does anyone know the copyright ownership of 'Bless This House'  published by Boosey and Hawkes in 1927?

First if the tune was originally copyrighted in 1927 it is in the Public Domain. If another group since does a edition or version that version is copyright protected but it on no way affects the original 1927 version. You are free to do as you see fit with it just not the 1950 arrangement so make sure you are using the original 1927 piece for your arrangement.

Sibelius seems so 90’s and is subscription-based

Whatever you do don't listen to that Dorico fanboy above. He just deosn't know what he is talking about but those guys rarely do. First point Sibelius has a preputial license just like Finale or Dorico. I just bought one! A second point the "buggy" Finale was and is yet still the music industry standard. Virtually every Broadway musical or movie or anything professionally music associated is done in and uses Finale. Don't care about the rest of his gibberish.

Whatever you do don't listen to that Dorico fanboy above. He just deosn't know what he is talking about but those guys rarely do. First point Sibelius has a preputial license just like Finale or Dorico. I just bought one! A second point the "buggy" Finale was and is yet still the music industry standard. Virtually every Broadway musical or movie or anything professionally music associated is done in and uses Finale. Don't care about the rest of his gibberish.

Getting kinda tired of the ad hominem attacks by the Finale fanboy here. Once you say "don't listen to an opposing viewpoint," you've lost the argument, BTW. 

The Sibelius perp license is pretty much buried on their site, and it's very expensive, plus it seems to require a subscription for future support. If it's like 1Password, Quicken and other formerly single-purchase apps, the option of a subscription pretty much presages the eventual abandonment of the one-time purchase when they upgrade the app, forcing one into a subscription in order to keep using the app reliably in the future. That's exactly how Quicken, 1Password and many others panned out. Once developers start down the subscription option, it then gives way to subscription-only, since a perpetual revenue stream > one-time purchase at 3x the cost. 

I highly doubt Finale continues to be the "industry standard." Were that true, it would still merit significant development by MakeMusic. But who cares whether Finale is still the industry standard, whatever TF that means? What matters is whether or not it is useful to me and others, and given how largely empty this forum is and how rarely there are new posts here, I suspect by this time next year the verdict will be clear-Finale will be largely dead and only trumpeted by the one or two people here who have convinced themselves Finale is still a viable option for many years. If MM pulls their authorization server in two years (which is sill better than September 2025, which is what they more or less stated originally), and your PC crumps or needs to be replaced, you're out of luck with Finale. Why would anyone serious about their own music take that risk from this point? 

Again, I could care less what anyone uses for her or his own notation software. I care about what I use, but also don't appreciate people being told to stay on the HMS Titanic because Finale is soooo wonderful, blah blah blah. I made a rational decision that was not an easy one, after even holding out for the possibility of using Finale forever on a virtual machine (not a proven fix, BTW). But the last work I composed with Finale 27.4 a few months ago reminded me just how often odd glitches would arise with Finale, and how dated the UX is (I mean, I can't customize the Tools palette in any straightforward, durable fashion, or export to MP3 within the app, or have a functional MIDI tool, etc). If switching to Dorico is as onerous as you claim it is (it's not trivial, but it was very doable, even for an old fart like me), I would have given it up during my initial trial of the software. This is not my job, but a hobby. The fact that it didn't require a ridiculous investment of time and I have been more productive having made the switch should speak volumes. Again, that is my own, personal experience. No one here should be denigrating those of us who made a difficult decision to switch from software I and others had used for many decades, warts and all. And stating that I and others do not "know what (we are) talking about" just exposes your own argument's weaknesses. Stop it. 

I can't understand what your rationale is for all of this. But while I was hoping to stick around to offer occasional advice to those still sticking with Finale who are encountering issues with the software, since I do have over three decades of experience with Finale, I now have zero desire or time to engage in counterarguments to a troll. I'm outta here. 

For those of us who have invested $'s after $ in Finale-MakeMusic-SmartMusic, …

There are many such rants in Features and Requests. It's a good place for those since there are no more Features nor Requests to be had.

No one is making money from desktop notation apps except for a handful of one-person "companies" and they're not getting rich from it. Peaksware LLC is a $45B company that decided Finale as a notation app no longer makes sense for future development. It is their right and if we don't like it, that's tough. They have decided to keep the license servers running "indefinitely" and support 27.4.1 through August 2025. MakeMusic is not dead and figures prominently in Alfred's online education products so it's not going anywhere—we've already been told this officially.

The creation of MakeMusic and integration into Alfred is the only reason why Finale 2012 was not the last version.

As for the other players, notation figures into their future plans. With AVID, it's ProTools; Fender, it's PreSonus and Notion for iPadOS (their Notion 7 desktop upgrade has been promised for four years now but we may never see it unless Fender can figure out how to make it profitable). Steinberg is Yamaha and wants you engulfed in their universe, hoping that enough Finale users migrate over to make that a reality. Cyprus based MuseGroup is a very profitable company, flush with billion$ from Ultimate Guitar that believes publishing is where the real money is (as does Alfred) which is why they paid 10 figures for Hal Leonard a year ago. Their free apps, MuseScore & Audacity, fit well into their plans to dominate the global music industry. 

ps: does anyone know the copyright ownership of 'Bless This House'  published by Boosey and Hawkes in 1927? YouTube is saying an 1950's Australian singing group owns it, but unless they bought the rights, it would seem their piece would be a violation if published in the 1950's.

Yes. I know those answers but you have not given enough information. In most countries subject to the Berne Convention, Copyright on the song expires next year on 1/1/2026. In the USA only, it expired 1/1/2022. In Australia and some countries, expiration was 1/1/2006. Again, this is the basic song only and does not include any performances or other audio.

You've given no info on why an Australian group is claiming a violation. Any licensed arrangements or recordings are under separate Copyrights and subject to their own terms. If it's a take-down notice, I can look at that and advise you how to deal with it, including those Russian or Brazilian copyright troll-bots that plague the internet. I do not do this on public boards nor do I do it for free except for the initial evaluation which I am happy to do. My email is m i k e ( a t ) h a l l o r a n m u s i c dot c o m.

Hey Ernie,

FYI - your email address listed on your community band's web page has a typo - you've spelled it "...@gmaill.com" instead of "@gmail.com" - only one "l" in gmail.com.

But the funds they took as they advertised their annual upgrade then to walk us off the plank with No warning as I, for instance was having a new PCAudioLabs computer built with all their buggy programming in mind.  I was once in a Sibelius Workshop with Robin who came from London to teach, but once those weak 'free' computers died, the subscriptions went with them, as did my skills. I did take advantage of the Finale discounts for both Dorico and Sibelius-(whose program cannot even be found among Avid's corporate junk downloads). Finale was not really usable to me until the mid 2005 or so, by 2007 I used Sibelius to download and edit string quartets/quintets for band chamber winds class then to make final edits and print with Finale. Still I cannot help feeling Robbed when I see the list 9 Make Music products I paid for last summer now ironically including the Dorico and Sibelius purchases. Lets face it, we are working in a different language pitch-notation-rhythm from both Verbal and Computing worlds and colliding & dividing planets on top of Corporate Greed can be quite hazardous to us little guys.

Oh, as to the copyright issue for 'Bless this House', I received very little information last night except the name of the group blocking my variations of said tune on YouTube and was hoping someone here might know more. The differing years of expiring copyrights sounds is what I was thinking but how did an Australian Singing Group get it away from Boosey and Hawkes.  If you can see these videos it may no longer be an issue: https://youtube.com/shorts/z0JKNGpGCNw

https://youtu.be/3XkasC9BOSo 

Dave

musicreadingforall@gmail.com

But the funds they took as they advertised their annual upgrade...

That is not true. The last annual upgrade for Finale was in 2012. There have been four paid updates since then. Finale 27 was released June 15, 2021 — 3 1/2 years ago — and none since. Please stop talking nonsense.

Since you do not identify who blocked your video, I would not be able to help even if you sent this to me—no idea who the Australian group is. If B and H, it can be challenged in the US and Australia but only if you created the audio. For most of the rest of the world, you have no standing without a sync license from the publisher and a license from the rights holder of the audio (if you, then not an issue). 

how did an Australian Singing Group get it away from Boosey and Hawkes

"They" (whoever they are) would have licensed it from the publisher. It's how the music business works.

It can also come from a troll-bot aka copyright pirate. If so, your challenge will be unanswered and in 30 days, YouTube will drop it. These pirates issue notices for people they do not represent and try to scare us into paying money that we do not owe. 

Boosey and Hawkes can also issue a take-down but it's unlikely one year away from being in the PD. If your challenge goes unanswered, don't worry about it. 

FYI - your email address listed on your community band's web page has a typo - you've spelled it "...@gmaill.com" instead of "@gmail.com" - only one "l" in gmail.com.

David,

Thank you very much for the correction. It is fixed now.

I hope you get the copyright issue resolved but as MH says it may be nothing. But if any of your arrangement follows too much of a newer copyrighted piece that might trigger it. Of course you can use the melody from the original published work but not much of anything else that may resemble someone else's newer arrangement.  I have several tunes up on You Tube and I see that copyright check each time I u/l a new one. But a lot of my work is original or I secure a release form the owner.

Thanx again,

EB

I just listened to your piece. Pretty nice. You do have one measure with a C and A half note chord for the euph and baritone. Measures are not numbered but it is a poco rall measure.