Music Business Handbook and Career Guide

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 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 JupiterResearch (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.

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