0153uvres musicales\u00a0:
\n<\/span><\/span><\/span>
\n<\/span>\u00ab\u00a0<\/span><\/span>There was some specific problem with the Free Arts License, which otherwise I would have used gladly – its opening paragraph is extremely inspirational.
\nThere are issues that crop up in music that are different. It’s tough to recall exactly, but iirc it was something to do with derivative works being considered as separate works, and therefore not subject to the original license. I wanted particularly to ensure that the artist (ie myself) would not be in a position to change his\/her mind about the license terms some years down the line, and sell\/market their \u00ab\u00a0new\u00a0\u00bb work simply by making a derivative work, subject to arbitrary terms of their liking.\u00a0\u00bb<\/i><\/span><\/span>
\n<\/span><\/span><\/span><\/p>\n

\u00ab\u00a0<\/span>Il y avait quelques probl\u00e8mes sp\u00e9cifiques <\/span>avec<\/span> la Free Arts License<\/span>\u00b3<\/span>, autrement je l\u2019aurais utilis\u00e9 avec bonheur -son paragraphe d\u2019introduction est extr\u00eamement inspirant.
\n<\/span><\/span><\/span><\/span>Des questions diff\u00e9rentes<\/span> se posent<\/span> avec la musique. M\u2019en souvenir avec exactitude est difficile, mais si je m\u2019en <\/span>rappelle<\/span> bien, \u00e7a avait un rapport avec les \u0153uvres d\u00e9riv\u00e9es, consid\u00e9r\u00e9es comme des \u0153uvres distinctes et donc non sujettes \u00e0 la licence originelle. <\/span>Or<\/span> je voulais tr\u00e8s particuli\u00e8rement garantir que l\u2019artiste (i.e. moi-m\u00eame) ne serait pas en position de changer son avis \u00e0 propos des termes de licence quelques ann\u00e9es plus tard, et vendre\/commercialiser sa \u00ab\u00a0nouvelle\u00a0\u00bb \u0153uvre simplement en en faisant une \u0153uvre d\u00e9riv\u00e9e, sujette aux termes arbitraires de ses pr\u00e9f\u00e9rences.<\/span>\u00a0\u00bb<\/span><\/span><\/span><\/p>\n

\u00ab\u00a0My concern is that musicians are only human, and if offered money, will go back on their original philosophical conviction. Using myself as a model, I often saw how one’s attitude towards a piece of music could change, as soon as \u00ab\u00a0someone might be interested in doing something with it\u00a0\u00bb. I wanted to declare an intention, and be in no position to go back on it, and see what the creative result would be.\u00a0\u00bb<\/i><\/span><\/span><\/span><\/p>\n

\u00ab\u00a0Ma pr\u00e9occupation est que les musiciens sont humains, et quand on leur offre de l\u2019argent, vont revenir sur leurs convictions philosophiques originelles. En me prenant comme mod\u00e8le, j\u2019ai souvent vu comment l\u2019attitude envers une musique pouvait changer, d\u00e8s lors que \u00ab\u00a0quelqu\u2019un pourrait \u00eatre int\u00e9ress\u00e9 \u00e0 en faire quelque chose\u00a0\u00bb. Je voulais d\u00e9clarer une intention et ne pas \u00eatre en position de pouvoir revenir en arri\u00e8re et voir quel en serait le r\u00e9sultat cr\u00e9atif.\u00a0\u00bb<\/span><\/span><\/span><\/span><\/p>\n

Des ann\u00e9es plus tard, les subtilit\u00e9s l\u00e9gales apparaissent comme plus complexes que ce que Tony avait imagin\u00e9. Je lui demandais combien ils avaient \u00e9t\u00e9 \u00e0 travailler sur cette licence, il me r\u00e9pond qu\u2019il \u00e9tait seul. Qu\u2019obtenir une \u00e9quipe d\u2019avocats pour travailler dessus aurait \u00e9t\u00e9 presque impossible, et aurait co\u00fbt\u00e9 une fortune -que les personnes ayant cr\u00e9\u00e9 la LAL avaient des conseils juridiques et qu\u2019elles indiquaient que c\u2019\u00e9tait tr\u00e8s compliqu\u00e9.
\n<\/span><\/span><\/span>De l\u2019autre c\u00f4t\u00e9, le projet<\/span> Creatives Commons <\/span>a l\u2019effectif <\/span>humain<\/span> n\u00e9cessaire pour surmonter toutes les questions l\u00e9gales, qui, bien entendu, varient de pays en pays\u2026<\/span>4, <\/span><\/sup>5<\/span><\/sup><\/span><\/span><\/p>\n

\u00ab\u00a0Il y a des diff\u00e9rences fondamentales entre la musique et les logiciels. La FML les couvrait plut\u00f4t bien, tout en atteignant mes buts. Mais de le faire compl\u00e8tement, pour chaque territoire au monde, est extr\u00eamement technique, d\u2019un point de vue l\u00e9gal.\u00a0\u00bb6<\/sup><\/span><\/span><\/span><\/p>\n

2_Et Internet dans tout \u00e7a\u00a0?
\n<\/b><\/span><\/span><\/span>Tandis que nous \u00e9changions ces mails, je demandai alors \u00e0 T. H-B. quel avait \u00e9t\u00e9, selon lui, le r\u00f4le d\u2019Internet dans la cr\u00e9ation de sa licence\u00a0:<\/span><\/span><\/span><\/p>\n

\u00ab\u00a0The Internet was not important philosophically, but it does make it, for the first time, practical to distribute sounds without cost. However, my motivation was fundamentally different.\u00a0\u00bb<\/i><\/span><\/p>\n

\u00ab\u00a0Internet n\u2019a pas \u00e9t\u00e9 important philosophiquement<\/u>, mais il a \u00e9t\u00e9 essentiel en ce qu\u2019il permettait, pour la premi\u00e8re fois, de distribuer des musiques sans le moindre co\u00fbt. Cependant, ma motivation \u00e9tait fondamentalement diff\u00e9rente.\u00a0\u00bb<\/span><\/span><\/span><\/p>\n

Il m\u2019expliqua a<\/span><\/span>lors <\/span><\/span>que, <\/span><\/span>\u00ab\u00a0<\/span><\/span>\u00e0 l\u2019\u00e9poque, la possibilit\u00e9 de partager de la musique sur internet \u00e9tait toute nouvelle, et les logiciels libres ont clairement besoin du net (Linux n\u2019a \u00e9t\u00e9 possible que par la collaboration via internet combin\u00e9e avec la GPL, qui a rendu les contributeurs d\u00e9sireux de partager leurs comp\u00e9tences).\u00a0\u00bb Il ajouta qu\u2019il pensait qu\u2019il \u00e9tait \u00ab\u00a0naturel de faire un lien entre les mondes de la musique et du logiciel, sur cet aspect\u00a0\u00bb et qu\u2019il avait \u00e9t\u00e9 \u00ab\u00a0surpris de ne trouver que seul Ram Samadrula pour avoir articul\u00e9 cette id\u00e9e en d\u00e9tail.\u00a0\u00bb<\/span><\/span>7<\/span><\/sup><\/span><\/span><\/p>\n

\n

\u00ab\u00a0Probably it is representative of a much more subtle arc of ideas;\u00a0\u00bb<\/span><\/span><\/span><\/p>\n

\u00ab\u00a0people like me were just in the right <\/i>place and the right <\/i>frame of mind to see the obvious experiments for that moment. I think others had thought more deeply and more seriously than me; I just made the connection to Free Software, which seemed natural.\u00a0\u00bb<\/i><\/span><\/span><\/span><\/p>\n

\n

Conclusion\u00a0:<\/b>
\n<\/b>L\u2019utilisation de la FML, <\/b>l\u2019Underground hier et aujourd\u2019hui<\/b><\/p>\n

\u00ab\u00a0La FML n\u2019a pas \u00e9t\u00e9 utilis\u00e9e, \u00e0 ma connaissance, par quelqu\u2019un d\u2019autre. Quelques personnes m\u2019ont \u00e9crite \u00e0 propos de l\u2019utilisation de certaines de mes musiques, par exemple un \u00e9tudiant en cin\u00e9ma qui avait besoin d\u2019une bande-son. Je pense que l\u2019id\u00e9e n\u2019\u00e9tait pas tr\u00e8s r\u00e9pandue, et que la Licence \u00e9tait assez d\u00e9routante, en tant que concept, pour quiconque en dehors des musiques libres et autres groupes de discussion similaires.\u00a0\u00bb8<\/sup><\/span><\/span><\/p>\n

\u00ab\u00a0C\u2019\u00e9tait vraiment un projet personnel et il m\u2019importait peu que les autres comprennent ou partagent cette motivation. J\u2019avais envie de faire cette exp\u00e9rience, et me lib\u00e9rer de l\u2019interminable destruction de la cr\u00e9ativit\u00e9 dans ma musique. Ce n\u2019est pas la m\u00eame chose que d\u2019\u00eatre contre la musique commerciale9<\/sup> [\u2026].
\n<\/span><\/span>Cependant, et c\u2019est int\u00e9ressant, le son, le son organis\u00e9, est quelque chose de diff\u00e9rent, <\/span>sp\u00e9cialement quand il est jou\u00e9 en live<\/b><\/span>. Ceci est une conversation enti\u00e8rement diff\u00e9rente\u00a0; enfin vous voyez que la FML \u00e9tait seulement le premier pas de plusieurs qui vont continuer encore loin dans le futur\u2026\u00a0\u00bb<\/span>10<\/sup><\/span><\/span><\/span><\/p>\n

Voil\u00e0. Pour revenir \u00e0 l<\/span>\u2019underground, <\/span>cette<\/span> \u00ab\u00a0<\/span>turbulente, brillante, collective cr\u00e9ativit\u00e9\u00a0\u00bb, <\/span>la perspective de Tony est diff\u00e9rente aujourd\u2019hui. L\u2019underground<\/span> est en ligne, \u00ab\u00a0incroyablement accessible, via Youtube, Mixcloud, Soundcloud\u2026\u00a0\u00bb [et Dogmazic, ndt ;)]<\/span><\/span><\/span><\/span><\/p>\n

\u00ab\u00a0C\u2019est fantastique\u00a0\u00bb.<\/span><\/span><\/span><\/p>\n

\n

Ainsi se termine cet entretien avec Tony Hardie-Bick, qui a eu la bienveillance de raconter avec prodigalit\u00e9 ce pan d\u2019histoire qu\u2019a \u00e9t\u00e9 la Licence Ethymonics Free Licence, utilisable sur Dogmazic \ud83d\ude42<\/b><\/span><\/span><\/span><\/p>\n

Vous trouverez la licence un peu plus bas sur cette page.<\/b><\/span><\/span><\/span><\/p>\n

\n<\/div>\n
\n

\u00ab\u00a0Toutes les citations, sauf mention contraire, sont issues d\u2019un \u00e9change de mail avec Tony H.D en mai et juin 2016.\u00a0\u00bb<\/p>\n

Merci \u00e0 l\u2019\u00e9quipe de Dogmazic \u2013 Musique Libre\u00a0! et aux contributeurs de LibreOffice et Leafpad \ud83d\ude09<\/p>\n

Un merci \u00e9norme \u00e9galement \u00e0 boson2x, qui a h\u00e9berg\u00e9 tr\u00e8s judicieusement une copie<\/a> de la licence Ethymonics FML. \u00c0 vrai dire, il en a tr\u00e8s probablement sauv\u00e9e la derni\u00e8re copie\u2026<\/p>\n

Et puis \u00e9videmment, toute ma gratitude \u00e0 Tony pour cet \u00e9change \ud83d\ude42<\/p>\n

Ladee<\/p>\n

\u00ab\u00a0I do not want to take credit except for the curiousity.\u00a0\u00bb
\n<\/b><\/span><\/span><\/span>T. Hardie-Bick.<\/b><\/span><\/span><\/span><\/p>\n

\n<\/div>\n

\u00b9 traduction\u00a0: \u00ab\u00a0J’ai innocemment fait un lien entre le monde du Logiciel Libre, qui avait fait retrouver aux Sciences de l’ing\u00e9nieur leurs racines cr\u00e9atives, et la musique, qui avait, selon ma (l\u00e9g\u00e8rement na\u00efve) opinion, tout autant besoin de retourner \u00e0 ses racines cr\u00e9atives.\u00a0\u00bb<\/p>\n

\u00b2<\/span> \u00ab\u00a0I will try to describe the problem I had experienced many many times as a (long time ago) semi-professional keyboard player in London. The \u00ab\u00a0scene\u00a0\u00bb includes lots of brilliant creative people, great musicians, some known, many unknown. Some with recording contracts that were effectively tax-deductable high-risk projects for record companies. It was like a bunch of zoo animals at feeding time, when anyone got a recording contract. I was one of them. It all looked cool and fashionable and amazing, but in fact it was just desperation. Only very few make it to the top of that high pyramid [\u2026]\u00a0\u00bb<\/b><\/p>\n

\u00b3 La Free Arts License = LAL = Licence Art Libre, laquelle a \u00e9t\u00e9 cr\u00e9\u00e9 \u00e0 la suite des meetings \u00ab\u00a0Copyleft Attitude\u00a0\u00bb \u00e0 Paris en 2000.<\/b><\/span><\/span><\/span><\/p>\n

4 <\/span><\/sup>\u00ab\u00a0<\/b><\/span>Years later, it became clear that these effects are legally more complex than I had imagined (I am not legally trained, although have worked for many years as an IP consultant). Creative Commons had the legal muscle to work out many if not all of these details, which indeed vary from country to country.\u00a0\u00bb<\/b><\/span><\/span><\/p>\n

\u00ab\u00a0Des ann\u00e9es plus tard, il est apparu clair que les implications l\u00e9gales sont bien plus complexes que ce que j\u2019aurais imagin\u00e9 (je ne suis pas form\u00e9 l\u00e9galement, bien que j\u2019aie travaill\u00e9 plusieurs ann\u00e9es comme consultant IP). Le projet Creative Commons avait la force l\u00e9gale de prendre en compte beaucoup si ce n\u2019est pas tous ces d\u00e9tails, qui bien entendu, varient de pays en pays.\u00a0\u00bb<\/i><\/span><\/span><\/p>\n


\n5 <\/span><\/sup> \u00ab\u00a0I created the FML myself. Getting a team of lawyers to agree on such a thing would be nearly impossible, and would have cost a fortune – the guys who did the FAL had legal advice, and hinted that it was very difficult. The Creative Commons was a collosal project. I was contacted by them around the time they were starting, but it seemed like they knew what they were doing, as indeed has turned out to be the case.\u00a0\u00bb<\/b><\/span><\/span><\/p>\n

\u00ab\u00a0J\u2019ai cr\u00e9\u00e9 la FML moi-m\u00eame. Obtenir une \u00e9quipe d\u2019avocat qui auraient \u00e9t\u00e9 d\u2019accord pour travailler sur une question pareille aurait \u00e9t\u00e9 pratiquement impossible, et aurait co\u00fbt\u00e9 une fortune. Les Creative Commons sont un projet colossal. J\u2019ai \u00e9t\u00e9 contact\u00e9 par eux lorsqu\u2019ils d\u00e9butaient, mais il semble bien qu\u2019ils savaient ce qu\u2019ils faisaient, ce qui bien entendu est apparu comme \u00e9tant le cas.\u00a0\u00bb<\/i><\/span><\/span><\/span><\/p>\n

6 <\/sup><\/span>\u00ab\u00a0There are some fundamental differences between music and software. The FML covered these reasonably closely, while meeting my aims. But to do it fully, for every territory in the world, is extremely technical, from a legal point of view. Creative Commons has this covered, and that’s why it’s very useful.\u00a0\u00bb<\/span><\/span><\/b><\/span><\/span><\/span><\/p>\n

7 <\/span><\/sup>\u00ab\u00a0Yes, at the time, the possibility of music sharing on the Internet was fairly new, and Free Software clearly need the ‘net (Linux was only possible because of shared collaboration over the Internet, combined with the GPL which made contributors willing to share their skills). I think it’s natural to make a link between the worlds of music and software, in this way. I was surprised to find only Ram Samudrala had articulated this in great detail.\u00a0\u00bb<\/span><\/b><\/p>\n

8 <\/span><\/sup><\/span>\u00ab\u00a0The FML was not used, to my knowledge, by anyone else. A couple of people wrote and told of use of a couple of pieces of music I had recorded, for example a film student who needed a soundtrack. I think the idea was not widely known, and the License was pretty confusing, as a concept, to anyone outside the musique-libre <\/span><\/span>and similar discussion groups.\u00a0\u00bb<\/span><\/span><\/span><\/b><\/p>\n

9 <\/span><\/span><\/sup><\/span>\u00ab\u00a0It was really a personal project, and it did not matter that much to me if others understood or shared the motivation. I wanted to perform the experiment, and free myself from the endless destruction of creativity in my music. That’s not the same as being against commercial music <\/b><\/span><\/span><\/span>[<\/b><\/span><\/span><\/span>\u2026<\/b><\/span><\/span><\/span>]<\/b><\/span><\/span><\/span>\u00a0\u00bb<\/b><\/span><\/span><\/span><\/p>\n

1<\/span><\/span><\/sup><\/span>0 <\/span><\/span><\/sup><\/span>\u00ab\u00a0[\u2026]<\/b><\/span><\/span><\/span> my thoughts these days are much more about music itself, and performance.<\/b><\/span><\/span><\/span><\/p>\n

Recording is no longer as important as it was, except as a proces<\/span><\/span>s <\/span><\/span>for refining one’s relationship with sound. <\/span><\/span>[\u2026] <\/span><\/span>sound, or organised sound, is something different <\/span><\/span>[than music]<\/span><\/span>, especially when performed live. This is an entirely different conversation; so you can see that the FML was only the first step of many that will continue long into the future\u2026\u00a0\u00bb<\/span><\/span><\/b><\/span><\/p>\n

\n

ETHYMONICS FREE MUSIC LICENSE
\nVersion 1, August 2000
\nCopyright (C) 2000, Ethymonics Limited<\/b><\/span><\/span><\/span><\/p>\n

Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not allowed.<\/p>\n

Preamble<\/strong><\/p>\n

The licenses for most musical works are designed to take away your freedom to share the music. By contrast, this Free Music License is intended to guarantee your freedom to make copies of a piece of music, and charge for this service if you wish. Recipients of those copies have the same freedom. The word \u00ab\u00a0Free\u00a0\u00bb in \u00ab\u00a0Free Music License\u00a0\u00bb means the freedom to make copies. It does not mean that those copies cannot then be sold.<\/p>\n

This license is designed to protect and pass on the right to make copies to whoever receives a copy. This encourages wide distribution on the artist\u2019s behalf. You can apply this license to your own music too.<\/p>\n

To protect the right to copy the music, it is necessary to pass on certain requirements that must be followed when the music is copied or distributed. For example, if you distribute a piece of music subject to this license, even if this is done for a fee, you must give the recipients all the rights that you have. You must show them these terms so that they know their rights.<\/p>\n

The freedom to copy is protected by two things\u00a0: (1) Copyright of the music, and (2) This license that provides legal permission to copy and distribute the music.<\/p>\n

The precise terms and conditions for copying, distribution and performance follow.<\/p>\n

FREE MUSIC LICENSE<\/strong>
\nTERMS AND CONDITIONS FOR COPYING, DISTRIBUTION AND PERFORMANCE<\/p>\n

1. This License applies to any musical work or other type of work which has a notice placed by the copyright holder saying that it may be distributed under the terms of this Free Music License. The \u00ab\u00a0Music\u00a0\u00bb, below, refers to any such music or work, whether in a recording, performance or other form of musical representation, or any derivative work under copyright law\u00a0: that is to say, a work, in any medium, containing the Music or a portion of it, either unaltered, modified and or re-performed.<\/p>\n

You may play or perform the Music publicly, for example in a broadcast, provided that you make available to listeners the title of the work and the name of the Artist. A recording made as a result of the Music being played or performed is covered by this License when its contents constitute a work based on the Music. If a listener wishes to make copies of such a recording, the terms and conditions of this License must be made available to them, along with any other information required to make and distribute copies according to the terms and conditions of this License.<\/p>\n

2. You may copy and distribute copies of the Music as you receive it, in any medium, provided that you\u00a0:<\/p>\n

(a) conspicuously and appropriately publish on each copy an appropriate copyright notice\u00a0;<\/p>\n

(b) keep intact all the notices that refer to this License\u00a0;<\/p>\n

(c) supply, with each copy of the Music, all significant information about the Music, including the title of the work, the name of the artist, and the names and roles of all credited personnel\u00a0;<\/p>\n

(d) supply, to each recipient of the Music, along with the Music, either a copy of this License or a clearly visible URL that lets the recipient know where to find a copy of this License on the Internet.<\/p>\n

If the information required by (a) to (d) above is not available, for example when the Music has been received by making a recording of a performance, then this information must be obtained independently and no copies can be made or distributed without this information being included with each copy of the Music.<\/p>\n

You may, at your option, charge a fee for the act of supplying a copy of the Music.<\/p>\n

3. You may not copy, distribute, perform or sub-license the Music except as expressly provided under this License. Any attempt to otherwise do so is void, and will automatically terminate your rights under this License. However, parties who have received copies, or rights, from you under this License will not have their Licenses terminated as long as such parties remain in full compliance.<\/p>\n

4. You are not required to accept this License, since you have not signed it. However, nothing else grants you permission to copy, distribute, play or perform the Music or any of its derivative works. Therefore, by copying distributing, playing or performing the Music, or any of its derivative works, you indicate your acceptance of this License to do so, and all of its terms and conditions.<\/p>\n

5. Each time you redistribute the Music the recipient automatically receives a license from the original licensor to copy, distribute, play and or perform the Music subject to the terms and conditions of this License. You may not impose any further restrictions on the recipient\u2019s exercise of the rights granted herein. You are not responsible for enforcing compliance by third parties to this License.<\/p>\n

6. If, as a consequence of a court judgment or allegation of copyright infringement or for any reason (not limited to copyright issues), conditions are imposed on you (whether by court order, agreement or otherwise) that contradict the conditions of this License, they do not excuse you from the conditions of this License. If you cannot satisfy simultaneously your obligations under this License and any other pertinent obligations, then your rights under this License are terminated. For example, if an existing agreement would not permit royalty-free redistribution of the Music by all those who receive copies directly or indirectly through you, then the only way to satisfy both it and this License would be to refrain entirely from redistributing the Music.<\/p>\n

If any portion of this section is held invalid or unenforceable under any particular circumstance, the balance of the section is intended to apply and the section as a whole is intended to apply in other circumstances.<\/p>\n

It is not the purpose of this section to induce you to infringe any copyright or other property right claims or to contest validity of any such claims\u00a0; this section has the sole purpose of protecting the integrity of a music distribution system, which is implemented by copyright and license practices.<\/p>\n

7. If an activity permitted by this License is restricted in certain countries either for copyright or other reasons, the original copyright holder who places the Music under this License may add an explicit geographical distribution limitation excluding those countries, so that distribution is permitted only in or among countries not thus excluded. In such cases, this License incorporates the limitation as if written in the body of this License.<\/p>\n

8. Ethymonics may publish revised and or new versions of the Free Music License from time to time. Such new versions will be similar in spirit to the present version, but may differ in detail to address new problems as they arise.<\/p>\n

Each License is given a distinguishing version number. If the Music specifies a version number of this License which applies to it, and \u00ab\u00a0any later version\u00a0\u00bb, you have the option of following the terms and conditions either of that version or any later version published by Ethymonics. If the Music does not specify a version number of this License, you may choose any version ever published by Ethymonics.<\/p>\n

9. If you wish to incorporate parts of the Music into another work whose distribution conditions are different, write to the composer to ask for permission.<\/p>\n

END OF FREE MUSIC LICENSE<\/p>\n","protected":false},"excerpt":{"rendered":"

le texte de la licence Ethymonics Free Music Licence (une des premi\u00e8res licences de musique libre, pr\u00e9c\u00e9dant la licence Creative Commons), mais aussi de vous en faire partager les raisons de sa cr\u00e9ation\u00a0!<\/p>\n","protected":false},"author":28102,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[9,4,5],"tags":[39,94,90,37,42,58,17,14],"class_list":["post-500","post","type-post","status-publish","format-standard","hentry","category-aller-plus-loin","category-licences","category-ressources-techniques","tag-droit-dauteur","tag-licence","tag-licence-libre","tag-licences-2","tag-licences-ouvertes","tag-logiciels-libres","tag-musique-libre","tag-musique-libre-diffusion"],"_links":{"self":[{"href":"https:\/\/musique-libre.org\/doc\/wp-json\/wp\/v2\/posts\/500","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musique-libre.org\/doc\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musique-libre.org\/doc\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musique-libre.org\/doc\/wp-json\/wp\/v2\/users\/28102"}],"replies":[{"embeddable":true,"href":"https:\/\/musique-libre.org\/doc\/wp-json\/wp\/v2\/comments?post=500"}],"version-history":[{"count":5,"href":"https:\/\/musique-libre.org\/doc\/wp-json\/wp\/v2\/posts\/500\/revisions"}],"predecessor-version":[{"id":828,"href":"https:\/\/musique-libre.org\/doc\/wp-json\/wp\/v2\/posts\/500\/revisions\/828"}],"wp:attachment":[{"href":"https:\/\/musique-libre.org\/doc\/wp-json\/wp\/v2\/media?parent=500"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musique-libre.org\/doc\/wp-json\/wp\/v2\/categories?post=500"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musique-libre.org\/doc\/wp-json\/wp\/v2\/tags?post=500"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}