Concerto of Deliverance Album Comment
The "Immorality" of a Concerto of Deliverance [A Reply to the Critics at Objectivism Online. The full thread is at
I've reviewed the criticisms against me and, in particular, against my producing the album Concerto of Deliverance for my pleasure and then presenting it to other Rand admirers for their own enjoyment. I've thought very carefully about this project from the beginning and, not only did I conclude that it's a moral thing to do, but a glorious, benevolent act as well. But, to be open-minded about this, I'm intrigued by the possibility that the critics here may have discerned a principle I'm not aware of. So I examined their arguments as stated in their posts, with the view
that, even if I could not find a clear and consistent principle in their
presentation, perhaps I could deduce a principle from the concrete
examples they gave. The issue raised is important, not only to the
In response to my first post introducing myself and presenting the new album Concerto of Deliverance -- giving a summary of and links to who I am, why and how the music was produced, and what it might sound like -- there were these following replies. Stephen Speicher condemns me as being "irrational", a "liar", an
"intellectual and ethical fraud", who "immorally sought to reap benefit
from the good name of Ayn Rand and Don Watkins III expressed "disgust... that he/the musician he hired had the gall to call their project 'The Concerto of Deliverance'. Morally, that is a violation of Rand's intellectual property rights. It is the attempt to confer the benefits she made possible on someone who has no right to them. For anyone who professes admiration for Rand to use her in this way is sickening." My reply to these criticisms included the following: "Far from being 'a clear violation of the property rights of Ayn Rand', the album Concerto of Deliverance is a tribute to her achievement and, among other aims, a way to draw new readers to her works (which it is already doing). And I put my severance pay and savings, and my love and dedication to objectivism, to produce it. (Does anyone here expect me to give it out for free, other than the samples and insightful articles on the website?) "The US copyright laws says this: 'Copyright does not protect names, titles, slogans, or short phrases. In some cases, these things may be protected as trademarks.' See US Copyright Office http://www.loc.gov/copyright/ And there is no registered trademark for 'Concerto of Deliverance'. "As to my using and benefiting from Rand's works, don't all objectivists? Is someone who makes a movie of Anthem (now in the public domain) being immoral? Is someone who names their children after characters in Rand's novels being immoral? Is calling a website or organization 'Objectivist' being immoral? Is applying objectivism in one's life and career, and making money from that, being immoral? If it is, then we should all refrain from deriving any benefit from her, put her works in a vault, and make them taboo." Following my rebuttal, Don Watkins III then wrote: "You're dropping context. We all benefit from Rand's work. That is no crime. The issue is trying to take from Rand benefits to which we are not entitled. The music you comissioned [sic], even if it lived up to Rand's description of Halley's work, is aquiring [sic] an audience simply by using a title given value by Ayn Rand. It would have been fine had you called it something else, and said, 'Inspired by Rand's description of Halley's Concerto of Deliverence [sic].' But to call it 'Concerto of Deliverence [sic]' is intellectual fraud." And Brian wrote, "Monart may, and possibly should, have the legal right to call his song what he wishes, but not the moral right. I don't think anyone should call their peice [sic] of music the Concerto of Deliverance. In everyone's minds it is a great masterpiece that we cannot hear but it selfcontained [sic] in Rand's novel. We each see it as something beautiful in our own way. And I think it should remain that way. It's something too precious to have someone try and bring it to reality." [Emphasis added; my comment to this at end of article.] Collectively, the critics' statements make this claim: that I am
What were the reasons given to justify this claim of Even though the reason and principle upon which I am being charged with
First, the part of the claim pertaining to I certainly did not use force. Nor, did I use fraud -- as in, e.g.,
taking credit for, and pretending that the name and meaning of,
Now, I can understand cases where I can be immoral in producing the
album, but which have nothing to do with Rand's property rights, as in:
if my wife or my daughters need life-saving and expensive medical
treatment, but I took our remaining dollars and put it into this album
-- then I'd be immoral, in sacrificing their higher value. But that
wasn't the case. So in what way am I being immoral (and in alleged
The second part of the claim, that I'm benefiting from Rand's work to
which I have no right and am not entitled, is also difficult to make
sense of. That's why, in my previous post, I listed several kinds of
ways in which someone could use and benefit from Rand's work -- ways
which, if they were Don Watkins III gives a slight elaboration: The album The title of the album I'm presenting is not I will quote, in the appendix below, from the last pages of the album
booklet, as indications of the relationship between the
executive-producer, the composer, and Ayn Rand, in regards to the
emergence of this album Finally, a comment on Brian's insistence that Rand's description of the
Concerto of Deliverance is - Monart Pon Monart Pon -Executive Producer Monart Pon immigrated to Canada from China when a boy. Here he found
three of his passions: astronautics, philosophy, and music. He enjoys a
diverse collection of music, including Dvorak, Debussy, Gershwin,
Stivell, Elvis, and many, many others. He has a Master’s in the
philosophy of astronautics and advocates the rational, libertarian
advancement towards living in Space.
http://www.starshipaurora.com
Monart first heard John Mills-Cockell’s "Tillicum" & "December
Angel"
and first read Rand’s Atlas Shrugged, 30 years ago, and since then,
wanted to hear a "Concerto of Deliverance" as created by his favorite
composer. This album represents, for him, that desire achieved. -------
The Music of John Mills-Cockell John Mills-Cockell's music cuts across genres and breaks the bounds of
traditional styles and instrumentation, melding together both familiar
and newly synthesized sonorities. His musicality spans a wide range of
styles and themes, embracing the dramatic and deep, the light and
simple, the wistful and enchanted, the defiant and the triumphant, the
joyous and the sad -- all imbued with freshness, equanimity, and
integrity. A fountainhead of genius in our times, John Mills-Cockell’s
sunlit music ennobles and sets fire to the soul.
John Mills-Cockell demonstrates his incomparable mastery of the New
Music, when he creates -- with superb clarity, intensity, sincerity,
confidence, and grace -- such profoundly moving and philosophical themes
as those of "deliverance". His music can challenge, comfort, and cheer
one's relentless movement towards the realization of life's beauty and
happiness. It's that powerful. An unusual musical adventure of
discovery, remembrance, and arrival -- this Concerto of Deliverance. - Monart Pon, a fan About Ayn Rand (1905-1982) Ayn Rand is a celebrated champion of free thought, free trade,
individual rights, and romantic heroism. She wrote:
"My philosophy, in essence, is the concept of man as a heroic being,
with his own happiness as the moral purpose of his life, with productive
achievement as his noblest activity, and reason as his only absolute."
[‘About the Author’, Atlas Shrugged] "At the dawn of their lives, men seek a noble vision of man's nature and
of life's potential...the sense that one's life is important, that great
achievements are within one's capacity, and that great things lie
ahead." [‘Introduction’, The Fountainhead] "She sat listening to the music. It was a symphony of triumph. The notes
flowed up, they spoke of rising and they were the rising itself, they
were the essence and the form of upward motion, they seemed to embody
every human act and thought that had ascent as its motive. It was a
sunburst of sound, breaking out of hiding and spreading open. It had the
freedom of release and the tension of purpose. It swept space clean, and
left nothing but the joy of an unobstructed effort. Only a faint echo
within the sounds spoke of that from which the music had escaped, but
spoke in laughing astonishment at the discovery that there was no
ugliness or pain, and there never had had to be. It was the song of an
immense deliverance."[‘Concerto of Deliverance’, Ayn Rand, Atlas
Shrugged, 1957] They Soar Aloft in the Night Sky
To be free in their minds They soar aloft in the night sky - - Peter Zarlenga The Orator, 1976 |
Concerto of Deliverance
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