This Business of Music: The Definitive Guide to the Business and Legal Issues of the Music Industry

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Watson-Guptill Publications, 2007 - Music - 510 pages
4 Reviews
The bible of the music industry! Now in its tenth edition,This Business of Musichas been revised and completely updated to reflect the latest changes in the ever-evolving music business. Every chapter has been revised. An entirely new chapter has been added, asking and answering the question “Are there borders in cyberspace?” The answer is yes, and the book clearly and concisely explains what they are and how to maintain them. Commentary on recent legislation, a reader-friendly summary of the laws on copyright duration, and much more insightful analysis—plus fully updated lists of music organizations and important websites—makeThis Business of Musicindispensable for musicians, agents, managers, marketers, music publishers and groups, colleges and universities, and everyone who wants to make music and make money. • Completely revised and updated, with new information on creative branding and the sources of income for creators and publishers of music, including ringtones, video game soundtracks, and music videos • All-new chapter on music and technology discussing the latest on legal actions in P2P sharing, a summary of changes regarding digital downloading, and much more • Unbeatable low price
  

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Review: This Business of Music: The Definitive Guide to the Music Industry

User Review  - Steve - Goodreads

I've got a LAW DEGREE and had trouble reading this! Read full review

LibraryThing Review

User Review  - lbush005 - LibraryThing

Not a very easy read. Everything you need to know about the business is in this 'music bible'. Contracts, Royalties, PROs, Publishers, ect. Read full review

Contents

INTRODUCTION
1
Chapter
4
RECORDING ARTIST CONTRACTS
14
MUSIC VIDEOS
25
CONTRACTS WITH MINORS
30
Chapter
33
LABOR AGREEMENTS
52
Chapter 34
63
Varranties and Indemnities
262
172
263
BUYING AND SELLING MUSIC PUBLISHING COMPANIES
266
The Packaging of Jingles
282
LOANS TO MUSIC PUBLISHERS
284
PRINTED MUSIC
293
PRIVACY AND PUBLICITY RIGHTS
306
TIE PROTECTION OF IDEAS AND TITLES
313

RECORD COVERS LABELS AND LINER NOTES
83
COPYRIGHT LAW IN THE UNITED STATES
91
THE DURATION OF COPYRIGHT PROTECTIDN
110
Copyright ReViSiOll1 17901 1976
118
THE U555 OF PUBLIC DUMAIN
122
The Copyright Status of Sound Recordings
130
Chapter ARRANGEMENTS AND ADAPTATIONS
132
Chapter I4 PERFORMING RIGHTS ORGANIIATIONS
143
CI13PIiI5 MECHANICAL AND OTHER AUDIO REPRODUCTION RIGHTS
162
SONGWRITER CONTRACTS AND ROYALTY STATEMENTS
172
Default
179
Factors Determining a Viorktorlslire Relationship
189
Restrictions on Assignment
195
INTERNATIONAL COPYRIGHT PROTECTIQN
211
FOREIGN PUBLISHING
217
Local Vriter Royalties
225
MUSIC FOR MOTION PICTURES
237
LICENSING RECORDINGS FOR FILMS TELEVISION
244
OriginalCast Albums
250
Investment in hlusical Theater
256
THE WRITER A5 HJBLISHER
258
TAXATION IN THE MUSIC BUSINESS
343
Charitable Contributions
349
Shifting Income from One Year to Other Years
355
OutsideLabel Agreements
361
DEMONSTRATION RECORDS IN THE ELECTRONIC AGE
374
PAYOLA
380
TRADE PRACTICE REGULATIONS
386
SOURCES OF INFORMATION
400
TECHNOLOGY IS A CHALLENGE NOT A CHOICE
414
Appendix A MUSIC INDUSTRY QRGANIZATIONS 45 1
461
182
471
Appendix B CONTRACT CHECKLISTS
481
Live Concert Appearances I 1
493
132
497
236
498
185
499
217
501
80
502
89
508
Copyright

Common terms and phrases

About the author (2007)

M. William Krasilovsky is an attorney specializing in music and copyright. He has been a trustee of the Copyright Society of America and has served as music counsel to Warner Music and special music counsel to the United Nations and UNICEF. As an adjunct professor at New York University and the State University of New York, Mr. Krasilovsky taught courses on the music business and on ethical issue important to the entertainment industry. He contributes frequently to entertainment and law journals and has lectured at universities and bar associations across the country. He lives in Stamford, CT.





Sidney Shemel died in 1994, and his work on the first six editions of this book is still very much in evidence throughout the current text. Mr. Shemel was Vice President of Music at MGM-UA and vice president and legal counsel to the United Artists Corporation’s record companies and its domestic and international music publishing subsidiaries.





John M. Gross, a graduate of Harvard Law School, practices entertainment and music law. Mr. Gross served as Vice President and General Counsel of the Entertainment Division of Commonwealth United Corp. and later became a partner in the law firm of Arrow, Edelstein & Gross, P.C. He lives and works in New York City.





Jonathan Feinstein, a New York and California attorney specializing in intellectual property strategy related to entertainment and technology ventures, was educated at Wesleyan University and Northwestern University Law School. He holds several patents and has developed commercially successful products. As an entrepreneur and executive in Silicon Valley and Seattle, he has worked with Apple Computer and Sophisticated Circuits, Inc., among others. He serves as an advisor and expert witness on media technology.

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