The essence of the music business: strategy:
The music industry in terms of business cannot be understood unless its agreements are understood. Derivative of copyright and related rights must be taken into account in all decision-making and operational planning. This starting point is also the basis of every agreement. Volume 1 addresses under...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
[Kaarina]
Mika Karhumaa
[2019]
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Inhaltsverzeichnis |
| Zusammenfassung: | The music industry in terms of business cannot be understood unless its agreements are understood. Derivative of copyright and related rights must be taken into account in all decision-making and operational planning. This starting point is also the basis of every agreement. Volume 1 addresses understandably the problematic issues and the business that is formed around it. The main focus is on where it most intensively touches its authors – artists and their management – from where all the necessary licenses are ultimately granted. This book deals with what artists usually must arrange in order to achieve their goals – agreements with regards to their mutual affairs.New examples have been added to the second edition to better reflect the present time. In particular, streaming and its impact on other business areas are the focus of attention. The author of the book has over 20 years of experience in the international music business as a manager and legal advisor. Where the first volume of this book series dealt with agreements, this second part represents the realities and themes generally perceived to be worth pursuing.The first volume intended to understand agreements, whereas in this book we try to understand the artist. Knowledge of the music industry is central. Reciprocity and understanding the needs of others is a cornerstone to successful operations. When the artist’s management and other background forces are able to imagine themselves in the artist’s position, it is easier to relate their own activities towards achieving common goals. On the other hand, when an artist understands their affiliates’ and their needs, it is easier for them to accept the measures they have to take.The author of this book has had an over two-decade career as an international artist manager and legal advisor. His first book was considered widely throughout the world [...]. |
| Beschreibung: | 165 Seiten 21 cm |
| ISBN: | 9789526905747 |
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| 520 | 3 | |a The music industry in terms of business cannot be understood unless its agreements are understood. Derivative of copyright and related rights must be taken into account in all decision-making and operational planning. This starting point is also the basis of every agreement. Volume 1 addresses understandably the problematic issues and the business that is formed around it. The main focus is on where it most intensively touches its authors – artists and their management – from where all the necessary licenses are ultimately granted. This book deals with what artists usually must arrange in order to achieve their goals – agreements with regards to their mutual affairs.New examples have been added to the second edition to better reflect the present time. In particular, streaming and its impact on other business areas are the focus of attention. The author of the book has over 20 years of experience in the international music business as a manager and legal advisor. Where the first volume of this book series dealt with agreements, this second part represents the realities and themes generally perceived to be worth pursuing.The first volume intended to understand agreements, whereas in this book we try to understand the artist. Knowledge of the music industry is central. Reciprocity and understanding the needs of others is a cornerstone to successful operations. When the artist’s management and other background forces are able to imagine themselves in the artist’s position, it is easier to relate their own activities towards achieving common goals. On the other hand, when an artist understands their affiliates’ and their needs, it is easier for them to accept the measures they have to take.The author of this book has had an over two-decade career as an international artist manager and legal advisor. His first book was considered widely throughout the world [...]. | |
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Datensatz im Suchindex
| _version_ | 1804181852757426176 |
|---|---|
| adam_text | Contents PROLOGUE 9 INTRODUCTION 12 A FEW WORDS ABOUT CURRENT TRENDS 18 RELATIONSHIP BETWEEN DIY AND OUTSOURCING 23 OBJECTIVES 26 ELECTRONIC CHANNELS 32 TRANSITION TIME 36 PERIODS OF STAGNATION 39 STAGNATION AND LIVING 43 PRODUCTIVE STAGNATION 46 FIRST-PHASE PROMOTION AND RELEASE 49 THE EFFECTS OF ACTION 52 Indirect Effects 52 Opening-Up Effect 53 Business Aspects 59 Narrative Elements in Business Strategy 60 OTHER’S EXCLUDING EFFECTS 64 VARIABLES 75 Variables in Production 78 Variables in Business 81 Variables in Promotion GOALS Internal Goals External Goals TIMING 91 98 98 100 105 Retrospective Aspect 105 Timing in Release 107 Timing in Agreements 111 5
External Sides of Timing Arena Example REALITY AND RESOURCES EARNING LOGIC The Internal Side of Earning Logic The External Side of Earning Logic STRATEGY IN NARRATION MISCELLANEOUS OUTRO б 117 120 125 133 133 141 145 153 163
Contents PROLOGUE 9 INTRODUCTION 12 A FEW WORDS ABOUT CURRENT TRENDS 18 RELATIONSHIP BETWEEN DIY AND OUTSOURCING 23 OBJECTIVES 26 ELECTRONIC CHANNELS 32 TRANSITION TIME 36 PERIODS OF STAGNATION 39 STAGNATION AND LIVING 43 PRODUCTIVE STAGNATION 46 FIRST-PHASE PROMOTION AND RELEASE 49 THE EFFECTS OF ACTION 52 Indirect Effects 52 Opening-Up Effect 53 Business Aspects 59 Narrative Elements in Business Strategy 60 OTHER’S EXCLUDING EFFECTS 64 VARIABLES 75 Variables in Production 78 Variables in Business 81 Variables in Promotion GOALS Internal Goals External Goals TIMING 91 98 98 100 105 Retrospective Aspect 105 Timing in Release 107 Timing in Agreements 111 5
External Sides of Timing Arena Example REALITY AND RESOURCES EARNING LOGIC The Internal Side of Earning Logic The External Side of Earning Logic STRATEGY IN NARRATION MISCELLANEOUS OUTRO б 117 120 125 133 133 141 145 153 163
|
| adam_txt |
Contents PROLOGUE 9 INTRODUCTION 12 A FEW WORDS ABOUT CURRENT TRENDS 18 RELATIONSHIP BETWEEN DIY AND OUTSOURCING 23 OBJECTIVES 26 ELECTRONIC CHANNELS 32 TRANSITION TIME 36 PERIODS OF STAGNATION 39 STAGNATION AND LIVING 43 PRODUCTIVE STAGNATION 46 FIRST-PHASE PROMOTION AND RELEASE 49 THE EFFECTS OF ACTION 52 Indirect Effects 52 Opening-Up Effect 53 Business Aspects 59 Narrative Elements in Business Strategy 60 OTHER’S EXCLUDING EFFECTS 64 VARIABLES 75 Variables in Production 78 Variables in Business 81 Variables in Promotion GOALS Internal Goals External Goals TIMING 91 98 98 100 105 Retrospective Aspect 105 Timing in Release 107 Timing in Agreements 111 5
External Sides of Timing Arena Example REALITY AND RESOURCES EARNING LOGIC The Internal Side of Earning Logic The External Side of Earning Logic STRATEGY IN NARRATION MISCELLANEOUS OUTRO б 117 120 125 133 133 141 145 153 163
Contents PROLOGUE 9 INTRODUCTION 12 A FEW WORDS ABOUT CURRENT TRENDS 18 RELATIONSHIP BETWEEN DIY AND OUTSOURCING 23 OBJECTIVES 26 ELECTRONIC CHANNELS 32 TRANSITION TIME 36 PERIODS OF STAGNATION 39 STAGNATION AND LIVING 43 PRODUCTIVE STAGNATION 46 FIRST-PHASE PROMOTION AND RELEASE 49 THE EFFECTS OF ACTION 52 Indirect Effects 52 Opening-Up Effect 53 Business Aspects 59 Narrative Elements in Business Strategy 60 OTHER’S EXCLUDING EFFECTS 64 VARIABLES 75 Variables in Production 78 Variables in Business 81 Variables in Promotion GOALS Internal Goals External Goals TIMING 91 98 98 100 105 Retrospective Aspect 105 Timing in Release 107 Timing in Agreements 111 5
External Sides of Timing Arena Example REALITY AND RESOURCES EARNING LOGIC The Internal Side of Earning Logic The External Side of Earning Logic STRATEGY IN NARRATION MISCELLANEOUS OUTRO б 117 120 125 133 133 141 145 153 163 |
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| index_date | 2024-07-03T15:39:21Z |
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