Music Business Primer (Trade)
New, from the author of How to Make and Sell Your Own Recording—the book that revolutionized the recording industry!\ A Music Business Primer explores the ecology of the music industry. The symbiotic partnership between music businesses and the creativity and talent of musicians and performers is clearly described, for without the contributions of both, there is no music industry.\ A Music Business Primer contains chapters on how the business works, synopses of controversial industry lawsuits...
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Featuring articles written by music industry professionals, this comprehensive primer guides readers through every aspect of the music business.Covers all aspects of the music industry ranging from songwriting, recording, and performing, to copyright law, record labels, marketing and promotion, and more.For musicians and future music professionals who want a comprehensive overview of the music industry.
Introduction: The Ecology of the Music Business1Entertainment Conglomerates1The Regional Music Industry3Financial Support for Musicians5The Internet's Effect on the Music Industry5Conclusion6Segment 1The Business of Music7The Language of Business7Financial Statements8Income Statements9Bookkeeping11Business Plans11Business Entities13Taxation21Conclusion22Business Names23Researching a Name's Originality23Establishing Rights to a Business Name24Ownership of the Name24Branding24Interview Highlight25Will Ackerman: The Artist as Businessperson25Resource Highlight29The Small Business Administration29Resources29Segment 2Creative Rights31Protecting Creative Rights32Copyrights: Musical Works32Copyrights: Sound Recordings41Copyrights for U.S. Composers in Foreign Countries42Copyright Infringement47Piracy48Conclusion51Challenges to Copyrights52Napster53Music Subscription Services Probed for Potential Violations of Antitrust Laws55Lawsuits Against Other Free File-Sharing Services55MP3.com56Doug and Jimmy's Farm Club56Conclusion57Interview Highlight58Pete and Pat Luboff: Songwriters, Publishers and Songwriting Educators58Resource Highlight62The Nashville Songwriter's Association International62Resources63Segment 3Publishing65The Business of Publishers66Legal Requirements66How Publishers Make Money67Principle Job Responsibilities69Contracts Between Composers and Publishers70Composers Can Form Their Own Publishing Companies73Songsharks and Questionable Practices73Print Music Publishers74Conclusion75Collaborator/Songwriter Agreements76Percentage Ownership76Grant of Rights76Division of Income77Pursuit of Infringement77Copyright Duration77Copyright Transfers77Different Performing Rights Society Affiliations78Songwriters as Members of Different Bands78Controlled Composition Clause78Coaccounting79Future Generations79Interview Highlight80Michael Eames: Publisher and Musician80Resource Highlight84The Songwriters Guild of America84Resources85Segment 4Music Licensing87Licensing Music88Researching Song Ownership88Compulsory Mechanical Licenses89Mechanical Licenses for Sampling92Mechanical Licenses for Digital Phonorecord Deliveries (DPDs)92Foreign Sublicenses94Licenses for Public Performances of Musical Compositions94Synchronization Licenses98Sheet Music Licenses100Conclusion100Sampling101Copyright Infringement101Unfair Competition103Rights of Privacy Violations103Federal Antibootlegging Statutes103No Electronic Theft Act105Penalties105Copyright Clearances106American Federation of Musician Payments110Soundtrack Sampling110Conclusion110Interview Highlight111Michael Laskow: Founder, TAXI111Resource Highlights115The National Music Publishers Association115The Harry Fox Agency115The Future of Music Coalition116Resources117Segment 5Attorneys and Artists' Managers119The Business of Attorneys120Legal Requirements120How Attorneys Make Money120Principle Job Responsibilities121Alternative Dispute Resolution122Conclusion123The Business of Artists' Managers124Legal Requirements124How Artists' Managers Make Money124Principle Job Responsibilities125Contracts Between Artists and Managers130Artists as Managers132Conclusion132National Crackdown on Rave Concerts133Use of the Crackhouse Law133Other Legal Tactics135Conclusion136Interview Highlight137Stan Hertzman: Umbrella Artist Management137Resource Highlight143The Electronic Music Defense and Education Fund143Resources143Segment 6Talent Agents145The Business of Talent Agents146Legal Requirements146How Talent Agents Make Money146Principle Job Responsibilities146Talent Agency Contracts149Can Acts Be Their Own Talent Agents?150Conclusion150Black Promoters Sue Talent Agencies and Concert Promoters151Interview Highlight153Edna Landau: IMG Artists153Resource Highlight158The National Association for Campus Activities158Resources158Segment 7Concert Promotion and Arts Administration163The Business of Concert Promotion164The Role of Music Unions164How Concert Promoters and Arts Presenters Make Money165The Importance of Draw165Income and Expense165Concert Promotion Contracts166Principle Job Responsibilities169Can Acts Promote Their Own Concerts171College and University Promoters171Promoters of Benefit Concerts171Showcases172Conclusion172Arts Administration and the Cultural Arts173Arts Presenters Income173Principle Job Responsibilities174Artistic Mission174Funding174Audience Development175Working with Universities176Conclusion176Interview Highlight177Julie Lokin, Cofounder, New Audiences Productions, Inc177Resource Highlights182The Association of Performing Arts Presenters182The National Endowment for the Arts182The International House of Blues Foundation183Resources183Segment 8Record Companies187The Business of Record Companies188Recording Labels188Legal Requirements190How Record Companies Make Money191Recording Costs192Principle Job Responsibilities194Getting Record Deals: Major Labels194Getting Record Deals: Independent Labels196Contracts Between Record Companies and Artists196Conclusion203Independent Record Labels204Training Ground for Major Labels205Control of Artists' Careers205Revitalization of Regional Economies205Indies Under Siege205The Internet: A New Ally206Conclusion207Interview Highlight208Marco "Magic" Cardenas: Nasty Boy Records208Resource Highlights210Recording Industry Association of America210The Foundation to Assist Canadian Talent on Records211Resources211Segment 9Marketing and Selling Records215Marketing Records216Market Research216Scheduling and Allocating Priorities for Record Label Releases220Marketing Materials220Marketing Campaigns221Selling Records229Conclusion231Creating A Story: the Radio Airplay Bandwagon232Interview Highlight233Wendy Day: Founder, Rap Coalition233Resource Highlights240National Association of Recording Merchandisers240Association for Independent Music241Resources242Segment 10Audio Services251The Audio Industry252Recording Studios252Recording Personnel255Replication Services258Sound Reinforcement Services260Audio Technology Manufacturing260Conclusion261Interview Highlight262Leslie Ann Jones: Director of Music Recording and Scoring at Skywalker Sound, A Division of Lucas Digital, Ltd. LLC262Resource Highlight266The Audio Engineering Society266Resources267Segment 11Manufacturing and Retailing271Musical Instruments and Audio Products272Sales272Marketing and Promotion273Music Education and Retailing276Music Business and Audio Education278Conclusion278Interview Highlights279Peter Gotcher: Cofounder, Digidesign279Steven Wilson: Director of Sales and Marketing, Music Sales, Omnibus Press and Schirmer Trace Books282Resource Highlight286NAMM, The International Music Products Association286Resources287Resources289Federal Agencies289Organizations and Trade Associations289Unions299Trade Publications299Industry Directories304Recording Catalogs305Bibliography306About the Author309Contributing Authors310Index311About Jerome Headlands Press329
