Music Business Handbook and Career Guide / Edition 12 available in Paperback
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Music Business Handbook and Career Guide / Edition 12
- ISBN-10:
- 1544341202
- ISBN-13:
- 2901544341209
- Pub. Date:
- 01/30/2019
- Publisher:
- SAGE Publications
![Music Business Handbook and Career Guide / Edition 12](http://img.images-bn.com/static/redesign/srcs/images/grey-box.png?v11.10.4)
Music Business Handbook and Career Guide / Edition 12
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Overview
Product Details
ISBN-13: | 2901544341209 |
---|---|
Publisher: | SAGE Publications |
Publication date: | 01/30/2019 |
Edition description: | 12th Edition |
Pages: | 632 |
Product dimensions: | 6.00(w) x 1.25(h) x 9.00(d) |
About the Author
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 in 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 in 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, multinational broadcasting, and mobile communications. He served as president of what is now a division of S&P Global Market Intelligence, the leading provider of financial analysis on the media industry, and CEO of Jupiter Research (acquired by Forrester Research), a key source of consumer research on 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, 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) and member of the Writers Guild of America, West. He has served on the boards of both public and private companies that produce business information.
Author Serona Elton has extensive experience as a music business professional and educator. She is a professor, Director of the Music Industry Program, and Associate Dean of Administration at the University of Miami Frost School of Music. She is also a Yamaha Master Educator and serves as Head of Educational Partnerships for The Mechanical Licensing Collective (The MLC). She began her career in the music business while earning a BS in Finance from the University of Florida, an MM in Music Media and Industry from the University of Miami, and a JD from Brooklyn Law School.
Previously, Elton worked for Warner Music Group, where she held the position of Vice President, Product Management, and EMI Recorded Music, North America, where she was Vice President, Mechanical Licensing and Repertoire Data Services. She has also provided consulting services to Sony Music Entertainment, Universal Music Group, Zumba Fitness, and other music-related companies.
A respected expert, Elton has written extensively about the music business and directed several industry conferences. Additionally, the Leadership Music alumnus has provided expert commentary for Billboard and CNN.com and has made multiple appearances on NPR’s Marketplace.
Elton is active in numerous music industry organizations and has served as President of the Music and Entertainment Industry Educators Association (MEIEA), Chair of the Florida Bar Entertainment, Arts, and Sports Law section, a member of the Recording Academy Board of Governors for the Florida Chapter, and a Trustee of the Copyright Society of the USA.
Table of Contents
Foreword | xxiii | |
Acknowledgments | xxv | |
Part I | Music in the Marketplace | |
1. | Overview | 3 |
More Than Pop | 4 | |
Art Versus Commerce | 6 | |
Historical Development: Finding a Paying Audience | 7 | |
Influence of Mass Media | 13 | |
The Arts and Entertainment Industry | 14 | |
2. | The Music Business System | 15 |
Getting Through the Maze | 15 | |
Music Business Studies in Higher Education | 18 | |
Help Wanted! | 19 | |
Part II | Songwriting, Publishing, Copyright | |
3. | Professional Songwriting | 23 |
The Market | 23 | |
Predictors of Success | 24 | |
The Craft | 25 | |
Income Sources | 28 | |
Publishing Options | 31 | |
Evaluating Publishers | 33 | |
The Songwriters Guild of America | 35 | |
Contract Reassignment or Default | 37 | |
Breaking In | 38 | |
4. | Music Publishing | 47 |
Perspective | 47 | |
Types of Publishers | 49 | |
Administration | 59 | |
Acquiring New Material | 62 | |
Talent Development | 65 | |
Contracts With Writers | 66 | |
Split Copyrights, Copublishing | 72 | |
Copyright Protection: Sampling | 73 | |
Promotion, Advertising | 74 | |
Income Sources | 77 | |
Trade Associations | 79 | |
5. | Music Copyright | 83 |
Background | 83 | |
Essential Provisions | 84 | |
Key Terms | 85 | |
Coverage | 89 | |
Exclusive Rights | 90 | |
Fair Use of Copyrighted Material | 91 | |
Copyright Ownership | 94 | |
Transfer or Assignment | 95 | |
Work Made for Hire | 97 | |
Musical Arrangements | 98 | |
Sound Recordings | 100 | |
Compulsory Mechanical License | 102 | |
Royalty Payments (Section 115[c]) | 103 | |
Duration of Copyright | 104 | |
Formalities | 106 | |
Infringement, Remedy | 111 | |
Record Counterfeiting, Penalties | 112 | |
Changing Laws | 113 | |
Rights in Names and Trademarks | 115 | |
A Final Note on Law | 117 | |
Part III | Business Affairs | |
6. | Music Licensing | 121 |
Music Rights: An Overview | 121 | |
Performance Licensing | 123 | |
Income, Royalty Distribution | 125 | |
Foreign Collections | 125 | |
American Society of Composers, Authors and Publishers | 126 | |
Broadcast Music Inc. | 130 | |
SESAC | 133 | |
Mechanical Licenses | 136 | |
Synchronization Licenses | 138 | |
Cable Television Licenses | 140 | |
Video Licenses | 141 | |
Transcription Licenses | 142 | |
Jukebox Licenses | 143 | |
Dramatic Music Rights | 144 | |
7. | Unions and Guilds | 149 |
American Federation of Musicians | 150 | |
American Federation of Television and Radio Artists | 152 | |
American Guild of Musical Artists | 154 | |
American Guild of Variety Artists | 155 | |
Actors' Equity Association | 155 | |
Screen Actors Guild | 156 | |
International Alliance of Theatrical Stage Employes | 157 | |
Other Unions and Guilds; Related Issues | 157 | |
8. | Agents, Managers, and Attorneys | 161 |
Agents | 161 | |
Managers | 169 | |
Attorneys | 172 | |
Business Management Techniques | 177 | |
9. | Artist Management | 179 |
National Conference of Personal Managers | 180 | |
Discovering Each Other | 180 | |
The Financial Relationship | 181 | |
Manager's Commission | 183 | |
Producing the Act | 186 | |
Advancing the Career | 188 | |
Personal Management Agreement | 195 | |
10. | Concert Promotion | 209 |
Getting Started | 209 | |
Locating Cosponsors | 210 | |
Arena Sponsorship | 211 | |
Corporate Sponsorship | 211 | |
National Promoters | 212 | |
College Sponsorship | 212 | |
National Association for Campus Activities | 213 | |
Preparing Budgets | 213 | |
Negotiating Contracts | 216 | |
Promotion, Advertising | 218 | |
Production Management | 219 | |
11. | Music and Theater | 225 |
Perspective | 225 | |
Types of Musical Theater | 226 | |
Theater Associations | 231 | |
Production Components | 232 | |
12. | Music Product Merchandising | 241 |
Sales Leaders | 242 | |
Distribution | 243 | |
Instruments and Equipment | 244 | |
Promotion | 252 | |
Trade Associations | 253 | |
Financial Management | 255 | |
13. | Arts Administration | 259 |
The Serious Music Market | 259 | |
Perspective | 260 | |
Representative Organizations | 262 | |
Symphonic Music | 263 | |
Funding the Arts | 268 | |
State Arts Councils | 271 | |
Administration | 275 | |
Part IV | The Recording Industry | |
14. | Scope of the Recording Industry | 283 |
Perspective | 283 | |
Major Labels | 286 | |
Independent Labels | 287 | |
Specialty Labels | 288 | |
Recording Company Structure | 289 | |
Piracy, Counterfeiting, Bootlegging | 293 | |
National Academy of Recording Arts & Sciences | 295 | |
15. | Record Markets | 297 |
Research Development | 297 | |
The Charts | 297 | |
Recording Industry Association of America | 300 | |
Record Categorization | 301 | |
Stylistic Preferences | 302 | |
16. | Artists' Recording Contracts | 307 |
AFTRA Agreements | 307 | |
AFM Agreements | 312 | |
Royalty Artist Contracts | 316 | |
17. | Record Production | 329 |
Producing Talents | 329 | |
Production Deals | 332 | |
Production Budgeting | 334 | |
Creative Control | 338 | |
18. | Record Promotion, Distribution, and Retailing | 345 |
The Marketing Plan | 345 | |
Record Promotion | 347 | |
Record Distribution | 352 | |
Merchandising Audiocassettes and Compact Discs | 356 | |
Home Video Retailing | 362 | |
Future of Retailing | 363 | |
19. | Studios and Engineers | 365 |
Semiprofessional Recording | 366 | |
Demo Studios | 367 | |
Independent Studios | 367 | |
Label-Owned Studios | 368 | |
Studio Acoustics, Design, and Ambiance | 368 | |
Studio Operation | 369 | |
Changing Technology | 370 | |
The Art and Science of Mixing | 371 | |
Professional Associations | 373 | |
20. | Business Music | 375 |
Service Companies | 376 | |
Production Music Libraries | 378 | |
Part V | Music in Broadcasting and Film | |
21. | Music in Radio | 383 |
Perspective | 383 | |
Types of Stations | 384 | |
Audience Identification and Market Research | 386 | |
Spectrum of Formats | 390 | |
How Commercial Radio Stations Work | 394 | |
22. | Music in Television | 403 |
Music and Video | 403 | |
Stations and Networks | 404 | |
Cable Television | 407 | |
Producing TV Musical Specials | 408 | |
Producing Short-Form Videos | 417 | |
23. | Music in Advertising | 421 |
Perspective | 421 | |
Music Uses | 423 | |
The Agency Role | 425 | |
Spot Production | 427 | |
24. | Dramatic Scoring for Motion Pictures and TV | 443 |
Background | 443 | |
Changing Styles | 444 | |
The Craft | 446 | |
Music Scoring for TV | 451 | |
Library Music | 452 | |
Hiring Practices | 452 | |
Part VI | Career Planning and Development | |
25. | Career Options | 463 |
Creative Careers | 465 | |
Producing/Directing Careers | 480 | |
Performing Careers | 487 | |
Teaching Careers | 494 | |
Music-Related Careers | 500 | |
Starting Your Own Business | 514 | |
26. | Career Development | 521 |
Defining Goals | 521 | |
Climbing the Ladder | 526 | |
Finding Work | 527 | |
Part VII | Canadian Music Industry and International Copyright | |
What You Need to Know About Canada's Music Scene | 535 | |
International Copyright: The World Market Outside the United States | 549 | |
Part VIII | Appendix | |
Publishing Rights Forms | ||
ASCAP Agreement With Writer/Publisher | 572 | |
ASCAP Writer Application | 575 | |
BMI Publisher Application | 583 | |
BMI Writer Application | 588 | |
BMI Publisher Agreement | 590 | |
BMI Writer Agreement | 594 | |
Copyright Forms | ||
U.S. Copyright Form PA | 598 | |
U.S. Copyright Form SR | 602 | |
Selected Readings | ||
Books | 606 | |
Journals, Magazines, Newspapers, Newsletters | 608 | |
Professional Organizations | 612 | |
Glossary | 625 | |
Index | 647 | |
About the Author | 675 |