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Yes. Mind you, the music is wonderful, and the selection of it is dramatically appropriate (if historically haywire). I’m assuming the producer chose those pieces as a way to save on having to hire a special composer to write to the production.<br><br><br><br><p class="yahoo-quoted-begin" style="font-size: 15px; color: #715FFA; padding-top: 15px; margin-top: 0">On Monday, April 30, 2018, 12:45 PM, Tim Douglas <tdou525473@aol.com> wrote:</p><blockquote class="iosymail"><div id="yiv8147400360"><div><div style="font-size:14pt;font-family:arial, helvetica, sans-serif;color:black;"><div style="font-family:arial, helvetica, sans-serif;font-size:10pt;color:black;">Why do you assume these pieces of music are" public domain" Scott ?Do you mean by in the " public domain", out of copyright ?<br clear="none"><br clear="none"><br clear="none">-----Original Message-----<br clear="none">From: Scott Filderman via Afamilyatwar-list <afamilyatwar-list@baylor.edu><br clear="none">To: Scott Filderman via Afamilyatwar-list <afamilyatwar-list@baylor.edu><br clear="none">Sent: Mon, 30 Apr 2018 16:31<br clear="none">Subject: [Afamilyatwar-list] Random queries<br clear="none"><br clear="none"></div>
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Do executive producers tend to choose music used on a series. Apparently, Richard Doubleday came up with the inspired notion to use that bit of Vaughan Williams as the theme music for AFAW. The producers for The Onedin Line certainly made wonderful choice of (cheap public domain) selections of classical music: Mahler’s First and Seventh symphonies accompany sea activities, and Prokofiev’s Romeo and Juliet suggest more than is happening in the early<div>scenes of Series Three of The Onedin Line. Gor bless a pooblic domain!<br clear="none"><br clear="none"><br clear="none"></div>
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