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The Future of the Music Business : How to Succeed with New Digital Technologies.
New technologies have revolutionized the music business. While these technologies have wreaked havoc on traditional business models, they've also provided new opportunities for music business entrepreneurs, as well as new challenges for musicians, recording artists, songwriters, record labels a...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Milwaukee :
Hal Leonard,
2015.
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| Edición: | 4th ed. |
| Colección: | MusicPro guides.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- 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 StreamingLack 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 1999Gross 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 BusinessesWhat Is Copyright?; The "Works" that Copyright Protects, Including Musical Compositions and Sound Recordings; 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 IssueThe 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)