Foreword |
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xix | |
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Acknowledgments |
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xxi | |
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Part I Music in the Marketplace |
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1 | (22) |
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3 | (12) |
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4 | (2) |
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6 | (1) |
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Historical Development: Finding a Paying Audience |
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6 | (5) |
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11 | (1) |
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The Arts and Entertainment Industry |
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12 | (3) |
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The Music Business System |
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15 | (8) |
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15 | (3) |
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Music Business Studies in Higher Education |
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18 | (1) |
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19 | (4) |
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Part II Songwriting, Publishing, Copyright |
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23 | (92) |
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25 | (24) |
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25 | (1) |
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26 | (1) |
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27 | (2) |
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28 | (1) |
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29 | (1) |
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29 | (3) |
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From Tin Pan Alley to the Brill Building . . . |
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30 | (1) |
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30 | (1) |
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The Performer's Dual Role |
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31 | (1) |
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32 | (2) |
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32 | (2) |
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Performance Royalties and New Revenue Streams |
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34 | (1) |
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34 | (3) |
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35 | (1) |
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35 | (2) |
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37 | (1) |
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The Songwriters Guild of America |
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38 | (3) |
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The Songwriters Guild of America Contract |
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39 | (2) |
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Contract Reassignment or Default |
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41 | (1) |
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41 | (8) |
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42 | (1) |
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43 | (1) |
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44 | (2) |
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Direct Contact With Publishers |
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46 | (1) |
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Network, Network, and Then Network Some More |
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46 | (3) |
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49 | (34) |
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51 | (6) |
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52 | (1) |
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Recording Company Affiliates |
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53 | (1) |
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54 | (1) |
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55 | (1) |
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56 | (1) |
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56 | (1) |
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56 | (1) |
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57 | (2) |
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57 | (1) |
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At-Source Deals Versus Receipts-Basis Deals |
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58 | (1) |
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59 | (6) |
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60 | (1) |
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60 | (1) |
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Legal and Business Affairs |
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61 | (1) |
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Print Publishing Operations |
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61 | (1) |
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62 | (1) |
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63 | (2) |
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65 | (6) |
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Split Publishing, Copublishing |
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71 | (1) |
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Copyright Protection: Sampling |
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72 | (2) |
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74 | (2) |
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74 | (1) |
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75 | (1) |
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76 | (1) |
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76 | (2) |
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78 | (5) |
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78 | (5) |
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83 | (32) |
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83 | (1) |
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84 | (1) |
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85 | (3) |
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88 | (1) |
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89 | (1) |
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Fair Use of Copyrighted Material |
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90 | (2) |
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92 | (1) |
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92 | (1) |
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92 | (1) |
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93 | (1) |
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93 | (2) |
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93 | (1) |
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94 | (1) |
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95 | (1) |
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96 | (1) |
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96 | (1) |
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97 | (1) |
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97 | (1) |
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Performance Right Exclusion |
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98 | (1) |
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98 | (1) |
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Compulsory Mechanical License |
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98 | (2) |
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Compulsory License Bypass |
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99 | (1) |
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Royalty Payments (Section 115[c]) |
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100 | (1) |
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100 | (3) |
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Subsisting Copyrights in Their First Term on January 1, 1978 (Section 304) |
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101 | (1) |
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102 | (1) |
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Subsisting Copyrights in Their Renewal Term |
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102 | (1) |
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102 | (1) |
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102 | (1) |
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Works in the Trunk (Section 303) |
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103 | (1) |
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103 | (4) |
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103 | (1) |
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Notice on Phonorecords (Section 402) |
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104 | (1) |
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Notice Errors or Omissions |
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104 | (1) |
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105 | (1) |
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Registration (Section 408) |
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106 | (1) |
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107 | (1) |
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Copyright Royalty Tribunal and Copyright Arbitration Royalty Panel |
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107 | (1) |
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107 | (1) |
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Record Counterfeiting, Penalties |
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108 | (1) |
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109 | (2) |
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109 | (1) |
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The Audio Home Recording Act of 1992 |
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110 | (1) |
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Rights in Names and Trademarks |
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111 | (2) |
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111 | (2) |
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113 | (1) |
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113 | (2) |
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Part III Business Affairs |
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115 | (76) |
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117 | (26) |
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Music Rights: An Overview |
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117 | (4) |
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Performing Rights Organizations |
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121 | (2) |
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Performance Licensing: The Nuts and Bolts |
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122 | (1) |
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Keeping Track of the Music |
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123 | (2) |
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124 | (1) |
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125 | (1) |
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125 | (8) |
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American Society of Composers, Authors and Publishers |
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126 | (3) |
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129 | (2) |
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131 | (2) |
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133 | (1) |
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134 | (2) |
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136 | (1) |
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136 | (1) |
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Cable Television Licenses |
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136 | (1) |
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137 | (1) |
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137 | (1) |
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138 | (1) |
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138 | (1) |
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138 | (1) |
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139 | (1) |
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139 | (4) |
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Agents, Managers, and Attorneys |
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143 | (16) |
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145 | (5) |
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146 | (1) |
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National Full-Service Agencies |
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147 | (1) |
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148 | (2) |
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150 | (3) |
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150 | (2) |
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152 | (1) |
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153 | (4) |
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153 | (4) |
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Business Management Techniques |
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157 | (2) |
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Artists' Recording Contracts |
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159 | (22) |
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159 | (4) |
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159 | (1) |
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160 | (2) |
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162 | (1) |
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163 | (1) |
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163 | (4) |
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Sound Recording Labor Agreement |
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163 | (2) |
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Sound Recording Special Payments Fund |
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165 | (1) |
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166 | (1) |
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167 | (1) |
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167 | (14) |
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167 | (1) |
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168 | (1) |
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169 | (8) |
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177 | (4) |
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181 | (10) |
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American Federation of Musicians |
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182 | (2) |
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183 | (1) |
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183 | (1) |
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American Federation of Television and Radio Artists |
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184 | (2) |
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185 | (1) |
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American Guild of Musical Artists |
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186 | (1) |
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American Guild of Variety Artists |
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186 | (1) |
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Actors' Equity Association |
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186 | (1) |
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187 | (1) |
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International Alliance of Theatrical Stage Employes |
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188 | (1) |
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188 | (3) |
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National Association of Broadcast Employees and Technicians--Communications Workers of America |
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188 | (1) |
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Dramatists Guild of America, Inc. |
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188 | (1) |
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Related Unions and Guilds |
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189 | (1) |
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189 | (1) |
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189 | (2) |
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Part IV Managing, Producing, and Merchandising |
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191 | (108) |
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193 | (26) |
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194 | (1) |
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The Financial Relationship |
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195 | (1) |
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195 | (1) |
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196 | (1) |
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196 | (4) |
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196 | (2) |
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198 | (1) |
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198 | (1) |
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199 | (1) |
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Coordinating the Elements |
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200 | (1) |
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200 | (1) |
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200 | (7) |
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Landing a Recording Contract |
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201 | (3) |
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Care and Feeding of the Media |
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204 | (1) |
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205 | (1) |
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Negotiating for Appearances |
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206 | (1) |
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Developing Peripheral Income |
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206 | (1) |
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Personal Management Agreement |
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207 | (12) |
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219 | (24) |
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219 | (1) |
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Matching Producer to Artist |
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220 | (2) |
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222 | (2) |
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222 | (2) |
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The Recording Studio: Operation and Selection |
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224 | (4) |
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224 | (1) |
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225 | (1) |
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226 | (1) |
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227 | (1) |
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The Five Stages of Record Production |
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228 | (10) |
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Preproduction: Budgeting and Planning |
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229 | (4) |
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233 | (1) |
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234 | (1) |
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235 | (2) |
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237 | (1) |
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Getting Started as a Producer |
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238 | (1) |
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Professional Associations |
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239 | (4) |
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243 | (20) |
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244 | (1) |
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The Cost of Doing Business |
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244 | (1) |
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244 | (2) |
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244 | (2) |
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Assessing the Artists' Draw |
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246 | (1) |
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246 | (2) |
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246 | (1) |
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247 | (1) |
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248 | (2) |
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Negotiating Artists' Fees |
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248 | (1) |
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248 | (2) |
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250 | (1) |
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250 | (1) |
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250 | (6) |
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Print, Radio, and Direct Mail Marketing |
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254 | (1) |
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255 | (1) |
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256 | (1) |
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Publicity and Public Relations |
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256 | (1) |
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257 | (1) |
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257 | (1) |
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257 | (1) |
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257 | (1) |
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257 | (3) |
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Record Company Sponsorships |
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257 | (1) |
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258 | (1) |
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259 | (1) |
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259 | (1) |
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259 | (1) |
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260 | (1) |
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260 | (3) |
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260 | (1) |
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Computer Tickets Versus Hard-Copy Tickets |
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261 | (2) |
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263 | (22) |
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The Classical Music Market |
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263 | (1) |
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264 | (1) |
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Representative Organizations |
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265 | (2) |
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267 | (5) |
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American Symphony Orchestra League |
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267 | (2) |
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269 | (3) |
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272 | (2) |
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National Endowment for the Arts |
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273 | (1) |
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274 | (4) |
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Foundations, Corporate Giving |
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276 | (1) |
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277 | (1) |
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278 | (7) |
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278 | (3) |
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281 | (4) |
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285 | (14) |
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285 | (8) |
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285 | (1) |
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The Combo Store (Rock Shop) |
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286 | (1) |
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287 | (1) |
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288 | (1) |
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288 | (1) |
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289 | (1) |
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290 | (1) |
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Books, Magazines, and Trade Journals |
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291 | (2) |
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293 | (1) |
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Promotion of Musical Products |
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294 | (1) |
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Financial Management in Music Retail |
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295 | (1) |
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New Trends in Music Retail |
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296 | (1) |
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Product Manufacturing: A New World |
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296 | (1) |
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297 | (1) |
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Opportunities for Employment |
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298 | (1) |
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Part V The Recording Industry |
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299 | (56) |
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Scope of the Recording Industry |
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301 | (14) |
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301 | (3) |
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304 | (1) |
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305 | (1) |
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306 | (1) |
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307 | (1) |
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307 | (4) |
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Executive Officer (CEO, COO, CFO, General Manager) |
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307 | (1) |
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Artist and Repertoire (A&R) |
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307 | (2) |
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309 | (1) |
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309 | (1) |
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310 | (1) |
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Business and Legal Affairs |
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310 | (1) |
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311 | (1) |
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311 | (1) |
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National Academy of Recording Arts & Sciences |
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311 | (4) |
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Record Promotion, Distribution, and Retailing |
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315 | (20) |
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315 | (2) |
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Developing a Marketing Plan |
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315 | (1) |
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316 | (1) |
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317 | (1) |
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The Elements of a Marketing Plan |
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317 | (7) |
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317 | (3) |
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320 | (2) |
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322 | (1) |
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323 | (1) |
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324 | (3) |
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325 | (1) |
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325 | (2) |
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327 | (8) |
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327 | (1) |
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328 | (2) |
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330 | (1) |
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330 | (1) |
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330 | (2) |
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National Association of Recording Merchandisers |
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332 | (3) |
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335 | (10) |
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335 | (1) |
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335 | (1) |
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336 | (1) |
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336 | (1) |
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336 | (2) |
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336 | (1) |
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337 | (1) |
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337 | (1) |
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337 | (1) |
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338 | (1) |
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339 | (1) |
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340 | (1) |
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341 | (1) |
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341 | (4) |
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345 | (10) |
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345 | (1) |
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346 | (1) |
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Labels Lay Seeds of Self-Destruction |
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347 | (1) |
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Smaller, Cheaper, Faster, Better (?) |
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348 | (1) |
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The Economics of Digital Distribution: Change and Evolution |
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349 | (1) |
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350 | (1) |
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351 | (4) |
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Part VI Music in Broadcasting and Film and Theater |
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355 | (92) |
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357 | (18) |
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358 | (2) |
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Audience Identification and Market Research |
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360 | (3) |
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362 | (1) |
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363 | (4) |
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363 | (1) |
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363 | (1) |
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364 | (1) |
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364 | (1) |
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364 | (1) |
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364 | (1) |
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365 | (1) |
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365 | (1) |
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365 | (1) |
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365 | (1) |
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366 | (1) |
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366 | (1) |
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366 | (1) |
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How Commercial Radio Stations Work |
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367 | (8) |
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367 | (1) |
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367 | (2) |
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The Economics of Commercial Radio |
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369 | (1) |
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369 | (1) |
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370 | (1) |
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371 | (1) |
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Satellite-Delivered Formats |
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372 | (3) |
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375 | (18) |
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376 | (3) |
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Music Specials/Events/Awards Shows |
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379 | (2) |
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381 | (1) |
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Background Music and Foreground Spotlights |
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382 | (1) |
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382 | (1) |
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382 | (2) |
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384 | (2) |
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386 | (1) |
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MTV and the Rise of the Music Video |
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386 | (1) |
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Producing Short-Form Videos |
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387 | (6) |
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Dramatic Scoring for Motion Pictures and TV |
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393 | (18) |
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394 | (3) |
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394 | (3) |
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Emergence of Sound Tracks |
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397 | (1) |
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397 | (4) |
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397 | (1) |
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398 | (2) |
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400 | (1) |
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400 | (1) |
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401 | (1) |
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401 | (1) |
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402 | (1) |
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402 | (9) |
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402 | (1) |
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402 | (1) |
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403 | (1) |
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404 | (1) |
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405 | (1) |
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405 | (2) |
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407 | (1) |
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Society of Motion Picture and Television Engineers |
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408 | (3) |
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411 | (18) |
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412 | (1) |
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412 | (1) |
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413 | (1) |
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413 | (1) |
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414 | (1) |
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414 | (2) |
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416 | (13) |
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416 | (1) |
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417 | (1) |
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417 | (2) |
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419 | (1) |
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420 | (2) |
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422 | (7) |
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429 | (14) |
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430 | (5) |
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430 | (1) |
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431 | (1) |
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432 | (1) |
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432 | (1) |
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433 | (1) |
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433 | (1) |
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Las Vegas and Other Entertainment Centers |
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434 | (1) |
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434 | (1) |
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Amusement Parks and Cruise Ships |
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434 | (1) |
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435 | (1) |
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435 | (8) |
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435 | (1) |
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436 | (1) |
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436 | (1) |
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Option and Royalty Payments |
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437 | (1) |
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437 | (1) |
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437 | (6) |
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Business Music and Production Libraries |
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443 | (4) |
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Foreground and Background Music |
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443 | (1) |
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444 | (2) |
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Production Music Libraries |
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446 | (1) |
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Part VII Career Planning and Development |
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447 | (78) |
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449 | (50) |
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451 | (11) |
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451 | (2) |
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453 | (1) |
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453 | (3) |
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Composer of Educational Materials |
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456 | (1) |
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Composer of Children's Music |
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457 | (1) |
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Composer of Classical Music |
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458 | (1) |
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459 | (2) |
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461 | (1) |
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462 | (1) |
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Directing/Producing Careers |
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462 | (5) |
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462 | (2) |
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464 | (3) |
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467 | (6) |
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|
467 | (2) |
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469 | (4) |
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473 | (6) |
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473 | (1) |
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474 | (2) |
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476 | (1) |
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477 | (2) |
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Broadcasting/Film/Video Game Careers |
|
|
479 | (7) |
|
|
479 | (2) |
|
|
481 | (3) |
|
Music Video/Music Special Producer-Director |
|
|
484 | (1) |
|
Video Game Scorer/Audio Programmer |
|
|
485 | (1) |
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Advertising Jingle Writer |
|
|
486 | (1) |
|
|
486 | (9) |
|
|
486 | (3) |
|
|
489 | (1) |
|
|
490 | (2) |
|
|
492 | (1) |
|
|
493 | (1) |
|
|
494 | (1) |
|
|
495 | (1) |
|
Entrepreneurs/Starting Your Own Business |
|
|
495 | (4) |
|
Starting Your Own Business |
|
|
499 | (16) |
|
Getting the Process Started |
|
|
500 | (2) |
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|
502 | (1) |
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|
502 | (2) |
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|
502 | (1) |
|
|
503 | (1) |
|
|
503 | (1) |
|
|
504 | (1) |
|
|
505 | (1) |
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|
505 | (2) |
|
|
505 | (1) |
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|
506 | (1) |
|
|
506 | (1) |
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|
506 | (1) |
|
|
507 | (1) |
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|
507 | (1) |
|
When to Record a Transaction |
|
|
507 | (1) |
|
How to Record a Transaction |
|
|
507 | (1) |
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Keeping Track of the Money |
|
|
508 | (1) |
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|
508 | (1) |
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|
508 | (1) |
|
|
509 | (1) |
|
|
509 | (1) |
|
|
510 | (1) |
|
|
510 | (2) |
|
|
512 | (3) |
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|
515 | (10) |
|
|
515 | (4) |
|
|
519 | (1) |
|
|
520 | (5) |
|
Part VIII Canadian Music Industry and International Copyright |
|
|
525 | (30) |
|
What You Need to Know About Canada's Music Scene |
|
|
527 | (11) |
|
|
International Copyright: The World Market Outside the United States |
|
|
538 | (17) |
|
|
|
Appendix A: Membership and Copyright Forms |
|
|
555 | (2) |
|
Appendix B: Selected Readings |
|
|
557 | (6) |
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|
557 | (3) |
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Journals, Magazines, Newspapers, Newsletters |
|
|
560 | (3) |
|
Appendix C: Professional Organizations |
|
|
563 | (10) |
Glossary |
|
573 | (20) |
Index |
|
593 | (20) |
About the Author |
|
613 | (2) |
About the Editor |
|
615 | |