Foreword by Nile Rodgers Preface Online Resources Acknowledgments About the Authors Part I. Setting the Stage 1. Overture Music and Society: We've Got Music in Us Adjusting to a Fast-Changing World Historical Development The Digital Future in Context 2. The Music Business System Help Wanted! Getting through the Maze Show Me the Money Tools of the Trade: Everybody's Gotta Learn Sometime Part II. Copyright, Songwriting, Publishing, and Licensing 3. 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 Determining Infringement Changing Laws Rights in Names and Trademarks A Final Note on Law 4. 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 5. Music Publishing Types of Publishers Subpublishing Administration Contracts with Writers Split Publishing, Copublishing Sampling Promotion, Advertising Income Sources Trade Associations and Rights Administration 6. Music Licensing Music Rights: An Overview Performance Licensing for Compositions Keeping Track of the Music Comparing PROs Regulation of PROs Performance Licensing for Sound Recordings Mechanical Licenses Synchronization Licenses Cable Television Licenses Video Licenses Audio Transcription Licenses Special Use Permits Jukebox Licenses Dramatic Music Rights Creative Commons Part III. Managing Artist Relationships Chapter 7. Agents, Managers, and Attorneys Agents Managers Attorneys Professional Associations 8. Artist Management Discovering Each Other The Financial Relationship Manager's Commission The Manager's Role Advancing the Career Personal Management Agreements 9. Unions and Guilds American Federation of Musicians SAG-AFTRA American Guild of Musical Artists American Guild of Variety Artists Actors' Equity Association International Alliance of Theatrical Stage Employees Other Unions and Guilds Part IV. The Recorded Music Industry 10. Record Labels Perspective Major Labels Independent Labels Specialty Labels Record Company Structure Associations 11. Artists' Recording Contracts SAG-AFTRA Agreements AFM Agreements Royalty Artist Contracts 12. Record Production Record Producers Matching Producer to Artist Production Deals The Recording Studio: Operation and Selection The Five Stages of Record Production Getting Started in the Business Professional Associations 13. Record Label Marketing and Distribution The Daunting Challenge The Marketing Plan Digital Distribution and Marketing Physical Product Promotion and Distribution Physical Distribution International Marketing 14. Music Streaming Reshaping the Landscape Streaming Technology A Crowded Marketplace: Audio and Video Licensing Sound Recording Rights Streaming Royalties Economics of Streaming Audience Targeting Looking Downstream 15. Market Analytics Methodology Research Topics Data Sources Part V. Live Performance 16. Concert Promotion and Production Concert Promotion Getting Started Booking the Artist Making an Offer The Art of the Deal Contracts Production Planning Marketing Publicity and Public Relations Sponsorships The Future of Live 17. Concert Venues Venue Contracts Ticketing Licensed Merchandise Venue Trade Association 18. Arts Administration Perspective Representative Organizations Symphonic Music Funding the Arts Classical Artist Management Administration Part VI. Music in the Marketplace 19. Music in Radio Types of Broadcast Radio Stations Audience Identification and Market Research Spectrum of Formats How Commercials 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 Evolving TV Picture MTV and the Rise of the Music Video Music Video Economics and Distribution DIY Avenues 21. Dramatic Scoring for Movies, TV, and Games Background The Craft Music Scoring for TV Music SCoring for Video Games Production Music Libraries 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. Music Products Music Retailers Sales Leaders Promotion of Musical Products A Changing Industry Trade Associations Opportunities for Employment 25. Business Music and Production Libraries Foreground and Background Music Business Music Production Music Libraries Part VII. The Entrepreneurial Musician 26. The DIY Toolkit The Direct-to-Fan Era Doing the Math Making Money with "Free" Tools of the Trade Major Online Platforms: Now You see It, Now You Don't Conclusion 27. Starting Your Own Business Getting the Process Started Choosing a Name Forms of Ownership Permits and Legal Issues Raising Funds Marketing Accounting and Finance Keeping Track of the Money Operations Management Management Where to From Here? Part VIII. Career Planning and Development 28. Career Options Creative Careers Directing/Producing Careers Performing Careers Teaching Careers Broadcasting/Film/Video Game Careers Music-Related Careers Entrepreneurs/Starting Your Own Business 29. Career Development Defining Goals Climbing the Ladder Finding Work Part IX. The Global View 30. The World Outside the United States The International Scene New Patterns around the World 31. International Copyright Copyright Conventions Multilateral Agreements Bilateral Treaties Intergovernmental Bodies and International Industry Organizations Appendix A: Membership and Copyright Forms Appendix B: Selected Resources Glossary Index
Author David Baskerville (1918-1986) received a PhD 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, North Hollywood. 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 Communications, 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. Author Tim Baskerville has a diverse background in entertainment and media. He began his career in broadcasting after receiving a BA in theater arts from UCLA. Early affiliations included CBS and Cox Broadcasting, where he served as a staff writer-producer. The first TV documentary he created for CBS TV 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 new media and mobile entertainment (www.ovum.informa.com). In recent years, he served as president of what is now the SNL Kagan unit of S&P Global Market Intelligence, the leading provider of financial analysis on the media industry, and CEO of JupiterResearch (acquired by Forrester Research), a key source of consumer research on Web behavior and new media. 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. He has served on the boards of both public and private companies that publish and distribute business information.