Authors: Diane Sward Rapaport
ISBN-13: 9780130340771, ISBN-10: 0130340774
Format: Paperback
Publisher: Prentice Hall
Date Published: September 2002
Edition: (Non-applicable)
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.
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.
Introduction: The Ecology of the Music Business | 1 | |
Entertainment Conglomerates | 1 | |
The Regional Music Industry | 3 | |
Financial Support for Musicians | 5 | |
The Internet's Effect on the Music Industry | 5 | |
Conclusion | 6 | |
Segment 1 | The Business of Music | 7 |
The Language of Business | 7 | |
Financial Statements | 8 | |
Income Statements | 9 | |
Bookkeeping | 11 | |
Business Plans | 11 | |
Business Entities | 13 | |
Taxation | 21 | |
Conclusion | 22 | |
Business Names | 23 | |
Researching a Name's Originality | 23 | |
Establishing Rights to a Business Name | 24 | |
Ownership of the Name | 24 | |
Branding | 24 | |
Interview Highlight | 25 | |
Will Ackerman: The Artist as Businessperson | 25 | |
Resource Highlight | 29 | |
The Small Business Administration | 29 | |
Resources | 29 | |
Segment 2 | Creative Rights | 31 |
Protecting Creative Rights | 32 | |
Copyrights: Musical Works | 32 | |
Copyrights: Sound Recordings | 41 | |
Copyrights for U.S. Composers in Foreign Countries | 42 | |
Copyright Infringement | 47 | |
Piracy | 48 | |
Conclusion | 51 | |
Challenges to Copyrights | 52 | |
Napster | 53 | |
Music Subscription Services Probed for Potential Violations of Antitrust Laws | 55 | |
Lawsuits Against Other Free File-Sharing Services | 55 | |
MP3.com | 56 | |
Doug and Jimmy's Farm Club | 56 | |
Conclusion | 57 | |
Interview Highlight | 58 | |
Pete and Pat Luboff: Songwriters, Publishers and Songwriting Educators | 58 | |
Resource Highlight | 62 | |
The Nashville Songwriter's Association International | 62 | |
Resources | 63 | |
Segment 3 | Publishing | 65 |
The Business of Publishers | 66 | |
Legal Requirements | 66 | |
How Publishers Make Money | 67 | |
Principle Job Responsibilities | 69 | |
Contracts Between Composers and Publishers | 70 | |
Composers Can Form Their Own Publishing Companies | 73 | |
Songsharks and Questionable Practices | 73 | |
Print Music Publishers | 74 | |
Conclusion | 75 | |
Collaborator/Songwriter Agreements | 76 | |
Percentage Ownership | 76 | |
Grant of Rights | 76 | |
Division of Income | 77 | |
Pursuit of Infringement | 77 | |
Copyright Duration | 77 | |
Copyright Transfers | 77 | |
Different Performing Rights Society Affiliations | 78 | |
Songwriters as Members of Different Bands | 78 | |
Controlled Composition Clause | 78 | |
Coaccounting | 79 | |
Future Generations | 79 | |
Interview Highlight | 80 | |
Michael Eames: Publisher and Musician | 80 | |
Resource Highlight | 84 | |
The Songwriters Guild of America | 84 | |
Resources | 85 | |
Segment 4 | Music Licensing | 87 |
Licensing Music | 88 | |
Researching Song Ownership | 88 | |
Compulsory Mechanical Licenses | 89 | |
Mechanical Licenses for Sampling | 92 | |
Mechanical Licenses for Digital Phonorecord Deliveries (DPDs) | 92 | |
Foreign Sublicenses | 94 | |
Licenses for Public Performances of Musical Compositions | 94 | |
Synchronization Licenses | 98 | |
Sheet Music Licenses | 100 | |
Conclusion | 100 | |
Sampling | 101 | |
Copyright Infringement | 101 | |
Unfair Competition | 103 | |
Rights of Privacy Violations | 103 | |
Federal Antibootlegging Statutes | 103 | |
No Electronic Theft Act | 105 | |
Penalties | 105 | |
Copyright Clearances | 106 | |
American Federation of Musician Payments | 110 | |
Soundtrack Sampling | 110 | |
Conclusion | 110 | |
Interview Highlight | 111 | |
Michael Laskow: Founder, TAXI | 111 | |
Resource Highlights | 115 | |
The National Music Publishers Association | 115 | |
The Harry Fox Agency | 115 | |
The Future of Music Coalition | 116 | |
Resources | 117 | |
Segment 5 | Attorneys and Artists' Managers | 119 |
The Business of Attorneys | 120 | |
Legal Requirements | 120 | |
How Attorneys Make Money | 120 | |
Principle Job Responsibilities | 121 | |
Alternative Dispute Resolution | 122 | |
Conclusion | 123 | |
The Business of Artists' Managers | 124 | |
Legal Requirements | 124 | |
How Artists' Managers Make Money | 124 | |
Principle Job Responsibilities | 125 | |
Contracts Between Artists and Managers | 130 | |
Artists as Managers | 132 | |
Conclusion | 132 | |
National Crackdown on Rave Concerts | 133 | |
Use of the Crackhouse Law | 133 | |
Other Legal Tactics | 135 | |
Conclusion | 136 | |
Interview Highlight | 137 | |
Stan Hertzman: Umbrella Artist Management | 137 | |
Resource Highlight | 143 | |
The Electronic Music Defense and Education Fund | 143 | |
Resources | 143 | |
Segment 6 | Talent Agents | 145 |
The Business of Talent Agents | 146 | |
Legal Requirements | 146 | |
How Talent Agents Make Money | 146 | |
Principle Job Responsibilities | 146 | |
Talent Agency Contracts | 149 | |
Can Acts Be Their Own Talent Agents? | 150 | |
Conclusion | 150 | |
Black Promoters Sue Talent Agencies and Concert Promoters | 151 | |
Interview Highlight | 153 | |
Edna Landau: IMG Artists | 153 | |
Resource Highlight | 158 | |
The National Association for Campus Activities | 158 | |
Resources | 158 | |
Segment 7 | Concert Promotion and Arts Administration | 163 |
The Business of Concert Promotion | 164 | |
The Role of Music Unions | 164 | |
How Concert Promoters and Arts Presenters Make Money | 165 | |
The Importance of Draw | 165 | |
Income and Expense | 165 | |
Concert Promotion Contracts | 166 | |
Principle Job Responsibilities | 169 | |
Can Acts Promote Their Own Concerts | 171 | |
College and University Promoters | 171 | |
Promoters of Benefit Concerts | 171 | |
Showcases | 172 | |
Conclusion | 172 | |
Arts Administration and the Cultural Arts | 173 | |
Arts Presenters Income | 173 | |
Principle Job Responsibilities | 174 | |
Artistic Mission | 174 | |
Funding | 174 | |
Audience Development | 175 | |
Working with Universities | 176 | |
Conclusion | 176 | |
Interview Highlight | 177 | |
Julie Lokin, Cofounder, New Audiences Productions, Inc | 177 | |
Resource Highlights | 182 | |
The Association of Performing Arts Presenters | 182 | |
The National Endowment for the Arts | 182 | |
The International House of Blues Foundation | 183 | |
Resources | 183 | |
Segment 8 | Record Companies | 187 |
The Business of Record Companies | 188 | |
Recording Labels | 188 | |
Legal Requirements | 190 | |
How Record Companies Make Money | 191 | |
Recording Costs | 192 | |
Principle Job Responsibilities | 194 | |
Getting Record Deals: Major Labels | 194 | |
Getting Record Deals: Independent Labels | 196 | |
Contracts Between Record Companies and Artists | 196 | |
Conclusion | 203 | |
Independent Record Labels | 204 | |
Training Ground for Major Labels | 205 | |
Control of Artists' Careers | 205 | |
Revitalization of Regional Economies | 205 | |
Indies Under Siege | 205 | |
The Internet: A New Ally | 206 | |
Conclusion | 207 | |
Interview Highlight | 208 | |
Marco "Magic" Cardenas: Nasty Boy Records | 208 | |
Resource Highlights | 210 | |
Recording Industry Association of America | 210 | |
The Foundation to Assist Canadian Talent on Records | 211 | |
Resources | 211 | |
Segment 9 | Marketing and Selling Records | 215 |
Marketing Records | 216 | |
Market Research | 216 | |
Scheduling and Allocating Priorities for Record Label Releases | 220 | |
Marketing Materials | 220 | |
Marketing Campaigns | 221 | |
Selling Records | 229 | |
Conclusion | 231 | |
Creating A Story: the Radio Airplay Bandwagon | 232 | |
Interview Highlight | 233 | |
Wendy Day: Founder, Rap Coalition | 233 | |
Resource Highlights | 240 | |
National Association of Recording Merchandisers | 240 | |
Association for Independent Music | 241 | |
Resources | 242 | |
Segment 10 | Audio Services | 251 |
The Audio Industry | 252 | |
Recording Studios | 252 | |
Recording Personnel | 255 | |
Replication Services | 258 | |
Sound Reinforcement Services | 260 | |
Audio Technology Manufacturing | 260 | |
Conclusion | 261 | |
Interview Highlight | 262 | |
Leslie Ann Jones: Director of Music Recording and Scoring at Skywalker Sound, A Division of Lucas Digital, Ltd. LLC | 262 | |
Resource Highlight | 266 | |
The Audio Engineering Society | 266 | |
Resources | 267 | |
Segment 11 | Manufacturing and Retailing | 271 |
Musical Instruments and Audio Products | 272 | |
Sales | 272 | |
Marketing and Promotion | 273 | |
Music Education and Retailing | 276 | |
Music Business and Audio Education | 278 | |
Conclusion | 278 | |
Interview Highlights | 279 | |
Peter Gotcher: Cofounder, Digidesign | 279 | |
Steven Wilson: Director of Sales and Marketing, Music Sales, Omnibus Press and Schirmer Trace Books | 282 | |
Resource Highlight | 286 | |
NAMM, The International Music Products Association | 286 | |
Resources | 287 | |
Resources | 289 | |
Federal Agencies | 289 | |
Organizations and Trade Associations | 289 | |
Unions | 299 | |
Trade Publications | 299 | |
Industry Directories | 304 | |
Recording Catalogs | 305 | |
Bibliography | 306 | |
About the Author | 309 | |
Contributing Authors | 310 | |
Index | 311 | |
About Jerome Headlands Press | 329 |