1. Library Questions

2. Email I’m the librarian at a Pharmaceuticals company. Our company is going global and I’m sure there will be different copyright laws and guidelines for sharing published materials externally to our HCP. Do you have any sample documentation and/or procedures for global copyright laws?

3. The main library here at the University of Tennessee started a scan-on-demand service a year or two back that allows people associated with the University (students, staff, and faculty) to request an article, chapter, or percentage (i.e. under 10%) of a larger work be scanned and delivered electronically to the user. The Music Library is now preparing to enable this service and we’re having a debate concerning whether or not to scan an entire song from a songbook or entire instrumental work from a larger collection. MLA-L

4. Email I've been asked to write an intellectual property policy for my organization that addresses all inventions, innovations, improvements, copyright, website, logos and other promotional materials, teaching content (including content where the program will have authors assign their copyright to the organization [I'm seeing this similar to the publishing world]), etc. The policy will need to address internal and external relationships and use of intellectual property. Are there any examples of intellectual property policies to use as a boilerplate. Quite frankly I'm at a loss for language and clauses. Ideally the policy would read in plain language and not legalese.

5. MLA-L We just received our copy of “Falling Up,” Thomas Holliday’s biography of (Tallahassee resident) Carlisle Floyd. As I was looking through the acknowledgements, I came across the following paragraph: “With one exception, there are no examples of Floyd’s music, and I have paraphrased or drastically truncated most reviews and articles because of copyright restrictions, denial of permissions, demands for licensing fees – including, inexplicably, Floyd’s publisher, Boosey & Hawkes – or delays in responding by deadline dates. I encourage the reader to seek out the sources listed in the bibliography or footnotes. I have included most of the nonoperatic poetry set by Floyd, again excepting copyrighted material. As my wife says, ‘Don’t take it personally: it’s about money.’ )for the same reasons, there are not as many pictures as I had hoped to include.)” (p. xvii)