Joseph Baylee

Joseph Baylee, D.D. (1808–1883), was a theological writer.

Baylee received his education at Trinity College, Dublin (B.A. 1834, M.A. 1848, B.D. and D.D. 1852). To the residents of Liverpool and Birkenhead his name became for a quarter of a century a household word, on account of his activity as the founder and first principal of St. Aidan's Theological College, Birkenhead, where he prepared many students for the work of the ministry. This institution, which may be said to have been founded in 1846, originated in a private theological class conducted by Dr. Baylee, under the sanction of the Bishop of Chester, Dr. Sumner, afterwards advanced to the see of Canterbury.

Dr. Baylee's successful exertions changed it into a public institution, and led to the construction of the present college building, which was opened in 1856. At one time Dr. Baylee was well known as a champion of the evangelical party, and especially for his theological discussions with members of the Roman Catholic church. Accounts were published of his controversies with Thomas Joseph Brown, bishop of Apollonia (afterwards of Newport and Menevia), on the infallibility of the church of Rome (1852), with Matthew Bridges on Protestantism v.. Catholicism (1856), and with Edward Miall, M.P., on Church establishments.

Production music

Production music (also known as stock music or library music) is the name given to recorded music that can be licensed to customers for use in film, television, radio and other media. Oftentimes, the music is produced and owned by production music libraries.

Background

Unlike popular and classical music publishers, who typically own less than 50 percent of the copyright in a composition, production music libraries own all of the copyrights of their music. Thus, it can be licensed without the composer's permission, as is necessary in licensing music from normal publishers. This is because virtually all music created for music libraries is done on a work for hire basis. Production music is a convenient solution for media producers—they can be assured that they will be able to license any piece of music in the library at a reasonable rate, whereas a specially-commissioned work could be prohibitively expensive. Similarly, licensing a well-known piece of popular music could cost anywhere from tens to hundreds of thousands of dollars, depending on the prominence of the performer(s).