This business of music: the definitive guide to the music industry
"Now in its tenth edition, This Business of Music has 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 cyber...
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York
Billboard Books
2007
|
| Ausgabe: | 10. ed., 1. print. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "Now in its tenth edition, This Business of Music has 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 analysi--plus fully updated lists of music organizations and important website--make This Business of Music indispensable for musicians, agents, managers, marketers, music publishers and groups, colleges and universities, and everyone who wants to make music and make money."--Publisher description. |
| Beschreibung: | 510 S. |
| ISBN: | 0823077233 9780823077236 |
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| 520 | 3 | |a "Now in its tenth edition, This Business of Music has 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 analysi--plus fully updated lists of music organizations and important website--make This Business of Music indispensable for musicians, agents, managers, marketers, music publishers and groups, colleges and universities, and everyone who wants to make music and make money."--Publisher description. | |
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| 650 | 4 | |a Copyright |x Music | |
| 650 | 4 | |a Music trade |z United States | |
| 650 | 4 | |a Music |x Economic aspects | |
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Datensatz im Suchindex
| _version_ | 1804136625283792896 |
|---|---|
| adam_text | INTRODUCTION
Part
One: MUSIC
BUSINESS
TRENDS AND
TRANSFORMATIONS
3
Chapter
1
the music industry in the twenty-first century
Industry Growth
Factors Relating to Growth
Factors Inhibiting Growth
Legislative Changes
Pending Legislation
4
5
7
10
10
11
Part Two: RECORD INDUSTRY AGREEMENTS AND PRACTICES
13
Chapter
2
RECORDING ARTIST CONTRACTS
The Standard Agreement
Duration
Group Artists
Exclusivity
Recording and Release Requirements
Artist Royalties
Recording Costs
Recording Funds
Publishing Rights
Controlled Compositions
Tour Support
Video Rights
Assignment
Ownership and Use of Masters
Coupling
Accountings and Defaults
Bankruptcy
Chapter
3
CONTRACTS WITH MINORS
Voiding of an Agreement
Ratification of an Agreement
Statutory Provisions of Contracts with Minors
Parents Guarantee of Contract Performance
14
14
15
16
17
18
19
22
23
23
24
25
25
26
27
27
28
28
30
30
31
31
32
Chapter
4
Chapter
5
Chapter
6
INDEPENDENT RECORD PRODUCERS
33
The Role of the Independent Record Producer
34
Label Deals and Pressing and Distribution Deals
35
Producer Royalties
35
Recording Funds
36
Production and Development Deals
37
Producer Fees
39
Music Publishing and Follow-up Rights
39
Contractual Safeguards
40
FOREIGN DISTRIBUTION AGREEMENTS
42
Royalty Provisions
42
Advances and Guarantees; Term
43
Exclusivity
44
Broadcast Performance Fees
45
Music Publishing
46
Labels
46
Release Requirements
46
Record Clubs
47
Coupling
47
Cover Recordings
47
Samples and Materials
48
Accountings and Auditing
48
Termination Procedure
49
Variations in Currency Values
49
Transmittal of Funds
50
Jurisdiction over Disputes
50
Default Clauses
50
LABOR AGREEMENTS
52
Key Labor Agreements
52
Arbitration
53
AFTRA and AFM Scale Payments
53
AFM Special Payments and Trust Funds
54
AFTRA Health and Retirement Funds
56
Retirement and Death Benefits
57
Royalty Performers
57
Contractors
58
Dubbing
59
AFM and AFTRA Scales for New Media
59
Protections Against Illicit Practices
60
Domestic and Foreign Territory
61
Other Income for Artists
61
Legislative Advocacy
62
Chapter
7
SOUND RECORDINGS: RIGHTS, RESTRICTIONS, AND ROYALTIES
63
Copyright Protection for Published and Unpublished Works
63
Authorship
64
Rights of the Copyright Owner
64
Copyrightable Works
65
Albums
65
Derivative Works
65
Compilations
66
Audiovisual Recordings
66
Foreign Sound Recordings
67
Neighboring Rights
68
Sampling
68
Master Licensing
69
The Audio Home Recording Act
70
The Digital Performance Right in Sound Recordings Act of
1995 72
The Provisions of the Act
72
The Digital Millennium Copyright Act of
1998 73
Foreign Performance Royalty Practices
75
Chapter
б
BOOTLEGGING, PIRACY, AND COUNTERFEITING
77
Federal Legislation
78
Piracy and Counterfeiting Amendments Act of
1982 79
Uruguay Round Agreements Act of
1994 79
State Legislation
80
Compulsory License for Sound Recordings
80
New Tactics
81
Chapter
9
RECORD COVERS, LABELS, AND LINER NOTES
83
Album Titles
84
Illustrations
84
Recording Identification
85
Trademarks
86
Anticounterfeit Practices
86
Warning Stickers and Censorship Issues
87
Part Three: MUSIC PUBLISHER AND WRITER AGREEMENTS
AND PRACTICES
89
Chapter
10
COPYRIGHT LAW IN THE UNITED STATES
90
Copyright Revision:
1790
to
1976 90
The Copyright Status of Sound Recordings
91
Common Law Copyright
91
Statutory Copyright
92
Copyright Registration
92
Registradon
of Published and Unpublished Works
95
The Copyright Notice
98
The Deposit of Copyrighted Works
98
Transfers of Copyright Ownership
100
Errors in the Copyright Notice
101
The Correction of Errors
102
Fair Use
102
Copyright Protection of Song Titles
104
Compulsory Mechanical License for Recordings
105
Record Rentals
106
Jukebox Public Performance Fees
107
Copyright and Cable Television Transmission
108
Licensing for Noncommercial Broadcasting
109
Satellite Carrier Compulsory License
109
Chapter
11
THE DURATION OF COPYRIGHT PROTECTION
110
Term of Copyright Protection
110
The Supreme Court Decision on Eldred v.
Ashcroft 110
The Duration of Copyright 111
Works Created by Natural Persons after
December
31,1977 112
Works for Hire; Anonymous or Pseudonymous Authors
112
Pre-1978 Worb
112
Sound Recordings
112
Works in the Public Domain
113
End-of-Calendar-Year Copyright Computation
113
The Duration of Copyright Protection for Joint Works
113
The Determination of Date of Death
113
Copyright Renewal
114
Termination of Transfers
116
Pre-1978 Contracts (Renewal Termination)
117
1978
and Post-1978 Contracts (Transfer Termination)
117
Who Can Terminate?
117
Notice of Termination
118
Legislative Implications
118
Duration of Copyright and Protection Outside of
the United States
121
Chapter
12
THE USES OF PUBLIC DOMAIN
122
Works in the Public Domain
123
The Purposes of Public Domain
124
Determining the Public Domain Status of Works
126
The U.S. Copyright Office
126
The Library of Congress
127
Editions of Old Songs
128
Catalogues
of Performing Rights Societies and the Harry
Fox Agency
128
Other Reference Sources
129
Another Approach: Creative Commons
130
Copyright Registration of New Versions and Arrangements
ofWorks
130
Chapter
13
ARRANGEMENTS AND ADAPTATIONS
132
Head Arrangements of Compositions
132
Copyrighting Arrangements
133
The Statutory Treatment of Arrangements
134
Duration of Basic Work Not Affected
135
Standards of Originality
135
Derivative Works
137
Soundalikes
139
The Arrangement of Works in the Public Domain
139
Foreign Treatment of Arrangements and Adaptations
141
Chapter
14
PERFORMING RIGHTS ORGANIZATIONS
142
Performance Monies and the World Economy
143
Clearing Functions
143
American Society of Composers, Authors, and Publishers (ASCAP)
145
Broadcast Music be.
(BMI) 145
SESAC
146
Title Registration
147
Surveying and Statistical Sampling
148
Membership in ASCAP,
BMI,
and SESAC
150
The Fairness in Music Licensing Act of
1998 152
The ASCAP Payment System
152
The
BMI
Payment System
154
Loan Assistance
155
Insurance Plans
155
Writer Awards
156
Foreign Collections
157
Dramatic Performance Rights
158
Chapter
15
MECHANICAL AND OTHER AUDIO REPRODUCTION RIGHTS
161
Parting with Possession; Returns
162
Notice of Intention
163
Compulsory License Accountings
164
Identification of Copyright Owners
164
Negotiated Licenses
164
The Harry Fox Agency
165
Other U.S. Mechanical Rights Organizations
167
The Canadian Mechanical Rights Organizations
167
International
Mechanical Rights Societies
168
The Writer s Share of Mechanical Fees
170
Record Clubs
170
Title Use Restrictions
171
Record Rentals
171
Chapter
16
SONGWRITER CONTRACTS AND ROYALTY STATEMENTS
172
Duration of Copyright Assignment
172
Songwriters Guild Contracts
172
Copyright Divisibility
173
Royalty Statements
174
Recapture of Rights
175
Printed Editions
175
Sheet Music Sales
176
Mechanical Rights
176
Accountings and Audits
177
Default
179
Performance Fees
180
Assignments
180
Lyrics Versus Music
181
Royalties Held in Trust Funds
181
Arbitration
182
Exclusive Writer Agreements
182
Chapter
17
WORKS FOR HIRE
185
Factors Determining a Work-for-Hire Relationship
186
Commissioned Works
187
Assignments of Copyright
189
Joint Work Status
189
Chapter
18
CO-OWNERSHIP AND JOINT ADMINISTRATION OF COPYRIGHTS
191
Registration and Notice
191
The General Rights of Co-Owners
191
The Problems of Co-Ownership
192
Community Property
192
Synchronization Rights
193
Foreign Rights
194
Consent by Silence
194
Restrictions on Assignment
194
The Writer s Interest in Co-Ownership
194
The Cut-in
195
Chapter
19
COPYRIGHT INFRINGEMENT
197
Proof of Access to a Copyrighted Work
197
The Use of Music in the Public Domain
198
Vicarious Liability
199
Registration
200
Who May Sue for Infringement
200
Civil Remedies for Infringement
201
Court Costs and Attorney s Fees
202
Criminal Remedies for Infringement
204
Mechanical Rights Infringement
204
Infringement by Importation
205
Copyright Registration
206
Recording Transfer of Copyright
206
Time Frame for Legal Actions
206
Sampling and Copyright Infringement
207
Chapter
20
INTERNATIONAL COPYRIGHT PROTECTION
211
The Berne Convention
211
The Effects of Berne Adherence
212
Droit
Moral
213
Trade Negotiations and the General Agreement in
Tariffs and Trade
213
The United States Trade Representative
214
The Geneva Phonogram Convention
214
World Intellectual Property Organization Treaties
215
Chapter
21
FOREIGN PUBLISHING
217
The World Market for Music
217
Representation by Subpublishers
218
Foreign Performing Rights Societies
218
Foreign Mechanical Licensing
219
Synchronization Fees
221
Printed Editions
222
Local Lyrics and Versions
222.
Local Writer Royalties
222
Copyright and Term of Rights
223
Fees from All Usage, Accounting, and Audits
224
Subpublishing in Diverse Territories
225
The European Union
226
Default Clauses
227
Jurisdiction
228
Catalogue Agreements
228
Local Firms
228
Joint Firms
229
Termination of Joint Ownership
230
Chapter
22
THE WRITER AS PUBLISHER
232
Joint Writer-Publisher Firms
233
Self-Publishing
233
Sources of Copyrights for the Self-Publisher
235
Chapter
23
MUSIC FOR MOTION PICTURES
236
Rights Required for Films
237
Employee-for-Hire Agreements
237
Synchronization and Performance Licenses
238
Licensing Agents and Research Firms
239
Videos and DVDs
239
Music Publishing Rights
240
Recording Artist Royalties
241
Soundtrack Album Contracts with Record
Companies
241
Component Parts of Films
242
Performances in Europe
243
Chapter
24
LICENSING RECORDINGS FOR FILMS, TELEVISION
PROGRAMS, AND VIDEOGAMES
244
The Protection of Recordings
244
The Consent of the Music Publisher
245
Union Reuse Fees
245
Artist Contract Restrictions
246
Soundtrack Albums
246
Videogames
247
Chapter
25
MUSIC FOR THE THEATER
248
The Rights of Producers and Writers
249
Original-Cast Albums
250
Subsidiary Rights
252
American Productions Abroad
252
Initiating the Writing Process
253
Music in Dramatic Shows
253
Investment in Musical Theater
254
Sources of Investment
256
American Federation of Musicians Union Scale
257
Chapter
26
COMMERCIAL JINGLES
258
Uses of Music in Commercial Jingles
258
Payments for Music Used in Commercials
259
Negotiations for Licensing Fees
261
Warranties and Indemnities
262
The Packaging of Jingles
263
Payments to Singers and Instrumentalists
264
Simultating an Artist s Style in Jingles
264
Chapter
27
BUYING AND SELLING MUSIC PUBLISHING COMPANIES
AND RECORD COMPANIES
266
The Buying and Selling of Catalogues
266
Large Catalogues
266
Universe Music Group
266
BMG
Music Publishing
267
Warner-Chappell
267
Sony/ATV Music Publishing
268
EMI
268
Factors to Consider
269
Smaller Catalogues
269
Sources of Individual Copyrights
270
Renewal Rights
271
Reversion Rights
271
The Purchase of Assets or Stock
272
The Price of Purchasing a Copyright
273
Users of Copyrights
274
Capital Gains
274
Due Diligence
275
Buying and Selling Record Companies and Masters
277
Consolidation
277
Factors to Consider
280
Leadership of the Newly Acquired Label
280
Due Diligence
281
Chapter
28
LOANS TO MUSIC PUBLISHERS
284
Special Risks
285
Loan Amounts
286
Copyright Search Report
287
Recordation of Loans in the Copyright Office
288
Recordation of Loans in Local and State Jurisdictions
289
Sale of Property upon Default
289
Exclusive Writer Contracts
290
Conditions on the Administration of a Loan
290
Outstanding Advances at the Time of a Loan
292
The Appraiser s Report and Representations of the Borrower
292
Bankruptcy of the Borrower
294
Chapter
29
PRINTED MUSIC
296
Writer Royalties
297
Print Publishers
298
Royalties on Licensee Arrangements
298
Selling Agent Agreements
299
Term
299
Specially
Folios 299
Notice of Copyright
300
Fakebooks
300
Return Privileges and Reserves
301
Discounts
301
Subpublishing Deals
301
The Internet: Digital Sales and Distribution
302
Guitar
Tabulatore
and Lyric Licensing
303
Part Four: OTHER ASPECTS OF THE MUSIC BUSINESS
305
Chapter
30
PRIVACY AND PUBLICITY RIGHTS
306
The Right of Privacy
306
The Right of Privacy and Freedom of the Press
307
The Right of Publicity
307
Use of Name or Likeness for Trade or Advertising
309
Privacy Contract Clauses
310
Remedies for the Invasion of Privacy
311
Works in the Public Domain
312
Chapter
31
THE PROTECTION OF IDEAS AND TITLES
313
Compensation for Ideas
313
Concreteness and Originality
314
Unsolicited Ideas
314
Titles
315
Chapter
32
NAMES AND TRADEMARKS
317
Copyrightability
318
Trademarks and Service Marks
318
Differentiating Between Copyrights and Trademarks
318
Selecting a Name
319
Prior and Conflicting Company Names and Marks
320
Search Organizations and Services
321
Trademark and Name Infringement
322
Names of Artists
324
Registration of Names
324
Registration of Marks
325
The Advantages of Registration
327
Trademark Registration at Home and Abroad
327
The Ownership of Rights in an Artist s Name
328
A Record Company s Rights in a Name
329
Group Members Rights in a Name
329
Doing Business Under an Assumed Name
330
Branding : Trading on a Name
330
Chapter
33
AGENTS AND MANAGERS
332
The Roles of Agents and Managers
332
Exclusive Representation
334
The Standard Contract
334
Changes in Agency Personnel
336
Abuses by Agents and Managers
337
Regulation of Agents and Managers
337
Trade Organizations for Personal Managers
339
Do You Really Need a Personal Manager?
339
Notices and Payments
342
Chapter
34
TAXATION IN THE MUSIC BUSINESS
343
Capital Gains
343
Estate and Gift Taxes
345
Depreciation and Amortization
346
Tax Treatment of Record Masters
3 48
Charitable Contributions
349
Home Office and Studio Deductions
349
Shifting Taxable Income to Persons in Lower
Tax Brackets
350
Shifting Income from One Year to Other Years
351
Deferral of Income Through Retirement Plans
352
The Tax Implications of Type of Business Organization
355
S
Corporations
355
The Limited Liability Company
355
Family-Owned Businesses
356
The Personal Holding Company
356
Taxation of Royalties
357
Royalties Earned Abroad
357
Keeping Records
357
Audit Procedures
358
Songwriters
358
Music Publishers
358
Live Performers
358
Video and Record Producers
359
Managers
359
Chapter
35
RECORD CLUBS AND PREMIUMS
360
Membership Plans
360
Outside-Label Agreements
361
Artist Royalties
362
Foreign Record Clubs
362
Mechanical License Fees
363
Premiums
364
Chapter
36
MUSIC VIDEOS
365
Major Music Video Networks
366
Video Technology
366
Video Licensing
367
Audiovisual Rights
368
The Recoupment of Production Costs
371
Musical Composition Licenses
372
Trade Paper Coverage of Music Videos
3 72
Chapter
37
DEMONSTRATION RECORDS IN THE ELECTRONIC AGE
374
Production Methods
374
Doing It Yourself
376
Cost Factors
376
The Assumption of Demo Expenses
3 76
Subsidized Demos
377
Submitting Demos
378
The Independent Demo
3 79
Chapter
38
PAYOLA
380
The Incentive to Engage in Payola
380
Commercial Bribery
381
Publishing Interests and Payola
381
Payola and Trade Papers
381
The
1960
Congressional Hearings
382
Enter the Independent Promoter
383
The
Spitzer
Campaign
383
The Racketeer Influenced and Corrupt Organization Act (RICO)
3 84
Current Congressional Initiatives
384
Chapter
39
TRADE PRACTICE REGULATIONS
386
Discriminatory Price Differential Practices
386
Proportional Equality in Advertising, Promotional Allowances, or
Facilities
388
Price Fixing, Tie-in Sales, and Other Deceptive Practices
388
Soundalike Recordings
390
Marketing for Mature Audiences
390
Chapter
40
WORK PERMITS FOR FOREIGN ARTISTS
391
Types of Work Visas
391
The Proper Petitioner and Petitions
392
Types of Petitions and Accompanying Documents
3 94
Where to File Petitions
395
Artist s or Group s Accompanying Personnel
396
Rejection and the Right of Appeal
397
Union Comity
397
Impact
or the Homeland Security Act
398
Multiple Entries into the United States plus Extensions
398
Taxation
399
Chapter
41
SOURCES OF INFORMATION
400
Tirade Press
400
Government and Educational Institutions
405
The U.S. Copyright Office
405
Thomson CompuMark
406
The Archive of Folk Culture
407
The National Recording Registry
407
The Smithsonian Collections
408
The Center for Black Music
409
Cylinder Digitization and Preservation Project
409
Music Organizations
409
Professional Research Services
410
Reference Materials
411
International Trade Shows and Associations
412
Websites
413
Chapter
42
TECHNOLOGY IS A CHALLENGE, NOT A CHOICE
414
A New Perspective
416
Digital Information Technology
418
CDs: The First Practical Step
419
Storage Capacity: To Infinity and Beyond
419
Portability
421
High-Speed Digital Networks
422
A Case Study in Delivery Quality: The
Ringtone
Phenomenon
423
The Business of Music in the Digital Age
426
The Technology Industry Perspective
427
The Zipless Buck
428
Digital Rights Management
430
What s Being Sold? (Bits, Bytes, and Notes)
431
What Is a Digital Copy: Too Much, Too Little, or
Just Right?
433
The Question of Quality
438
Territoriality: Are There Borders in Cyberspace?
439
Digital Music: A Marketing Tool or a Product?
443
How to Get There from Here
447
Addressing Security Issues
448
Creating a Viable Tracking System
450
A Celestial Cash Register for the Celestial Jukebox
451
A Cautionary Note:
458
Looking Ahead
460
Appendix
A MUSIC INDUSTRY ORGANIZATIONS
461
Government Organizations: United States
461
International Organizations
462
Performance and Mechanical Rights Licensing Organizations
464
Unions
468
Trade Associations and Affiliates
469
Industry Service Organizations
473
Educational Groups
474
Publications and Directories
476
Music Trade Shows
477
Miscellaneous
477
Appendix
В
CONTRACT CHECKLISTS
481
Negotiation Checklist: Demo Shopping Agreement
482
Negotiation Checklist: Demo Subsidy Deal
483
Negotiation Checklist: Distribution Agreement Between
Independent Label (Owner) and Major Label (Distributor)
484
Negotiation Checklist: Exclusive Artist Agreement
486
Negotiation Checklist: Exclusive Songwriter Contract
488
Negotiation Checklist: Foreign Subpublishing Agreement
489
Negotiation Checklist: Home Video/DVD Reproduction of Song
490
Negotiation Checklist: Live Concert Appearances
491
Negotiation Checklist: Master Use License for Film or TV Show
492
Negotiation Checklist: Mechanical Reproduction License
493
Negotiation Checklist: Personal Manager
494
Negotiation Checklist: Single-Song Contract
495
Appendix
С
CURRENT U.S. LICENSING AND COLLECTION PRACTICES
FOR DIGITAL USES
496
INDEX
497
|
| adam_txt |
INTRODUCTION
Part
One: MUSIC
BUSINESS
TRENDS AND
TRANSFORMATIONS
3
Chapter
1
the music industry in the twenty-first century
Industry Growth
Factors Relating to Growth
Factors Inhibiting Growth
Legislative Changes
Pending Legislation
4
5
7
10
10
11
Part Two: RECORD INDUSTRY AGREEMENTS AND PRACTICES
13
Chapter
2
RECORDING ARTIST CONTRACTS
The Standard Agreement
Duration
Group Artists
Exclusivity
Recording and Release Requirements
Artist Royalties
Recording Costs
Recording Funds
Publishing Rights
Controlled Compositions
Tour Support
Video Rights
Assignment
Ownership and Use of Masters
Coupling
Accountings and Defaults
Bankruptcy
Chapter
3
CONTRACTS WITH MINORS
Voiding of an Agreement
Ratification of an Agreement
Statutory Provisions of Contracts with Minors
Parents' Guarantee of Contract Performance
14
14
15
16
17
18
19
22
23
23
24
25
25
26
27
27
28
28
30
30
31
31
32
Chapter
4
Chapter
5
Chapter
6
INDEPENDENT RECORD PRODUCERS
33
The Role of the Independent Record Producer
34
Label Deals and Pressing and Distribution Deals
35
Producer Royalties
35
Recording Funds
36
Production and Development Deals
37
Producer Fees
39
Music Publishing and Follow-up Rights
39
Contractual Safeguards
40
FOREIGN DISTRIBUTION AGREEMENTS
42
Royalty Provisions
42
Advances and Guarantees; Term
43
Exclusivity
44
Broadcast Performance Fees
45
Music Publishing
46
Labels
46
Release Requirements
46
Record Clubs
47
Coupling
47
Cover Recordings
47
Samples and Materials
48
Accountings and Auditing
48
Termination Procedure
49
Variations in Currency Values
49
Transmittal of Funds
50
Jurisdiction over Disputes
50
Default Clauses
50
LABOR AGREEMENTS
52
Key Labor Agreements
52
Arbitration
53
AFTRA and AFM Scale Payments
53
AFM Special Payments and Trust Funds
54
AFTRA Health and Retirement Funds
56
Retirement and Death Benefits
57
Royalty Performers
57
Contractors
58
Dubbing
59
AFM and AFTRA Scales for New Media
59
Protections Against Illicit Practices
60
Domestic and Foreign Territory
61
Other Income for Artists
61
Legislative Advocacy
62
Chapter
7
SOUND RECORDINGS: RIGHTS, RESTRICTIONS, AND ROYALTIES
63
Copyright Protection for Published and Unpublished Works
63
Authorship
64
Rights of the Copyright Owner
64
Copyrightable Works
65
Albums
65
Derivative Works
65
Compilations
66
Audiovisual Recordings
66
Foreign Sound Recordings
67
Neighboring Rights
68
Sampling
68
Master Licensing
69
The Audio Home Recording Act
70
The Digital Performance Right in Sound Recordings Act of
1995 72
The Provisions of the Act
72
The Digital Millennium Copyright Act of
1998 73
Foreign Performance Royalty Practices
75
Chapter
б
BOOTLEGGING, PIRACY, AND COUNTERFEITING
77
Federal Legislation
78
Piracy and Counterfeiting Amendments Act of
1982 79
Uruguay Round Agreements Act of
1994 79
State Legislation
80
Compulsory License for Sound Recordings
80
New Tactics
81
Chapter
9
RECORD COVERS, LABELS, AND LINER NOTES
83
Album Titles
84
Illustrations
84
Recording Identification
85
Trademarks
86
Anticounterfeit Practices
86
Warning Stickers and Censorship Issues
87
Part Three: MUSIC PUBLISHER AND WRITER AGREEMENTS
AND PRACTICES
89
Chapter
10
COPYRIGHT LAW IN THE UNITED STATES
90
Copyright Revision:
1790
to
1976 90
The Copyright Status of Sound Recordings
91
Common Law Copyright
91
Statutory Copyright
92
Copyright Registration
92
Registradon
of Published and Unpublished Works
95
The Copyright Notice
98
The Deposit of Copyrighted Works
98
Transfers of Copyright Ownership
100
Errors in the Copyright Notice
101
The Correction of Errors
102
Fair Use
102
Copyright Protection of Song Titles
104
Compulsory Mechanical License for Recordings
105
Record Rentals
106
Jukebox Public Performance Fees
107
Copyright and Cable Television Transmission
108
Licensing for Noncommercial Broadcasting
109
Satellite Carrier Compulsory License
109
Chapter
11
THE DURATION OF COPYRIGHT PROTECTION
110
Term of Copyright Protection
110
The Supreme Court Decision on Eldred v.
Ashcroft 110
The Duration of Copyright 111
Works Created by Natural Persons after
December
31,1977 112
Works for Hire; Anonymous or Pseudonymous Authors
112
Pre-1978 Worb
112
Sound Recordings
112
Works in the Public Domain
113
End-of-Calendar-Year Copyright Computation
113
The Duration of Copyright Protection for Joint Works
113
The Determination of Date of Death
113
Copyright Renewal
114
Termination of Transfers
116
Pre-1978 Contracts (Renewal Termination)
117
1978
and Post-1978 Contracts (Transfer Termination)
117
Who Can Terminate?
117
Notice of Termination
118
Legislative Implications
118
Duration of Copyright and Protection Outside of
the United States
121
Chapter
12
THE USES OF PUBLIC DOMAIN
122
Works in the Public Domain
123
The Purposes of Public Domain
124
Determining the Public Domain Status of Works
126
The U.S. Copyright Office
126
The Library of Congress
127
Editions of Old Songs
128
Catalogues
of Performing Rights Societies and the Harry
Fox Agency
128
Other Reference Sources
129
Another Approach: Creative Commons
130
Copyright Registration of New Versions and Arrangements
ofWorks
130
Chapter
13
ARRANGEMENTS AND ADAPTATIONS
132
Head Arrangements of Compositions
132
Copyrighting Arrangements
133
The Statutory Treatment of Arrangements
134
Duration of Basic Work Not Affected
135
Standards of Originality
135
Derivative Works
137
Soundalikes
139
The Arrangement of Works in the Public Domain
139
Foreign Treatment of Arrangements and Adaptations
141
Chapter
14
PERFORMING RIGHTS ORGANIZATIONS
142
Performance Monies and the World Economy
143
Clearing Functions
143
American Society of Composers, Authors, and Publishers (ASCAP)
145
Broadcast Music be.
(BMI) 145
SESAC
146
Title Registration
147
Surveying and Statistical Sampling
148
Membership in ASCAP,
BMI,
and SESAC
150
The Fairness in Music Licensing Act of
1998 152
The ASCAP Payment System
152
The
BMI
Payment System
154
Loan Assistance
155
Insurance Plans
155
Writer Awards
156
Foreign Collections
157
Dramatic Performance Rights
158
Chapter
15
MECHANICAL AND OTHER AUDIO REPRODUCTION RIGHTS
161
Parting with Possession; Returns
162
Notice of Intention
163
Compulsory License Accountings
164
Identification of Copyright Owners
164
Negotiated Licenses
164
The Harry Fox Agency
165
Other U.S. Mechanical Rights Organizations
167
The Canadian Mechanical Rights Organizations
167
International
Mechanical Rights Societies
168
The Writer's Share of Mechanical Fees
170
Record Clubs
170
Title Use Restrictions
171
Record Rentals
171
Chapter
16
SONGWRITER CONTRACTS AND ROYALTY STATEMENTS
172
Duration of Copyright Assignment
172
Songwriters Guild Contracts
172
Copyright Divisibility
173
Royalty Statements
174
Recapture of Rights
175
Printed Editions
175
Sheet Music Sales
176
Mechanical Rights
176
Accountings and Audits
177
Default
179
Performance Fees
180
Assignments
180
Lyrics Versus Music
181
Royalties Held in Trust Funds
181
Arbitration
182
Exclusive Writer Agreements
182
Chapter
17
WORKS FOR HIRE
185
Factors Determining a Work-for-Hire Relationship
186
Commissioned Works
187
Assignments of Copyright
189
Joint Work Status
189
Chapter
18
CO-OWNERSHIP AND JOINT ADMINISTRATION OF COPYRIGHTS
191
Registration and Notice
191
The General Rights of Co-Owners
191
The Problems of Co-Ownership
192
Community Property
192
Synchronization Rights
193
Foreign Rights
194
Consent by Silence
194
Restrictions on Assignment
194
The Writer's Interest in Co-Ownership
194
The Cut-in
195
Chapter
19
COPYRIGHT INFRINGEMENT
197
Proof of Access to a Copyrighted Work
197
The Use of Music in the Public Domain
198
Vicarious Liability
199
Registration
200
Who May Sue for Infringement
200
Civil Remedies for Infringement
201
Court Costs and Attorney's Fees
202
Criminal Remedies for Infringement
204
Mechanical Rights Infringement
204
Infringement by Importation
205
Copyright Registration
206
Recording Transfer of Copyright
206
Time Frame for Legal Actions
206
Sampling and Copyright Infringement
207
Chapter
20
INTERNATIONAL COPYRIGHT PROTECTION
211
The Berne Convention
211
The Effects of Berne Adherence
212
Droit
Moral
213
Trade Negotiations and the General Agreement in
Tariffs and Trade
213
The United States Trade Representative
214
The Geneva Phonogram Convention
214
World Intellectual Property Organization Treaties
215
Chapter
21
FOREIGN PUBLISHING
217
The World Market for Music
217
Representation by Subpublishers
218
Foreign Performing Rights Societies
218
Foreign Mechanical Licensing
219
Synchronization Fees
221
Printed Editions
222
Local Lyrics and Versions
222.
Local Writer Royalties
222
Copyright and Term of Rights
223
Fees from All Usage, Accounting, and Audits
224
Subpublishing in Diverse Territories
225
The European Union
226
Default Clauses
227
Jurisdiction
228
Catalogue Agreements
228
Local Firms
228
Joint Firms
229
Termination of Joint Ownership
230
Chapter
22
THE WRITER AS PUBLISHER
232
Joint Writer-Publisher Firms
233
Self-Publishing
233
Sources of Copyrights for the Self-Publisher
235
Chapter
23
MUSIC FOR MOTION PICTURES
236
Rights Required for Films
237
Employee-for-Hire Agreements
237
Synchronization and Performance Licenses
238
Licensing Agents and Research Firms
239
Videos and DVDs
239
Music Publishing Rights
240
Recording Artist Royalties
241
Soundtrack Album Contracts with Record
Companies
241
Component Parts of Films
242
Performances in Europe
243
Chapter
24
LICENSING RECORDINGS FOR FILMS, TELEVISION
PROGRAMS, AND VIDEOGAMES
244
The Protection of Recordings
244
The Consent of the Music Publisher
245
Union Reuse Fees
245
Artist Contract Restrictions
246
Soundtrack Albums
246
Videogames
247
Chapter
25
MUSIC FOR THE THEATER
248
The Rights of Producers and Writers
249
Original-Cast Albums
250
Subsidiary Rights
252
American Productions Abroad
252
Initiating the Writing Process
253
Music in Dramatic Shows
253
Investment in Musical Theater
254
Sources of Investment
256
American Federation of Musicians Union Scale
257
Chapter
26
COMMERCIAL JINGLES
258
Uses of Music in Commercial Jingles
258
Payments for Music Used in Commercials
259
Negotiations for Licensing Fees
261
Warranties and Indemnities
262
The Packaging of Jingles
263
Payments to Singers and Instrumentalists
264
Simultating an Artist's Style in Jingles
264
Chapter
27
BUYING AND SELLING MUSIC PUBLISHING COMPANIES
AND RECORD COMPANIES
266
The Buying and Selling of Catalogues
266
Large Catalogues
266
Universe Music Group
266
BMG
Music Publishing
267
Warner-Chappell
267
Sony/ATV Music Publishing
268
EMI
268
Factors to Consider
269
Smaller Catalogues
269
Sources of Individual Copyrights
270
Renewal Rights
271
Reversion Rights
271
The Purchase of Assets or Stock
272
The Price of Purchasing a Copyright
273
Users of Copyrights
274
Capital Gains
274
Due Diligence
275
Buying and Selling Record Companies and Masters
277
Consolidation
277
Factors to Consider
280
Leadership of the Newly Acquired Label
280
Due Diligence
281
Chapter
28
LOANS TO MUSIC PUBLISHERS
284
Special Risks
285
Loan Amounts
286
Copyright Search Report
287
Recordation of Loans in the Copyright Office
288
Recordation of Loans in Local and State Jurisdictions
289
Sale of Property upon Default
289
Exclusive Writer Contracts
290
Conditions on the Administration of a Loan
290
Outstanding Advances at the Time of a Loan
292
The Appraiser's Report and Representations of the Borrower
292
Bankruptcy of the Borrower
294
Chapter
29
PRINTED MUSIC
296
Writer Royalties
297
Print Publishers
298
Royalties on Licensee Arrangements
298
Selling Agent Agreements
299
Term
299
Specially
Folios 299
Notice of Copyright
300
Fakebooks
300
Return Privileges and Reserves
301
Discounts
301
Subpublishing Deals
301
The Internet: Digital Sales and Distribution
302
Guitar
Tabulatore
and Lyric Licensing
303
Part Four: OTHER ASPECTS OF THE MUSIC BUSINESS
305
Chapter
30
PRIVACY AND PUBLICITY RIGHTS
306
The Right of Privacy
306
The Right of Privacy and Freedom of the Press
307
The Right of Publicity
307
Use of Name or Likeness for Trade or Advertising
309
Privacy Contract Clauses
310
Remedies for the Invasion of Privacy
311
Works in the Public Domain
312
Chapter
31
THE PROTECTION OF IDEAS AND TITLES
313
Compensation for Ideas
313
Concreteness and Originality
314
Unsolicited Ideas
314
Titles
315
Chapter
32
NAMES AND TRADEMARKS
317
Copyrightability
318
Trademarks and Service Marks
318
Differentiating Between Copyrights and Trademarks
318
Selecting a Name
319
Prior and Conflicting Company Names and Marks
320
Search Organizations and Services
321
Trademark and Name Infringement
322
Names of Artists
324
Registration of Names
324
Registration of Marks
325
The Advantages of Registration
327
Trademark Registration at Home and Abroad
327
The Ownership of Rights in an Artist's Name
328
A Record Company's Rights in a Name
329
Group Members' Rights in a Name
329
Doing Business Under an Assumed Name
330
"Branding": Trading on a Name
330
Chapter
33
AGENTS AND MANAGERS
332
The Roles of Agents and Managers
332
Exclusive Representation
334
The Standard Contract
334
Changes in Agency Personnel
336
Abuses by Agents and Managers
337
Regulation of Agents and Managers
337
Trade Organizations for Personal Managers
339
Do You Really Need a Personal Manager?
339
Notices and Payments
342
Chapter
34
TAXATION IN THE MUSIC BUSINESS
343
Capital Gains
343
Estate and Gift Taxes
345
Depreciation and Amortization
346
Tax Treatment of Record Masters
3 48
Charitable Contributions
349
Home Office and Studio Deductions
349
Shifting Taxable Income to Persons in Lower
Tax Brackets
350
Shifting Income from One Year to Other Years
351
Deferral of Income Through Retirement Plans
352
The Tax Implications of Type of Business Organization
355
S
Corporations
355
The Limited Liability Company
355
Family-Owned Businesses
356
The Personal Holding Company
356
Taxation of Royalties
357
Royalties Earned Abroad
357
Keeping Records
357
Audit Procedures
358
Songwriters
358
Music Publishers
358
Live Performers
358
Video and Record Producers
359
Managers
359
Chapter
35
RECORD CLUBS AND PREMIUMS
360
Membership Plans
360
Outside-Label Agreements
361
Artist Royalties
362
Foreign Record Clubs
362
Mechanical License Fees
363
Premiums
364
Chapter
36
MUSIC VIDEOS
365
Major Music Video Networks
366
Video Technology
366
Video Licensing
367
Audiovisual Rights
368
The Recoupment of Production Costs
371
Musical Composition Licenses
372
Trade Paper Coverage of Music Videos
3 72
Chapter
37
DEMONSTRATION RECORDS IN THE ELECTRONIC AGE
374
Production Methods
374
Doing It Yourself
376
Cost Factors
376
The Assumption of Demo Expenses
3 76
Subsidized Demos
377
Submitting Demos
378
The Independent Demo
3 79
Chapter
38
PAYOLA
380
The Incentive to Engage in Payola
380
Commercial Bribery
381
Publishing Interests and Payola
381
Payola and Trade Papers
381
The
1960
Congressional Hearings
382
Enter the Independent Promoter
383
The
Spitzer
Campaign
383
The Racketeer Influenced and Corrupt Organization Act (RICO)
3 84
Current Congressional Initiatives
384
Chapter
39
TRADE PRACTICE REGULATIONS
386
Discriminatory Price Differential Practices
386
Proportional Equality in Advertising, Promotional Allowances, or
Facilities
388
Price Fixing, Tie-in Sales, and Other Deceptive Practices
388
Soundalike Recordings
390
Marketing for Mature Audiences
390
Chapter
40
WORK PERMITS FOR FOREIGN ARTISTS
391
Types of Work Visas
391
The Proper Petitioner and Petitions
392
Types of Petitions and Accompanying Documents
3 94
Where to File Petitions
395
Artist's or Group's Accompanying Personnel
396
Rejection and the Right of Appeal
397
Union Comity
397
Impact
or the Homeland Security Act
398
Multiple Entries into the United States plus Extensions
398
Taxation
399
Chapter
41
SOURCES OF INFORMATION
400
Tirade Press
400
Government and Educational Institutions
405
The U.S. Copyright Office
405
Thomson CompuMark
406
The Archive of Folk Culture
407
The National Recording Registry
407
The Smithsonian Collections
408
The Center for Black Music
409
Cylinder Digitization and Preservation Project
409
Music Organizations
409
Professional Research Services
410
Reference Materials
411
International Trade Shows and Associations
412
Websites
413
Chapter
42
TECHNOLOGY IS A CHALLENGE, NOT A CHOICE
414
A New Perspective
416
Digital Information Technology
418
CDs: The First Practical Step
419
Storage Capacity: To Infinity and Beyond
419
Portability
421
High-Speed Digital Networks
422
A Case Study in Delivery Quality: The
Ringtone
Phenomenon
423
The Business of Music in the Digital Age
426
The Technology Industry Perspective
427
The Zipless Buck
428
Digital Rights Management
430
What's Being Sold? (Bits, Bytes, and Notes)
431
What Is a Digital Copy: Too Much, Too Little, or
Just Right?
433
The Question of Quality
438
Territoriality: Are There Borders in Cyberspace?
439
Digital Music: A Marketing Tool or a Product?
443
How to Get There from Here
447
Addressing Security Issues
448
Creating a Viable Tracking System
450
A Celestial Cash Register for the Celestial Jukebox
451
A Cautionary Note:
458
Looking Ahead
460
Appendix
A MUSIC INDUSTRY ORGANIZATIONS
461
Government Organizations: United States
461
International Organizations
462
Performance and Mechanical Rights Licensing Organizations
464
Unions
468
Trade Associations and Affiliates
469
Industry Service Organizations
473
Educational Groups
474
Publications and Directories
476
Music Trade Shows
477
Miscellaneous
477
Appendix
В
CONTRACT CHECKLISTS
481
Negotiation Checklist: Demo Shopping Agreement
482
Negotiation Checklist: Demo Subsidy Deal
483
Negotiation Checklist: Distribution Agreement Between
Independent Label (Owner) and Major Label (Distributor)
484
Negotiation Checklist: Exclusive Artist Agreement
486
Negotiation Checklist: Exclusive Songwriter Contract
488
Negotiation Checklist: Foreign Subpublishing Agreement
489
Negotiation Checklist: Home Video/DVD Reproduction of Song
490
Negotiation Checklist: Live Concert Appearances
491
Negotiation Checklist: Master Use License for Film or TV Show
492
Negotiation Checklist: Mechanical Reproduction License
493
Negotiation Checklist: Personal Manager
494
Negotiation Checklist: Single-Song Contract
495
Appendix
С
CURRENT U.S. LICENSING AND COLLECTION PRACTICES
FOR DIGITAL USES
496
INDEX
497 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Krasilovsky, M. William Shemel, Sidney |
| author_GND | (DE-588)130124184 |
| author_facet | Krasilovsky, M. William Shemel, Sidney |
| author_role | aut aut |
| author_sort | Krasilovsky, M. William |
| author_variant | m w k mw mwk s s ss |
| building | Verbundindex |
| bvnumber | BV022519398 |
| callnumber-first | M - Music |
| callnumber-label | ML3790 |
| callnumber-raw | ML3790 |
| callnumber-search | ML3790 |
| callnumber-sort | ML 43790 |
| callnumber-subject | ML - Literature on Music |
| classification_rvk | LR 57500 PU 5440 |
| ctrlnum | (OCoLC)166437763 (DE-599)BVBBV022519398 |
| dewey-full | 338.47780973 |
| dewey-hundreds | 300 - Social sciences |
| dewey-ones | 338 - Production |
| dewey-raw | 338.47780973 |
| dewey-search | 338.47780973 |
| dewey-sort | 3338.47780973 |
| dewey-tens | 330 - Economics |
| discipline | Rechtswissenschaft Wirtschaftswissenschaften Musikwissenschaft |
| discipline_str_mv | Rechtswissenschaft Wirtschaftswissenschaften Musikwissenschaft |
| edition | 10. ed., 1. print. |
| format | Book |
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William</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)130124184</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">This business of music</subfield><subfield code="b">the definitive guide to the music industry</subfield><subfield code="c">M. William Krasilovsky and Sidney Shemel. Contributions by John M. Gross ...</subfield></datafield><datafield tag="250" ind1=" " ind2=" "><subfield code="a">10. ed., 1. print.</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">New York</subfield><subfield code="b">Billboard Books</subfield><subfield code="c">2007</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">510 S.</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1="3" ind2=" "><subfield code="a">"Now in its tenth edition, This Business of Music has 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. 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| geographic | USA USA (DE-588)4078704-7 gnd |
| geographic_facet | USA |
| id | DE-604.BV022519398 |
| illustrated | Not Illustrated |
| index_date | 2024-07-02T18:02:44Z |
| indexdate | 2024-07-09T20:59:22Z |
| institution | BVB |
| isbn | 0823077233 9780823077236 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-015726156 |
| oclc_num | 166437763 |
| open_access_boolean | |
| owner | DE-12 DE-M382 DE-N2 |
| owner_facet | DE-12 DE-M382 DE-N2 |
| physical | 510 S. |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Billboard Books |
| record_format | marc |
| spelling | Krasilovsky, M. William Verfasser (DE-588)130124184 aut This business of music the definitive guide to the music industry M. William Krasilovsky and Sidney Shemel. Contributions by John M. Gross ... 10. ed., 1. print. New York Billboard Books 2007 510 S. txt rdacontent n rdamedia nc rdacarrier "Now in its tenth edition, This Business of Music has 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 analysi--plus fully updated lists of music organizations and important website--make This Business of Music indispensable for musicians, agents, managers, marketers, music publishers and groups, colleges and universities, and everyone who wants to make music and make money."--Publisher description. Musik Copyright Music Music trade United States Music Economic aspects Popular music Writing and publishing Recht (DE-588)4048737-4 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Musikwirtschaft (DE-588)4268614-3 gnd rswk-swf USA USA (DE-588)4078704-7 gnd rswk-swf USA (DE-588)4078704-7 g Musikwirtschaft (DE-588)4268614-3 s DE-604 Musik (DE-588)4040802-4 s Recht (DE-588)4048737-4 s Shemel, Sidney Verfasser aut Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015726156&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Krasilovsky, M. William Shemel, Sidney This business of music the definitive guide to the music industry Musik Copyright Music Music trade United States Music Economic aspects Popular music Writing and publishing Recht (DE-588)4048737-4 gnd Musik (DE-588)4040802-4 gnd Musikwirtschaft (DE-588)4268614-3 gnd |
| subject_GND | (DE-588)4048737-4 (DE-588)4040802-4 (DE-588)4268614-3 (DE-588)4078704-7 |
| title | This business of music the definitive guide to the music industry |
| title_auth | This business of music the definitive guide to the music industry |
| title_exact_search | This business of music the definitive guide to the music industry |
| title_exact_search_txtP | This business of music the definitive guide to the music industry |
| title_full | This business of music the definitive guide to the music industry M. William Krasilovsky and Sidney Shemel. Contributions by John M. Gross ... |
| title_fullStr | This business of music the definitive guide to the music industry M. William Krasilovsky and Sidney Shemel. Contributions by John M. Gross ... |
| title_full_unstemmed | This business of music the definitive guide to the music industry M. William Krasilovsky and Sidney Shemel. Contributions by John M. Gross ... |
| title_short | This business of music |
| title_sort | this business of music the definitive guide to the music industry |
| title_sub | the definitive guide to the music industry |
| topic | Musik Copyright Music Music trade United States Music Economic aspects Popular music Writing and publishing Recht (DE-588)4048737-4 gnd Musik (DE-588)4040802-4 gnd Musikwirtschaft (DE-588)4268614-3 gnd |
| topic_facet | Musik Copyright Music Music trade United States Music Economic aspects Popular music Writing and publishing Recht Musikwirtschaft USA |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015726156&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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