Demystifies the music business and the indecipherable body of law which shapes it!
- Provides vital information about how the Internet is changing the way music is marketed and sold.
- Expanded/updated information on the impact of the Internet on legal and business issues.
- Appendix includes names; URL and mailing addresses of major industry associations and organizations, as well as a list of the important industry publications.
Definitive in scope and written specifically for musicians and songwriters by top professionals currently working in the industry, this book provides substantive information on actual practices—with clause-by-clause commentaries on all major contracts in the industry, featuring extensive analyses, not just forms and casual commentary. Clarifies the language, shows actual practices, and offers advice on what to watch for. Requires no background in law or business; is written in plain English, not "legalese." Chapters are written by lawyers, managers, agents and business people working in the music industry in New York and Los Angeles.
|Product dimensions:||8.42(w) x 10.84(h) x 1.16(d)|
Table of Contents
I. GETTING STARTED: MUSIC AS A BUSINESS.Group Breakups, Peter Paterno.
Entertainment Group Names,Stephen Bigger.
Business Entities, Edward (Ned) R. Hearn.
How to Set Up a Money Deal, Edward (Ned) R. Hearn.
Music Attorneys, Mark Halloran.
Mediation for Musicians, Madeleine Seltzer.
II. PROTECTING YOUR COMPOSITIONS.Copyrights: The Law and You, Mark Halloran.
Copyright Infringement, Robert Dudnik.
Sampling, Gregory T. Victoroff.
Collaborator/Songwriter Agreements, Mark Halloran and Edward (Ned) R. Hearn.
Digital Downloads and Streaming: Copyright and Distribution Issues, Edward (Ned) R. Hearn.
International Copyright, E. Scott Johnson.
III. MUSIC PUBLISHING.Performing Rights Organizations: An Overview, Mark Halloran.
Music Publishing, Neville L. Johnson.
Analysis of a Single-Song Agreement, Neville L. Johnson.
Analysis of an Exclusive Term Songwriter Agreement, Evanne L. Levin.
Music Licensing for Television and Film: A Perspective for Songwriters, Ronald H. Gertz.
Pop Music for Soundtracks,Mark Halloran and Thomas A. White.
IV. PERFORMING AND MARKETING.Club Contracts, Edward (Ned) R. Hearn.
The Internet and Music, Neville L. Johnson.
Getting Started as an Internet Artist, Peter Spellman.
Music Unions, James A. Sedivy and Gregory T. Victoroff.
V. MANAGERS AND AGENTS.What a Manager Does, Alfred Schlesinger.
Analysis of a Personal Management Agreement, Neville L. Johnson.
Talent Agencies, Steven H. Gardner and Brad Gelfond.
Business Managers, Margaret Robley.
VI. RECORDING.Practical Aspects of Securing Major Label Agreements, Neville L. Johnson.
Analysis of a Recording Contract, Lawrence J. Blake, Esq. And Daniel K. Stuart, Esq.
How to Read and Evaluate Artist Royalty Statements, John R. Phillips.
Royalty Statements: Audits and Lawsuits, Stephen Ames Brown.
Analysis of a Record Producer Agreement, Linda A. Newmark.
Recording and Distribution Contracts with Independent Labels, Edward (Ned) R. Hearn.
Contracts and Relationships between Independent and Major Labels, Bartley F. Day and Christopher Knab.
About Jerome Headlands Press.