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Tony, I see the difference, but I feel that what you are referring to are the inner workings that the public in general would know nothing about. Even in the case of the arrangements of popular songs, etc., though the arranger might be a bit more prominent, the average Joe on the street knows little and cares less about such things. You and I are aware of this, but I experienced it anew a few years ago listening to an outdoor summer band concert, wherein one of the numbers offered was the symphonic synthesis on Victory at Sea, allegedly composed by Richard Rodgers (as far as the public was and probably is concerned) and so announced, but really put together by Robert Russell Bennett, utilizing some tunes that Rodgers, as I like to put it, probably banged out with one finger. Of course, Rodgers was announced as the composer of that work, exclusively, and it did make me rather cranky to contemplate what I was listening to, as I knew beyond any doubt that it was Bennett who really put all the work into what I was listening to. Same with the Liverpool Requiem, which I referred to in a previous comment; allegedly composed by Paul McCartney but really worked out by Carl Davis - who has heard of Carl Davis aside from those in the field or who are alert to these matters? I feel that the differences such as you describe are of degree but it all comes down to the same thing, and I think that all around, we essentially agree regarding the injustice of it. If you look back at my essay covering Leroy Anderson's arrangements of Musical Comedy Medleys, this is very much brought out, both in my essay itself and in my return comment to someone who posted his comment. This was an essay I had shared with David before actually contributing anything to the JIM magazine, and I must say, he was delighted to read my viewpoint on the matter.