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The Art of Music Publishing

Book Description

Do you want to pursue a career and succeed in the lucrative area of music publishing? The Art of Music Publishing provides real inspiration and a tangible hands on perspective to this exciting side of the high-risk, high-reward music business.

Prepare yourself for a career in music publishing and understand this complex but profitable part of the music business. Author Gammons walks you through all you need to know * understanding the role of the publisher * copyright * managing rights * income streams * contracts*. Learn how, when and where income is generated in all the current areas of business as well as exploring the new industries offering new income streams and the business models that are developing.

The supporting website includes video interviews and podcasts with music business legends.

'If there is anything that Helen Gammons doesn't know about music publishing, it's probably not worth knowing! If you want to take it to the next level in music publishing - read this book. I know I'll be referring to it often.'
David 'Hawk' Wolinski
Composer of "Aint No Body" (Rufus and Chaka Khan) and one of the most covered songs ever.

"Whether you're already a music publisher or would like to be one, this book will give you a mass of useful information - fresh ideas, up-to-date legal opinions, video interviews with music biz legends, provocative thoughts about where the business is heading, and plenty of good anecdotes."
From Simon Napier Bell 
Manager: The Yardbrids, George Michael and Wham, Marc Bolan. Japan.

Table of Contents

  1. Cover
  2. Halftitle
  3. Dedication
  4. Title
  5. Copyright
  6. Contents
  7. Introduction
  8. Preface
  9. Acknowledgements
  10. The Art of Music Publishing
  11. Chapter 1: Turning music into a business
    1. What is music publishing?
    2. The A&R process
    3. Income streams
    4. Summary
  12. Chapter 2: Understanding copyright
    1. What is copyright?
    2. How long does copyright last?
    3. Masters and re-recording restrictions
    4. Ownership of the master recording
    5. Lyric writing – a lost art
    6. SWOT analysis
    7. Example
    8. Working with media companies
    9. Moral rights
    10. US copyright issues
    11. Summary
  13. Chapter 3: Managing rights – international framework and issues
    1. Collection societies
    2. UK performing and mechanical rights societies
    3. The Berne Convention
    4. Copyright issues leading European discussion
    5. Implementation of EU Directive – UK Copyright Act
    6. WIPO
    7. ISP news
    8. Central licensing
    9. Internet licensing – growth of legitimate online licensing
  14. Chapter 4: The role of the music publisher
    1. How does this help, exactly?
    2. How a great song survives
    3. What does a music publisher do?
  15. Chapter 5: Income streams
    1. Performance income
    2. How is income generated?
    3. Deductions
    4. PRS for Music – mechanical income stream flow
    5. Accounting practices
    6. Synchronization
    7. Sheet music
  16. Chapter 6: Introduction to contracts
    1. Contractual language
    2. Types of contract
    3. Summary
  17. Chapter 7: Synchronization
    1. Exploits in film and television
    2. The role of the music supervisor
    3. Some key movie terms
    4. Independent film sales networks
    5. Great movie composers
    6. Cue sheets
    7. Useful film bodies
    8. The top UK and US advertising agencies
    9. Summary
  18. Chapter 8: Getting a publishing deal
    1. The undiscovered country
    2. Product and presentation – songwriters
    3. Summary
  19. Chapter 9: UK and international trade shows
    1. Benefits of local and international trade shows
    2. Examples of trade shows
    3. Summary
  20. Chapter 10: Networking – building a sustainable network
    1. What is networking?
    2. Some useful networking tips
    3. Summary
  21. Chapter 11: The producer and the song
    1. Sampling, loops and samplers
  22. Chapter 12: Change in the digital space
    1. PRS for Music – financial results snapshot of 2009
    2. Guardian report by Victor Keegan
    3. A snapshot of the IFPI report – music industry 2010
    4. Recorded music sales 2009
    5. Digital market developments
    6. Gerd Leonhard – futurist, fatalist, fantasist or guru?
  23. Chapter 13: Purchasing a catalogue
    1. Why is the catalogue being sold or bought?
    2. Managing risk
    3. Background information
    4. Questions
    5. Retention period
    6. Reasons for buying a catalogue
    7. Postcompletion plan
    8. Summary
  24. Chapter 14: Business and strategic planning
    1. SWOT – strengths, weakness, opportunities and threats
    2. PEST – political, economic, social and technological
    3. Aims and objectives
    4. The marketing mix – the four Ps of marketing
    5. Scenario planning
    6. Summary
  25. Chapter 15: Corporate social responsibility in the twenty-first century – making the case for business responsibility in the creative industries
    1. Definitions
    2. Introduction
    3. Why does CSR matter to you?
    4. Technology and the sustainability of the creative industries
    5. Environmental impact
    6. Investigating the current state of the CSR debate
    7. Conclusion
  26. Conclusion
  27. Biographies
  28. Glossary
  29. Index