Table of Contents

Foreword - Nile Rodgers Part I - Music in the Marketplace 1. Overview Music and Society: We've Got Music in Us Art Versus Commerce: Music Changes Everything Historical Development Tools of the Trade: Everybody's Gotta Learn Sometime 2. T he Music Business System Getting Through the Maze Show Me the Money Music Business Studies in Higher Education Help Wanted! Part II - Songwriting, Publishing, Copyright, and Licensing 3. Professional Songwriting The Market Predictors of Success The Craft The Business of Writing Income Sources Publishing Options Evaluating Publishers The Songwriters Guild of America Contract Reassignment or Default Breaking In 4. Music Publishing Types of Publishers Subpublishing Administration Contracts With Writers Split Publishing, Copublishing Copyright Protection: Sampling Promotion, Advertising Income Sources Trade Associations 5. Music Copyright Background Essential Provisions Key Terms Coverage Exclusive Rights Fair Use of Copyrighted Material Copyright Ownership Transfer or Assignment Work Made for Hire Musical Arrangements Sound Recordings Compulsory Mechanical License Royalty Payments (Section 115[c]) Duration of Copyright Formalities Infringement, Remedy Record Counterfeiting, Penalties Changing Laws Rights in Names and Trademarks A Final Note on Law 6. Music Licensing Music Rights: An Overview Performing Rights Organizations Keeping Track of the Music Membership Options Mechanical Licenses Synchronization Licenses Cable Television Licenses Video Licenses Transcription Licenses Special Use Permits Jukebox Licenses Dramatic Music Rights Part III - Managing Artist Relationships 7. Agents, Managers, and Attorneys Agents Managers Attorneys 8. Artists' Recording Contracts AFTRA Agreements AFM Agreements Royalty Artist Contracts 9. Unions and Guilds American Federation of Musicians American Federation of Television and Radio Artists American Guild of Musical Artists American Guild of Variety Artists Actors' Equity Association Screen Actors Guild International Alliance of Theatrical Stage Employees Other Unions and Guilds 10. Artist Management Discovering Each Other The Financial Relationship Manager's Commission The Manager's Role Advancing the Career Personal Management Agreement Part IV - Producing, Performing, and Merchandising 11. Record Production Record Producers Matching Producer to Artist Production Deals The Recording Studio: Operation and Selection The Five Stages of Record Production Getting Started as a Producer Professional Associations 12. Concert Production Concert Promotion Getting Started Booking the Artist Making an Offer The Art of the Deal Contracts Marketing Publicity and Public Relations Sponsorships Ticketing Licensed Music Merchandise 13. Arts Administration The Classical Music Market Perspective Representative Organizations Symphonic Music Funding the Arts Classical Artist Management Administration 14. Music Products Music Retailers Sales Leaders Promotion of Musical Products New Trends in Music Retail Trade Associations Opportunities for Employment Part V - T he Recording Industry 15. R ecord Labels Perspective Major Labels Independent Labels Specialty Labels Do-It-Yourself Labels Record Company Structure Trade Associations 16. Record Promotion and Distribution The Marketing Plan The Elements of a Marketing Plan Record Distribution 17. Record Markets Understanding the Consumer Research Topics Data Sources 18. The Digital Age The Double-Edged Sword Internet Synergy Labels Lay Seeds of Self-Destruction Smaller, Cheaper, Faster, Better(?) The Economics of Digital Distribution: Change and Evolution The New Economic Order The Digital Future Part VI - Music in Broadcasting, Film, and Theater 19. Music in Radio Types of Stations Audience Identification and Market Research Spectrum of Formats How Commercial Radio Stations Work 20. Music in Television and Video Variety and Talk Shows Music Specials/Events/Awards Shows Theme Songs Background Music and Foreground Spotlights The Singer/Actors The Commercials The Evolving TV Picture MTV and the Rise of the Music Video Producing Short-Form Videos 21. Dramatic Scoring for Movies, TV, and Games Background The Craft Music Scoring for TV Music Scoring for Video Games Library Music Hiring Practices 22. Music in Advertising Influences on Style Jobs Music Uses Budgets Station Branding Logos The Agency Role Spot Production 23. Music and Theater Types of Musical Theater Theater Associations Production Components 24. Business Music and Production Libraries Foreground and Background Music Service Companies Production Music Libraries Part VII - Career Planning and Development 25. Career Options Creative Careers Directing/Producing Careers Performing Careers Teaching Careers Broadcasting/Film/Video Game Careers Music-Related Careers Entrepreneurs/Starting Your Own Business 26. Starting Your Own Business Getting the Process Started Choosing a Name Forms of Ownership Permits and Legalities Raising Funds Marketing Accounting and Finance Keeping Track of the Money Operations Management Management Motivating Employees Where to From Here? 27. Career Development Defining Goals Climbing the Ladder Finding Work Part VIII - The Global View 28. Understanding Canada's Music Scene - Richard Flohil Would You Believe a Government The Record Industry in Canada Live Music Opportunities in Canada Quebec: Vive La Difference Promoting Music in Canada Royalty Collection in Canada Canada: A Hothouse for Talent-And a Challenge for U.S. Musicians 29. The World Outside the United States - Phil Hardy The International Scene New Patterns Around the World 30. International Copyright by Phil Hardy Copyright Conventions Multilateral and Bilateral Agreements Intergovernmental Bodies and International Appendix A: Membership and Copyright Forms Appendix B: Selected Readings Books Journals, Magazines, Newspapers, Newsletters Appendix C: Professional Organizations

About the Author

Editor Tim Baskerville has a diverse background in entertainment and media. He began his career in broadcasting after receiving a B.A. in theater arts from UCLA. Early affiliations included CBS and Cox Broadcasting, where he served as a writer-producer. The first TV documentary he created for CBS stations was nominated for an Emmy. As a publisher and entrepreneur, he launched business periodicals on the home video software industry, global film distribution, and multinational broadcasting. Today, a publishing company he founded in London in the 1990s is one of the world's leading providers of data on mobile entertainment (www.informamedia.com). In recent years he served as President of Kagan Research, the leading provider of financial analysis on the media industry, and CEO of JupiterResearch, a key source of consumer research on Web behavior. As a consultant, Baskerville's clients have included the Motion Picture Association of America, Variety, Time Warner, IBM, International Data Corp., Young & Rubicam, JVC America, Apple, and The Rockefeller Foundation. He has been both a strategy consultant and weekly columnist for Billboard. Baskerville was Vice President of the Music and Entertainment Industry Educators Association (MEIEA), member of the Writers Guild of America, west, and chapter founder of the Overseas Press Club of America. Author David Baskerville received a Ph.D. in music from UCLA. His background included staff composer-conductor for NBC-Hollywood; arranger for Nelson Riddle, Paramount Pictures, and 20th Century Fox; television producer for BBC-London; conductor at Radio City Music Hall; trombonist with the Seattle Symphony, Los Angeles Philharmonic, and NBC-Hollywood orchestra; Executive Vice President of Ad-Staff, Inc.; producer of award-winning broadcast commercials; Executive Editor of Tor Music Publishing Company; and President of Sherwood Recording Studios, Los Angeles (subsequently operated by Warner Bros. Records). He also served as a consultant to companies in the entertainment industry, such as Walt Disney Productions, and to research and marketing firms, such as Vidmar Com muni cations, Los Angeles. As an educator, Dr. Baskerville created and directed the music management program at the University of Colorado at Denver, where he became professor emeritus. He was a guest lecturer, consultant, or clinician at USC, UCLA, Chicago Musical College, Hartt School of Music, the Ohio State University, University of Miami, and Trebas Institute, Canada. He was a featured speaker at national conventions of the Music Educators National Conference, College Music Society, National Association of Jazz Educators, and the National Association of Schools of Music.

Reviews

"This book is the ultimate go-to handbook for anyone considering a career in music." -- Geoffrey F. Howe "This is the standard text in my music business program." -- James Payne