The Future of the Music Business : (Record no. 8068)
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| 001 - CONTROL NUMBER | |
| control field | EBC5674363 |
| 003 - CONTROL NUMBER IDENTIFIER | |
| control field | MiAaPQ |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20240724113540.0 |
| 006 - FIXED-LENGTH DATA ELEMENTS--ADDITIONAL MATERIAL CHARACTERISTICS | |
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| 007 - PHYSICAL DESCRIPTION FIXED FIELD--GENERAL INFORMATION | |
| fixed length control field | cr cnu|||||||| |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION | |
| fixed length control field | 240724s2015 xx o ||||0 eng d |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER | |
| International Standard Book Number | 9781495035296 |
| Qualifying information | (electronic bk.) |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER | |
| Canceled/invalid ISBN | 9781480360655 |
| 035 ## - SYSTEM CONTROL NUMBER | |
| System control number | (MiAaPQ)EBC5674363 |
| 035 ## - SYSTEM CONTROL NUMBER | |
| System control number | (Au-PeEL)EBL5674363 |
| 035 ## - SYSTEM CONTROL NUMBER | |
| System control number | (OCoLC)1086074030 |
| 040 ## - CATALOGING SOURCE | |
| Original cataloging agency | MiAaPQ |
| Language of cataloging | eng |
| Description conventions | rda |
| -- | pn |
| Transcribing agency | MiAaPQ |
| Modifying agency | MiAaPQ |
| 050 #4 - LIBRARY OF CONGRESS CALL NUMBER | |
| Classification number | ML3790 .G673 2015 |
| 082 0# - DEWEY DECIMAL CLASSIFICATION NUMBER | |
| Classification number | 338.4778 |
| 100 1# - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Gordon, Steve. |
| 245 14 - TITLE STATEMENT | |
| Title | The Future of the Music Business : |
| Remainder of title | How to Succeed with New Digital Technologies. |
| 250 ## - EDITION STATEMENT | |
| Edition statement | 4th ed. |
| 264 #1 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE | |
| Place of production, publication, distribution, manufacture | Blue Ridge Summit : |
| Name of producer, publisher, distributor, manufacturer | Hal Leonard Corporation, |
| Date of production, publication, distribution, manufacture, or copyright notice | 2015. |
| 264 #4 - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE | |
| Date of production, publication, distribution, manufacture, or copyright notice | ©2015. |
| 300 ## - PHYSICAL DESCRIPTION | |
| Extent | 1 online resource (392 pages) |
| 336 ## - CONTENT TYPE | |
| Content type term | text |
| Content type code | txt |
| Source | rdacontent |
| 337 ## - MEDIA TYPE | |
| Media type term | computer |
| Media type code | c |
| Source | rdamedia |
| 338 ## - CARRIER TYPE | |
| Carrier type term | online resource |
| Carrier type code | cr |
| Source | rdacarrier |
| 490 1# - SERIES STATEMENT | |
| Series statement | Music Pro Guides |
| 505 0# - FORMATTED CONTENTS NOTE | |
| Formatted contents note | Intro -- Contents -- Foreword to the Fourth Edition -- Preface -- Online Files and Free CLE Credits for Attorneys -- Updates -- Disclaimer -- Introduction: The Current State of the Music Business -- I. Current State of the Recording Industry: Cataclysmic Decline from Approximately 14.5 Billion in 1999 to Less than 7 Billion Although Revenues Have Not Decreased as Much in the Last Several Years -- Cataclysmic Decline in Revenue -- Reasons for Decline -- The Majors: Further Consolidation but Continuing Relevance -- The Emergence of Streaming as the Revenue Model of the Future -- Paid Subscription vs. Ad-Supported, On-Demand Streaming -- Lack of Success in Converting Listeners to Customers -- Will Streaming Turn Around the Record Business's Cataclysmic Decline? -- Apple's Purchase of Beats Music -- Licensing Recordings for Movies, TV, Games and Ad Campaigns -- II. Music Publishing Business: Performance Income Up, Mechanical Income Down, Total Income Stagnant -- What Are Publishing Revenues? -- Global Publishing Revenues -- US Publishing Revenues -- III. Current State of the Touring and Live Performance Business: The Only Sector of the Music Business That Is Making More Money than Before 1999 -- Gross Income vs. Guarantees and Net Profits -- Anecdote from My Own Practice -- Top DJs Also Get PAID -- Stars vs. Indie Artists and Baby Bands: A True Case of "Income Inequality" -- IV. Branding -- V. Current Conditions for Most Full-Time Musicians: Overall the Same as In Prior Years -- Digital Has Not Lived Up to the Promise of Leveling the Playing Field -- Part I: Music Law and Business Practices -- Chapter 1. Music Law and Business Primer -- Copyright Law: The Foundation of the Music Publishing and Recording Businesses -- What Is Copyright? -- The "Works" that Copyright Protects, Including Musical Compositions and Sound Recordings. |
| 505 8# - FORMATTED CONTENTS NOTE | |
| Formatted contents note | The Exclusive Rights That Copyright Affords -- Copyright Registration: Why Do It, and How -- Why Register? -- How to Register -- Duration of Copyright -- Works Originally Created on or After January 1, 1978 -- Pre-'78 Works -- Special Rules for Sound Recordings -- Termination Rights (How to Get Your Copyrights Back) -- Sections 203 and 304(c) -- Special Issues Regarding Termination of Post-'78 Sound Recordings -- The Work-for-Hire Issue -- The Artist May Not Be the Only Author -- What Happens Now? -- The Steps Artists Need to Take to Terminate Grants -- Who Can Terminate? -- When Must Notice Be Served? -- Content of Notice -- To Whom Should Notice Be Sent? -- How the Fair-Use Doctrine Applies to the Music Business -- Performing a 30-Second Excerpt to Sell Ringtones Is Not Fair Use -- Using 15-Second Excerpts in a Documentary Is Fair Use Since the Use Was "Transformative" -- Minimum Use and Sampling -- Creative Commons: An Alternative to Copyright -- Attribution Noncommercial No Dirivitives (BY-NC-ND) -- Attribution Noncommercial Share Alike (BY-NC-SA) -- Attribution Noncommercial (BY-NC) -- Attribution No Dirivitives (BY-ND) -- Attribution Share Alike (BY-SA) -- Music Publishing Business -- Principal Sources of Income -- Public Performance Rights and Royalties -- The PROs: ASCAP, BMI, and SESAC -- Origins and the Direct-Payment-to-Writers Business Model -- Who They Represent and the Purpose They Serve -- How They Operate and the Direct-Licensing Controversy -- Important and Growing Source of Income -- How Much Various Users Pay the PROs -- How They Pay Their Members -- How You Can Get Paid -- Dramatic Works -- Mechanical Rights and Royalties -- Section 115 Compulsory License -- The Harry Fox Agency -- Sync Rights and Licenses -- Sheet Music and Other Sources of Income -- Sheet Music -- Other Income -- Role of the Music Publishers -- Who They Are. |
| 505 8# - FORMATTED CONTENTS NOTE | |
| Formatted contents note | What They Do -- Music Publishing Contracts: Single-Song, Traditional-Term, Co-Pub, and Admin Deals -- Other Players: Sync Reps and Music Libraries -- Interview with Jake Wisely, Cofounder of Bicycle Music -- Interview with Adam Taylor, President of Leading Music Library APM Music -- The Record Business -- Why Radio Does Not Pay for Broadcasting Sound Recording -- Record Companies vs. DIY -- The DIY Model -- Recording Agreements -- Exclusivity -- Transfers of Copyright -- Duration and Options -- Advances and Recording Royalties -- Standard Deductions to the Artist's Royalty -- Recoupment at Artist's Royalty Rate -- Controlled-Composition Clauses -- The 360 Deal and How to Avoid Getting Completely Screwed -- Master-Use Licenses -- Role of Major Labels: Interview with David Massey, President of Island Records -- Role of an Indie Music Label: Interview with Jay Frank, President of DigSin Music (How to Run a Successful Record Label by Giving Away the Music for Free) -- Managers and Artists -- The Manager's Role -- Management Contracts -- Definition of the Commission -- Duration of the Agreement (the Term) -- How Long the Manager Is Entitled to a Commission -- Who Collects the Money -- Other Important Terms and Issues -- Interview with Emily White, Cofounder of Whitesmith Entertainment -- Additional Resources -- Chapter 2. Practical Advice in Response to Clients' Most-Asked Questions -- Somebody Stole My Song! What Can I Do? How Much Can I Get? -- How Can I Protect My Name or My Band's Name? How Much Will It Cost? -- Protectable Forms of Marks -- Quasi-Protectable Marks -- The Benefits of a Federal Registration -- The Application Process -- Domain Names -- Band Names -- Special Update for 4th Edition -- How Can a Music Lawyer Help Me? Will My Lawyer Shop My Music, and How Much Will It Cost? -- Chapter 3. Overview of Digital Music Law -- Introduction. |
| 505 8# - FORMATTED CONTENTS NOTE | |
| Formatted contents note | Statutes Applicable to Distribution of Digital Music: AHRA, DPRA, and DMCA -- Audio Home Recording Act of 1992 -- Private Copying -- The Digital Performance Right in Sound Recordings Act of 1995 -- The Digital Millennium Copyright Act of 1998 -- Distributing Digital Music: Downloading, Interactive Streaming, and Noninteractive Streaming -- Downloading -- Interactive Streaming -- Noninteractive Streaming, Including Webcasting and Satellite Radio -- Application of the Copyright Law and the Statutes to Downloading, Interactive Streaming, and Noninteractive Streaming -- Musical Compositions -- Sound Recordings -- Chapter 4. Downloading -- Overview -- How Much the Services Pay for Copyrighted Music -- How the Money Flows from the Services to the Labels, Artists, Publishers, and Songwriters -- How Much the Labels Receive -- Major Record Companies and Their Wholly Owned Affiliates -- Indie Labels -- How Much the Artists Receive -- Artists Signed to Labels -- Eminem's Lawsuit against Universal -- Unsigned Artists -- How Much the Music Publishers Receive -- Mechanicals: "DPDs" Are Subject to the Statutory Rate -- Downloads Are Not Subject to Public-Performance Royalties -- Previews of Songs Are Subject to Public-Performance Royalties -- How Much the Songwriters Receive -- Chapter 5. Interactive Streaming -- Overview -- How Much the Services Pay for Copyrighted Music -- How the Money Flows from the Services to the Labels, Artists, Publishers, and Songwriters -- How Much the Labels Receive -- Major Labels and Their Wholly Owned Affiliates -- Indie Labels -- How Much the Artists Receive -- Artists Signed to Labels -- "Breakage"-Are the Majors Paying Artists Properly? -- Unsigned Artists -- Is Spotify Underpaying Indie Artists? -- Another Controversy: The Majors' Equity Interests in Interactive Digital Services -- How Much the Music Publishers Receive. |
| 505 8# - FORMATTED CONTENTS NOTE | |
| Formatted contents note | Statutory Rate Applicable to Audio Interactive and Limited Download Services -- How Much the Songwriters Receive -- Public Performance -- Mechanical -- Chapter 6. Noninteractive Digital Streaming, Including Webcasting and Satellite Radio -- Overview -- How Much the Services Pay for Copyrighted Music -- How the Money Flows from the Services to the Labels, Artists, Publishers, and Songwriters -- How Much the Labels and the Artists Receive -- The Services Pay SoundExchange and It Pays 50 Percent to Artists and 50 Percent to Sound Recording Copyright Owners -- How SoundExchange Calculates the Value of Each Performance -- The Rates Payable by Various Noninteractive Streaming Services -- Stand-Alone Digital Services, Including Pandora -- Sirius XM Rate -- Broadcast Radio Services That Simulcast Their Signal -- Other Rates -- How Much the Publishers and Songwriters Receive -- Performance Rights in Pre-'72 Recordings -- Lawsuits against Sirius XM and Pandora -- Chapter 7. The Direct-Licensing Controversy -- Collection Societies -- The PROs -- Consent Decrees and the "Rate Court" -- Major Publishers Make a Move but the Rate Court Rebuffs Them -- The ASCAP-Pandora Rate Proceeding and Judge Cote's Summary Judgment Decision (September 2013) -- The BMI-Pandora Rate Proceedings and Judge Stanton's Summary Judgment Decision (December 2013) -- The Publishers' New Strategy: Amend the Consent Decrees -- Why Direct Deals May Be Horrible for Songwriters -- Many Writers Are "Unrecouped" -- Publishers Generally Do Not Have to Share Advance Monies with Their Songwriters -- Direct Deals Could Hurt Independent Publishers and Songwriters -- A Proper Solution to Avoid Screwing the Writers -- Final Note: Even if the Consent Decrees Are Amended and Major Publishers Withdraw Digital Rights from ASCAP and BMI, Certain Songs in Their Catalogues, Including Huge Hits, May Be Excluded. |
| 505 8# - FORMATTED CONTENTS NOTE | |
| Formatted contents note | Chapter 8. International Digital Music Licensing. |
| 588 ## - SOURCE OF DESCRIPTION NOTE | |
| Source of description note | Description based on publisher supplied metadata and other sources. |
| 590 ## - LOCAL NOTE (RLIN) | |
| Local note | Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM | |
| Topical term or geographic name entry element | Music trade-Vocational guidance. |
| 655 #4 - INDEX TERM--GENRE/FORM | |
| Genre/form data or focus term | Electronic books. |
| 776 08 - ADDITIONAL PHYSICAL FORM ENTRY | |
| Relationship information | Print version: |
| Main entry heading | Gordon, Steve |
| Title | The Future of the Music Business |
| Place, publisher, and date of publication | Blue Ridge Summit : Hal Leonard Corporation,c2015 |
| International Standard Book Number | 9781480360655 |
| 797 2# - LOCAL ADDED ENTRY--CORPORATE NAME (RLIN) | |
| Corporate name or jurisdiction name as entry element | ProQuest (Firm) |
| 830 #0 - SERIES ADDED ENTRY--UNIFORM TITLE | |
| Uniform title | Music Pro Guides |
| 856 40 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://ebookcentral.proquest.com/lib/orpp/detail.action?docID=5674363">https://ebookcentral.proquest.com/lib/orpp/detail.action?docID=5674363</a> |
| Public note | Click to View |
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