CART

(0) items

Music Business Handbook and Career Guide,9780761916673
This item qualifies for
FREE SHIPPING!

FREE SHIPPING OVER $59!

Your order must be $59 or more, you must select US Postal Service Shipping as your shipping preference, and the "Group my items into as few shipments as possible" option when you place your order.

Bulk sales, PO's, Marketplace Items, eBooks, Apparel, and DVDs not included.

Music Business Handbook and Career Guide

by
Edition:
7th
ISBN13:

9780761916673

ISBN10:
0761916679
Format:
Hardcover
Pub. Date:
7/1/2000
Publisher(s):
Sage Publications, Inc
List Price: $61.95
More New and Used
from Private Sellers
Starting at $0.01
See Prices

Rent Textbook

We're Sorry
Sold Out

Used Textbook

We're Sorry
Sold Out

eTextbook

We're Sorry
Not Available

New Textbook

We're Sorry
Sold Out

Related Products


  • Music Business Handbook And Career Guide
    Music Business Handbook And Career Guide
  • Music Business Handbook and Career Guide
    Music Business Handbook and Career Guide
  • Music Business Handbook and Career Guide
    Music Business Handbook and Career Guide




Summary

The Seventh Edition of the Music Business Handbook and Career Guide remains the most comprehensive, up-to-date guide to the US$100 billion music industry of the United States. This thoroughly revised edition includes complete coverage of all aspects of the music industry. Song-writing, publishing, copyright (national and international), licensing, artist management, promotion, recording, production, retailing and media are just some of the topics covered. There is a complete section on careers in music, including specific advice on getting started in the music business.

Table of Contents

Foreword xxiii
Stan Cornyn
Acknowledgments xxv
Part I MUSIC IN THE MARKETPLACE
Overview
3(12)
More Than Pop
4(2)
Art Versus Commerce
6(1)
Historical Development: Finding a Paying Audience
7(6)
Influence of Mass Media
13(1)
The Arts and Entertainment Industry
14(1)
The Music Business System
15(8)
Getting Through the Maze
15(3)
Music Business Studies in Higher Education
18(1)
Help Wanted!
19(4)
Part II SONGWRITING, PUBLISHING, COPYRIGHT
Professional Songwriting
23(24)
The Market
23(1)
Predictors of Success
24(1)
The Craft
25(3)
Collaboration
26(1)
Work Habits
27(1)
Income Sources
28(3)
Income From a Hit Recording
28(1)
Additional Income Sources
29(2)
Publishing Options
31(2)
Staff Writers
31(1)
Label-Affiliated Deals
32(1)
Evaluating Publishers
33(2)
The Songwriters Guild of America
35(2)
The Songwriters Guild of America Contract
35(2)
Contract Reassignment or Default
37(1)
Breaking In
38(9)
Local Promotion
39(1)
Promotion by Mail
40(2)
Direct Contact With Publishers
42(1)
Demonstration Recordings
43(2)
Who Pays?
45(2)
Music Publishing
47(36)
Perspective
47(2)
Types of Publishers
49(10)
Full-Line Companies
50(2)
Independent Publishers
52(1)
Recording Company Affiliates
52(1)
Artist-Owned Companies
53(1)
Writer-Owned Companies
53(1)
Educational Field
54(1)
Specialty Publishers
55(1)
Concert Music
55(1)
Subpublishers, Licensees
56(1)
Foreign Territories
56(1)
At-Source Deals and Receipts-Basis Deals
57(2)
Administration
59(3)
Royalty Department
59(1)
Copyright Department
59(1)
Legal or Business Affairs
60(1)
Print Publishing Operations
60(1)
Distribution
61(1)
The Professional Manager
61(1)
Acquiring New Material
62(3)
Acceptance Criteria
63(1)
Catalog Acquisitions
63(1)
Editing for Print Publications
64(1)
The Print Production Line
64(1)
Talent Development
65(1)
Contracts With Writers
66(6)
Draft Contract
67(5)
Split Copyrights, Copublishing
72(1)
Copyright Protection: Sampling
73(1)
Promotion, Advertising
74(3)
Popular Music
74(2)
Educational Field
76(1)
Classical Field
77(1)
Income Sources
77(2)
Trade Associations
79(4)
Harry Fox Agency, Inc.
79(4)
Music Copyright
83(38)
Background
83(1)
Essential Provisions
84(1)
Key Terms
85(4)
Coverage
89(1)
Exclusive Rights
90(1)
Fair Use of Copyrighted Material
91(3)
Copyright Ownership
94(1)
Ownership Limitation
94(1)
Collective Works
94(1)
Film Music
95(1)
Transfer or Assignment
95(2)
Recordation of Transfer
95(1)
Termination or Recapture
96(1)
Work Made for Hire
97(1)
Musical Arrangements
98(2)
Arrangers' Rights
99(1)
Public Domain
99(1)
Sound Recordings
100(2)
Performance Right Exclusion
100(1)
Imitation Exclusion
101(1)
Compulsory Mechanical License
102(1)
Compulsory License Bypass
103(1)
Royalty Payments (Section 115[c])
103(1)
Duration of Copyright
103(3)
Subsisting Copyrights in Their First Term on January 1, 1978 (Section 304)
104(1)
Renewal Registration
104(1)
Subsisting Copyrights in Their Renewal Term
105(1)
After 75 Years
105(1)
After January 1, 1978
105(1)
Works in the Trunk (Section 303)
106(1)
Formalities
106(5)
Notice on Printed Music
106(1)
Notice on Phonorecords (Section 402)
107(1)
Notice Errors or Omissions
107(1)
Deposit (Section 407)
108(1)
Registration (Section 408)
109(1)
Fees (Section 708)
110(1)
Copyright Royalty Tribunal and Copyright Arbitration Royalty Panel
110(1)
Infringement, Remedy
111(1)
Record Counterfeiting, Penalties
112(1)
Changing Laws
113(2)
First Sale Doctrine
113(1)
The Audio Home Recording Act of 1992
114(1)
Rights in Names and Trademarks
115(2)
Selection of a Name
116(1)
Rights in a Name
117(1)
A Final Note on Law
117(4)
Part III BUSINESS AFFAIRS
Music Licensing
121(28)
Music Rights: An Overview
121(2)
Performance Licensing
123(2)
Income, Royalty Distribution
125(1)
Foreign Collections
125(1)
American Society of Composers, Authors and Publishers
126(4)
Income, Royalty Distribution
126(1)
Membership
127(1)
Sampling, Accounting
128(1)
Weighting Performances
129(1)
Broadcast Music Inc.
130(3)
Membership
130(2)
Sampling, Accounting
132(1)
Income, Royalty Distribution
133(1)
SESAC
133(3)
Sampling, Accounting, Income, Royalty Distribution
133(3)
Mechanical Licenses
136(2)
Royalty Rates
137(1)
Collection Services
137(1)
Synchronization Licenses
138(2)
TV Movie Rights
139(1)
New Use Rights
140(1)
Cable Television Licenses
140(1)
Other Cable TV Licenses
141(1)
Video Licenses
141(1)
Transcription Licenses
142(1)
Special Use Permits
143(1)
Broadcast Commercials
143(1)
Jukebox Licenses
143(1)
Dramatic Music Rights
144(5)
Unions and Guilds
149(12)
American Federation of Musicians
150(2)
Union Finance
151(1)
Other Services
152(1)
American Federation of Television and Radio Artists
152(2)
The 4As
154(1)
American Guild of Musical Artists
154(1)
American Guild of Variety Artists
155(1)
Actors' Equity Association
155(1)
Screen Actors Guild
156(1)
International Alliance of Theatrical Stage Employes
157(1)
Other Unions and Guilds; Related Issues
157(4)
National Association of Broadcast Employees and Technicians--Communications Workers of America
157(1)
Dramatists Guild of America, Inc.
158(1)
Related Unions and Guilds
158(1)
Open Shop Agreements
158(1)
Audio Technicians
159(1)
Other Issues
159(2)
Agents, Managers, and Attorneys
161(18)
Agents
161(8)
Regional Agencies
164(1)
National Full-Service Agencies
165(2)
Regulation of Agents
167(2)
Managers
169(3)
Regulation of Managers
169(2)
Assistants to Management
171(1)
Attorneys
172(5)
Retaining Legal Counsel
173(4)
Business Management Techniques
177(2)
Artist Management
179(30)
National Conference of Personal Managers
180(1)
Discovering Each Other
180(1)
The Financial Relationship
181(2)
Accounting
181(1)
Controlling Expense
182(1)
Manager's Commission
183(3)
Going Rates
183(1)
The Money Flow
184(1)
A Possible Compromise
185(1)
Producing the Act
186(2)
Coordinating the Elements
187(1)
Programming
187(1)
Advancing the Career
188(7)
Care and Feeding of the Media
189(1)
Controlling Performances
190(1)
Landing a Recording Contract
191(3)
Negotiating for Appearances
194(1)
Developing Peripheral Income
194(1)
Personal Management Agreement
195(14)
Draft Agreement
196(13)
Concert Promotion
209(16)
Getting Started
209(1)
Locating Cosponsors
210(1)
Local Radio Stations
210(1)
Recording Companies
210(1)
Arena Sponsorship
211(1)
Corporate Sponsorship
211(1)
National Promoters
212(1)
College Sponsorship
212(1)
National Association for Campus Activities
213(1)
Preparing Budgets
213(3)
Negotiating Contracts
216(2)
Signing Acts
217(1)
Technical Riders
218(1)
Promotion, Advertising
218(1)
Production Management
219(6)
Control Sheets
220(5)
Music and Theater
225(16)
Perspective
225(1)
Types of Musical Theater
226(5)
Broadway Musicals
226(2)
Off-Broadway Theater
228(1)
School Productions
228(1)
Regional Theater
228(1)
Summer Theater
229(1)
National Tours
230(1)
Las Vegas and Other Entertainment Centers
230(1)
Industrial Shows
231(1)
Amusement Parks and Cruise Ships
231(1)
Theater Associations
231(1)
Production Components
232(9)
The Producer
232(1)
Subsidiary Rights
233(1)
Original Cast Album
234(1)
Option and Royalty Payments
234(1)
Approvals
234(1)
Costs
235(6)
Music Product Merchandising
241(18)
Sales Leaders
242(1)
Distribution
243(1)
Music Retailers
243(1)
Instruments and Equipment
244(8)
Combo (Guitar, Drum) Stores
244(1)
Keyboards
245(1)
Band and Orchestra Instruments
246(2)
Music School
248(1)
Consumer Audio Equipment
248(1)
Print Music
249(1)
Books, Magazines, and Trade Journals
250(2)
Promotion
252(1)
Trade Associations
253(2)
Financial Management
255(4)
Arts Administration
259(24)
The Serious Music Market
259(1)
Perspective
260(2)
Representative Organizations
262(1)
Symphonic Music
263(5)
American Symphony Orchestra League
263(1)
Salary Arrangements
264(4)
Funding the Arts
268(3)
National Endowment for the Arts
269(2)
State Arts Councils
271(4)
Foundations, Corporate Giving
272(2)
Volunteer Support
274(1)
Administration
275(8)
The Need
275(4)
Financial Management
279(4)
Part IV THE RECORDING INDUSTRY
Scope of the Recording Industry
283(14)
Perspective
283(3)
Major Labels
286(1)
Independent Labels
287(1)
Specialty Labels
288(1)
Recording Company Structure
289(4)
Chief Executive Officer (CEO)
289(2)
Artist and Repertoire (A&R)
291(1)
Business and Legal Affairs
291(1)
Accounting
291(1)
Distribution/Sales
291(1)
Marketing
292(1)
International Department
292(1)
Publishing Affiliates
293(1)
Piracy, Counterfeiting, Bootlegging
293(2)
Challenges Presented by New Technologies
294(1)
National Academy of Recording Arts & Sciences
295(2)
Record Markets
297(10)
Research Development
297(1)
The Charts
297(3)
Broadcast Data Systems
298(1)
Mediabase 24/7
298(1)
SoundScan
299(1)
Album Cuts
299(1)
Comparison of the Charts
300(1)
Recording Industry Association of America
300(1)
Record Categorization
301(1)
Stylistic Preferences
302(5)
Reaching the Buyer
303(1)
Configurations
303(1)
Demographics
303(4)
Artists' Recording Contracts
307(22)
AFTRA Agreements
307(5)
Vocal Contractors
307(1)
Scales
308(2)
Acquired Masters
310(1)
Nonunion Recording
311(1)
AFM Agreements
312(4)
Phonograph Record Labor Agreement
312(1)
Special Payments Fund
313(1)
Music Performance Trust Funds Agreement
314(1)
Nonunion Recording
315(1)
Royalty Artist Contracts
316(13)
Types of Deals
317(2)
Negotiations
319(1)
The Issues
319(10)
Record Production
329(16)
Producing Talents
329(3)
The Independent Producer
330(2)
Production Deals
332(2)
Royalties, Fees
333(1)
The Three Phases of Production
334(1)
Production Budgeting
334(4)
Budget Control
334(4)
Creative Control
338(7)
The Professional Relationship
339(1)
Selecting the Studio
339(2)
The Recording Process
341(1)
Master Delivery Requirements
341(4)
Record Promotion, Distribution, and Retailing
345(20)
The Marketing Plan
345(2)
Personnel
345(1)
The Concept
346(1)
Record Promotion
347(5)
Targets
347(3)
Publicity
350(1)
Advertising
351(1)
International Promotion
351(1)
Record Distribution
352(4)
Major Label Distribution
353(1)
Independent Distribution; Association for Independent Music
353(3)
Merchandising Audiocassettes and Compact Discs
356(6)
Rack Jobbers
356(2)
Retail Stores
358(1)
Retail Chain Stores
359(1)
Returns
360(1)
Cutouts, Repackaging
360(1)
National Association of Recording Merchandisers
361(1)
Home Video Retailing
362(1)
Future of Retailing
363(2)
Studios and Engineers
365(10)
Semiprofessional Recording
366(1)
Demo Studios
367(1)
Independent Studios
367(1)
Small Independent Studios
368(1)
Label-Owned Studios
368(1)
Studio Acoustics, Design, and Ambiance
368(1)
Studio Operation
369(1)
Changing Technology
370(1)
The Art and Science of Mixing
371(2)
Professional Associations
373(2)
Business Music
375(8)
Service Companies
376(2)
Production Music Libraries
378(5)
Part V MUSIC IN BROADCASTING AND FILM
Music in Radio
383(20)
Perspective
383(1)
Types of Stations
384(2)
Network Radio
384(2)
Audience Identification and Market Research
386(4)
Data Interpretation
389(1)
Spectrum of Formats
390(4)
Youth Market
390(1)
Adult Contemporary
391(1)
Country
391(1)
Urban Contemporary
391(1)
Alternative
391(1)
Classical
392(1)
Others
392(2)
How Commercial Radio Stations Work
394(9)
Operations
394(1)
Personnel
395(1)
The Economics of Commercial Radio
396(1)
Programming
397(1)
Program Content
398(1)
Syndication
399(1)
Satellite-Delivered Formats
400(3)
Music in Television
403(18)
Music and Video
403(1)
Stations and Networks
404(3)
Station Organization
405(2)
Cable Television
407(1)
Producing TV Musical Specials
408(9)
Jobs in TV Musical Specials
413(4)
Producing Short-Form Videos
417(4)
Music in Advertising
421(22)
Perspective
421(2)
Influences on Style
422(1)
Jobs
422(1)
Music Uses
423(2)
Budgets
424(1)
Station Logos
425(1)
The Agency Role
425(2)
Spot Production
427(16)
Writing Copy
427(1)
Scoring Music
428(2)
Production Companies
430(2)
Artists and Fees
432(1)
Artists' Contracts
433(2)
Production Sequence
435(8)
Dramatic Scoring for Motion Pictures and TV
443(20)
Background
443(1)
Changing Styles
444(2)
Emergence of Sound Tracks
446(1)
The Craft
446(5)
The Process
446(1)
Spotting the Film
447(1)
Composition
448(1)
Recording to Film
449(2)
The Final Mix
451(1)
Music Scoring for TV
451(1)
Library Music
452(1)
Hiring Practices
452(11)
AFM Contracts
452(1)
Package Deals
453(1)
Composers
453(2)
Music Supervisors
455(1)
Copyists
456(1)
Orchestra Musicians
456(2)
Music Editors
458(1)
Society of Motion Picture and Television Engineers
459(4)
Part VI CAREER PLANNING AND DEVELOPMENT
Career Options
463(58)
Creative Careers
465(15)
Professional Songwriter
465(2)
Lyricist
467(1)
Composer of Show Music
467(3)
Composer of Dramatic Music
470(1)
Composer of Educational Materials
471(2)
Composer of Children's Music
473(1)
Composer of Classical Music
474(2)
Arranger-Orchestrator
476(2)
Music Editor
478(1)
Music Copyist
479(1)
Producing/Directing Careers
480(7)
Music Director-Conductor
480(2)
Record Producer
482(3)
Theatrical Producer-Director
485(1)
Video/Film Producer-Director
486(1)
Performing Careers
487(7)
Singer
487(2)
Instrumentalist
489(5)
Teaching Careers
494(6)
Studio Teacher
494(1)
School Music Educator
495(2)
College Music Instructor
497(2)
Music Therapist
499(1)
Music-Related Careers
500(14)
Critic/Journalist/Editor
500(3)
Music Services
503(2)
Science and Technology
505(2)
Managerial/Executive
507(1)
Broadcasting/Advertising
508(2)
Business/Merchandising
510(2)
Legal Services
512(1)
Arts/Graphics
513(1)
Starting Your Own Business
514(7)
Structuring the Business
514(3)
Starting a Music Publishing Company
517(4)
Career Development
521(104)
Defining Goals
521(5)
Climbing the Ladder
526(1)
Finding Work
527(8)
Part VII CANADIAN MUSIC INDUSTRY AND INTERNATIONAL COPYRIGHT
What You Need to Know About Canada's Music Scene
535(14)
Richard Flohil
International Copyright: The World Market Outside the United States
549(23)
Phil Hardy
Dave Laing
Part VIII APPENDIX
Publishing Rights Forms
ASCAP Agreement With Writer/Publisher
572(3)
ASCAP Writer Application
575(8)
BMI Publisher Application
583(5)
BMI Writer Application
588(2)
BMI Publisher Agreement
590(4)
BMI Writer Agreement
594(4)
Copyright Forms
U.S. Copyright Form PA
598(4)
U.S. Copyright Form SR
602(4)
Selected Readings
Books
606(2)
Journals, Magazines, Newspapers, Newsletters
608(4)
Professional Organizations
612(13)
Glossary 625(22)
Index 647(28)
About the Author 675


Please wait while the item is added to your cart...