It's interesting. In the symphonic world in Canada, a lot of orchestras are kind of taking the Ticketmaster model and are doing their own ticketing. My orchestra also sells its ticketing services to community arts organizations. So this has actually turned out to be another stream of revenue for orchestras, which is very helpful.
In regard to the World Intellectual Property Organization, our concern has been that moneys are collected around the world for broadcasts of our performances, and they're not being distributed to the musicians. In our case, it's because of the complications of the process. If you want to be compensated for a recording, you have to be able to list every musician who was on a particular track, and when you have the whole orchestra.... We have two principle oboes, two principle bassoons, etc. Who played on that recording? Were people sick? Were there extras in? It's a nightmare. The record-keeping at the time the recordings were made was not sufficient to meet the requirements to get the money. So it sits there uncollected, and that's very disturbing.
We also like the fact that the treaty protects our music from being used for nefarious purposes or to represent ideas we don't subscribe to or believe in.