Cover image for A music business primer
Title:
A music business primer
Author:
Rapaport, Diane Sward.
Personal Author:
Publication Information:
Upper Saddle River, N.J. : Prentice Hall, [2003]

©2003
Physical Description:
xi, 329 pages : illustrations ; 28 cm
General Note:
"A Jerome Headlands Press Book."
Language:
English
Subject Term:
ISBN:
9780130340771
Format :
Book

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ML3790 .R38 2003 Adult Non-Fiction Non-Fiction Area-Oversize
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ML3790 .R38 2003 Adult Non-Fiction Grosvenor Room-Reference-Music
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Summary

Summary

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.


Author Notes

Diane Sward Rapaport is a music business pioneer. She began offering courses for musicians in music business management and publishing in 1974, after working for seven years as an artist's manager for Bill Graham's Fillmore Management. Her goal was to help musicians and songwriters make a living from their art.

In 1976, she cofounded, edited and published Music Works-A Manual for Musicians, a magazine hailed as a "bible for musicians" by the San Francisco Chronicle. It was the first magazine to feature music business and technology news.

In 1979 How to Make and Sell Your Own Record, her first book, was published by Putnam and now by Prentice-Hall. It has been called the "bible and basic text" that has helped revolutionize the recording industry by providing information about setting up new recording labels independent of major label conglomerates. It has sold more than 200,000 copies.

"This book has played a pioneering role in the long-overdue broadening of the avenues of the music industry.. It has worked to reshape the way music is marketed, while helping to introduce ostensibly "uncommercial," innovative and truly special artists and their music to receptive audiences. More importantly, it has helped many of them realize their dreams." Loreena McKennitt, from the foreword to How to Make and Sell Your Own Recording.

In 1988, Diane Rapaport founded Jerome Headlands Press, a company that produces and designs books for musicians and artists. Its current catalog Includes How to Make and Sell Your Own Recording; The Musician's Business and Legal Guide; The Visual Artist's Business and Legal Guide and The Acoustic Musician's Guide to Sound Reinforcement and Live Recording. The books are published by Prentice Hall.

She has given numerous music business seminars for colleges, nonprofit music businesses and music conferences and served as an adjunct professor of music business at the University of Colorado, Denver.


Table of Contents

Mark Halloran and Edward HearnGregory T. VictoroffBryan Farrish
Introduction: The Ecology of the Music Businessp. 1
Entertainment Conglomeratesp. 1
The Regional Music Industryp. 3
Financial Support for Musiciansp. 5
The Internet's Effect on the Music Industryp. 5
Conclusionp. 6
Segment 1 The Business of Musicp. 7
The Language of Businessp. 7
Financial Statementsp. 8
Income Statementsp. 9
Bookkeepingp. 11
Business Plansp. 11
Business Entitiesp. 13
Taxationp. 21
Conclusionp. 22
Business Namesp. 23
Researching a Name's Originalityp. 23
Establishing Rights to a Business Namep. 24
Ownership of the Namep. 24
Brandingp. 24
Interview Highlightp. 25
Will Ackerman: The Artist as Businesspersonp. 25
Resource Highlightp. 29
The Small Business Administrationp. 29
Resourcesp. 29
Segment 2 Creative Rightsp. 31
Protecting Creative Rightsp. 32
Copyrights: Musical Worksp. 32
Copyrights: Sound Recordingsp. 41
Copyrights for U.S. Composers in Foreign Countriesp. 42
Copyright Infringementp. 47
Piracyp. 48
Conclusionp. 51
Challenges to Copyrightsp. 52
Napsterp. 53
Music Subscription Services Probed for Potential Violations of Antitrust Lawsp. 55
Lawsuits Against Other Free File-Sharing Servicesp. 55
MP3.comp. 56
Doug and Jimmy's Farm Clubp. 56
Conclusionp. 57
Interview Highlightp. 58
Pete and Pat Luboff: Songwriters, Publishers and Songwriting Educatorsp. 58
Resource Highlightp. 62
The Nashville Songwriter's Association Internationalp. 62
Resourcesp. 63
Segment 3 Publishingp. 65
The Business of Publishersp. 66
Legal Requirementsp. 66
How Publishers Make Moneyp. 67
Principle Job Responsibilitiesp. 69
Contracts Between Composers and Publishersp. 70
Composers Can Form Their Own Publishing Companiesp. 73
Songsharks and Questionable Practicesp. 73
Print Music Publishersp. 74
Conclusionp. 75
Collaborator/Songwriter Agreementsp. 76
Percentage Ownershipp. 76
Grant of Rightsp. 76
Division of Incomep. 77
Pursuit of Infringementp. 77
Copyright Durationp. 77
Copyright Transfersp. 77
Different Performing Rights Society Affiliationsp. 78
Songwriters as Members of Different Bandsp. 78
Controlled Composition Clausep. 78
Coaccountingp. 79
Future Generationsp. 79
Interview Highlightp. 80
Michael Eames: Publisher and Musicianp. 80
Resource Highlightp. 84
The Songwriters Guild of Americap. 84
Resourcesp. 85
Segment 4 Music Licensingp. 87
Licensing Musicp. 88
Researching Song Ownershipp. 88
Compulsory Mechanical Licensesp. 89
Mechanical Licenses for Samplingp. 92
Mechanical Licenses for Digital Phonorecord Deliveries (DPDs)p. 92
Foreign Sublicensesp. 94
Licenses for Public Performances of Musical Compositionsp. 94
Synchronization Licensesp. 98
Sheet Music Licensesp. 100
Conclusionp. 100
Samplingp. 101
Copyright Infringementp. 101
Unfair Competitionp. 103
Rights of Privacy Violationsp. 103
Federal Antibootlegging Statutesp. 103
No Electronic Theft Actp. 105
Penaltiesp. 105
Copyright Clearancesp. 106
American Federation of Musician Paymentsp. 110
Soundtrack Samplingp. 110
Conclusionp. 110
Interview Highlightp. 111
Michael Laskow: Founder, TAXIp. 111
Resource Highlightsp. 115
The National Music Publishers Associationp. 115
The Harry Fox Agencyp. 115
The Future of Music Coalitionp. 116
Resourcesp. 117
Segment 5 Attorneys and Artists' Managersp. 119
The Business of Attorneysp. 120
Legal Requirementsp. 120
How Attorneys Make Moneyp. 120
Principle Job Responsibilitiesp. 121
Alternative Dispute Resolutionp. 122
Conclusionp. 123
The Business of Artists' Managersp. 124
Legal Requirementsp. 124
How Artists' Managers Make Moneyp. 124
Principle Job Responsibilitiesp. 125
Contracts Between Artists and Managersp. 130
Artists as Managersp. 132
Conclusionp. 132
National Crackdown on Rave Concertsp. 133
Use of the Crackhouse Lawp. 133
Other Legal Tacticsp. 135
Conclusionp. 136
Interview Highlightp. 137
Stan Hertzman: Umbrella Artist Managementp. 137
Resource Highlightp. 143
The Electronic Music Defense and Education Fundp. 143
Resourcesp. 143
Segment 6 Talent Agentsp. 145
The Business of Talent Agentsp. 146
Legal Requirementsp. 146
How Talent Agents Make Moneyp. 146
Principle Job Responsibilitiesp. 146
Talent Agency Contractsp. 149
Can Acts Be Their Own Talent Agents?p. 150
Conclusionp. 150
Black Promoters Sue Talent Agencies and Concert Promotersp. 151
Interview Highlightp. 153
Edna Landau: IMG Artistsp. 153
Resource Highlightp. 158
The National Association for Campus Activitiesp. 158
Resourcesp. 158
Segment 7 Concert Promotion and Arts Administrationp. 163
The Business of Concert Promotionp. 164
The Role of Music Unionsp. 164
How Concert Promoters and Arts Presenters Make Moneyp. 165
The Importance of Drawp. 165
Income and Expensep. 165
Concert Promotion Contractsp. 166
Principle Job Responsibilitiesp. 169
Can Acts Promote Their Own Concertsp. 171
College and University Promotersp. 171
Promoters of Benefit Concertsp. 171
Showcasesp. 172
Conclusionp. 172
Arts Administration and the Cultural Artsp. 173
Arts Presenters Incomep. 173
Principle Job Responsibilitiesp. 174
Artistic Missionp. 174
Fundingp. 174
Audience Developmentp. 175
Working with Universitiesp. 176
Conclusionp. 176
Interview Highlightp. 177
Julie Lokin, Cofounder, New Audiences Productions, Incp. 177
Resource Highlightsp. 182
The Association of Performing Arts Presentersp. 182
The National Endowment for the Artsp. 182
The International House of Blues Foundationp. 183
Resourcesp. 183
Segment 8 Record Companiesp. 187
The Business of Record Companiesp. 188
Recording Labelsp. 188
Legal Requirementsp. 190
How Record Companies Make Moneyp. 191
Recording Costsp. 192
Principle Job Responsibilitiesp. 194
Getting Record Deals: Major Labelsp. 194
Getting Record Deals: Independent Labelsp. 196
Contracts Between Record Companies and Artistsp. 196
Conclusionp. 203
Independent Record Labelsp. 204
Training Ground for Major Labelsp. 205
Control of Artists' Careersp. 205
Revitalization of Regional Economiesp. 205
Indies Under Siegep. 205
The Internet: A New Allyp. 206
Conclusionp. 207
Interview Highlightp. 208
Marco "Magic" Cardenas: Nasty Boy Recordsp. 208
Resource Highlightsp. 210
Recording Industry Association of Americap. 210
The Foundation to Assist Canadian Talent on Recordsp. 211
Resourcesp. 211
Segment 9 Marketing and Selling Recordsp. 215
Marketing Recordsp. 216
Market Researchp. 216
Scheduling and Allocating Priorities for Record Label Releasesp. 220
Marketing Materialsp. 220
Marketing Campaignsp. 221
Selling Recordsp. 229
Conclusionp. 231
Creating A Story: the Radio Airplay Bandwagonp. 232
Interview Highlightp. 233
Wendy Day: Founder, Rap Coalitionp. 233
Resource Highlightsp. 240
National Association of Recording Merchandisersp. 240
Association for Independent Musicp. 241
Resourcesp. 242
Segment 10 Audio Servicesp. 251
The Audio Industryp. 252
Recording Studiosp. 252
Recording Personnelp. 255
Replication Servicesp. 258
Sound Reinforcement Servicesp. 260
Audio Technology Manufacturingp. 260
Conclusionp. 261
Interview Highlightp. 262
Leslie Ann Jones: Director of Music Recording and Scoring at Skywalker Sound, A Division of Lucas Digital, Ltd. LLCp. 262
Resource Highlightp. 266
The Audio Engineering Societyp. 266
Resourcesp. 267
Segment 11 Manufacturing and Retailingp. 271
Musical Instruments and Audio Productsp. 272
Salesp. 272
Marketing and Promotionp. 273
Music Education and Retailingp. 276
Music Business and Audio Educationp. 278
Conclusionp. 278
Interview Highlightsp. 279
Peter Gotcher: Cofounder, Digidesignp. 279
Steven Wilson: Director of Sales and Marketing, Music Sales, Omnibus Press and Schirmer Trace Booksp. 282
Resource Highlightp. 286
NAMM, The International Music Products Associationp. 286
Resourcesp. 287
Resourcesp. 289
Federal Agenciesp. 289
Organizations and Trade Associationsp. 289
Unionsp. 299
Trade Publicationsp. 299
Industry Directoriesp. 304
Recording Catalogsp. 305
Bibliographyp. 306
About the Authorp. 309
Contributing Authorsp. 310
Indexp. 311
About Jerome Headlands Pressp. 329