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The Art of Music Publishing : an entrepreneurial guide to publishing and copyright for the music, film and media industries PDF

233 Pages·2011·3.19 MB·English
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The Art of Music Publishing FROM THOSE THAT HAVE BEEN GIVEN THE MOST, MUCH IS EXPECTED. The Art of Music Publishing An entrepreneurial guide to publishing and copyright for the music, film and media industries Helen Gammons AMSTERDAM BOSTON HEIDELBERG LONDON NEW YORK OXFORD PARIS SAN DIEGO SAN FRANCISCO SYDNEY TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA First published 2011 Copyright Ó 2011 Helen Gammons. Published by Elsevier Ltd. All rights reserved. The right of Helen Gammons to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangement with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained in the material herein. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Number: 2010939822 ISBN: 978-0-240-52235-7 For information on all Focal Press publications visit our website at www.focalpress.com Printed and bound in the UK 10 11 12 13 12 11 10 9 8 7 6 5 4 3 2 1 Contents Introduction...............................................................................................................ix Preface .....................................................................................................................xv Acknowledgements................................................................................................xxv The Art of Music Publishing.............................................................................. xxvii CHAPTER 1 Turning music into a business ................................ 1 What is music publishing? ............................................................3 The A&R process ..........................................................................8 Income streams ..............................................................................9 Summary ........................................................................................9 CHAPTER 2 Understanding copyright .......................................13 What is copyright?.......................................................................13 How long does copyright last? ....................................................13 Masters and re-recording restrictions ..........................................14 Ownership of the master recording .............................................21 Lyric writing e a lost art.............................................................23 SWOT analysis.............................................................................25 Example .......................................................................................27 Working with media companies ..................................................28 Moral rights..................................................................................29 US copyright issues .....................................................................31 Summary ......................................................................................31 CHAPTER 3 Managing rights e international framework and issues ...........................................................33 Collection societies ......................................................................34 UK performing and mechanical rights societies.........................38 The Berne Convention.................................................................41 Copyright issues leading European discussion ...........................42 Implementation of EU Directive e UK Copyright Act..............43 WIPO ...........................................................................................43 ISP news.......................................................................................44 Central licensing ..........................................................................46 Internet licensing e growth of legitimate online licensing ........47 CHAPTER 4 The role of the music publisher .............................51 How does this help, exactly?.......................................................55 How a great song survives...........................................................56 What does a music publisher do?................................................57 v vi Contents CHAPTER 5 Income streams..................................................63 Performance income..................................................................64 How is income generated? ........................................................69 Deductions.................................................................................70 PRS for Music e mechanical income stream flow ..................71 Accounting practices .................................................................72 Synchronization.........................................................................72 Sheet music ...............................................................................74 CHAPTER 6 Introduction to contracts .....................................77 Contractual language.................................................................79 Types of contract .......................................................................85 Summary..................................................................................101 CHAPTER 7 Synchronization................................................ 103 Exploits in film and television ................................................105 The role of the music supervisor ............................................108 Some key movie terms............................................................108 Independent film sales networks.............................................112 Great movie composers...........................................................112 Cue sheets................................................................................112 Useful film bodies ...................................................................113 The top UK and US advertising agencies ..............................113 Summary..................................................................................114 CHAPTER 8 Getting a publishing deal .................................. 115 The undiscovered country .......................................................116 Product and presentation e songwriters.................................117 Summary..................................................................................118 CHAPTER 9 UK and international trade shows ...................... 121 Benefits of local and international trade shows......................121 Examples of trade shows ........................................................121 Summary..................................................................................124 CHAPTER 10 Networking e building a sustainable network .... 125 What is networking? ...............................................................125 Some useful networking tips...................................................126 Summary .................................................................................126 CHAPTER 11 The producer and the song................................ 127 Sampling, loops and samplers ................................................132 Contents vii CHAPTER 12 Change in the digital space............................... 139 PRS for Music e financial results snapshot of 2009 .............139 Guardian report by Victor Keegan .........................................139 A snapshot of the IFPI report e music industry 2010...........141 Recorded music sales 2009.....................................................141 Digital market developments ..................................................141 Gerd Leonhard e futurist, fatalist, fantasist or guru? ............148 CHAPTER 13 Purchasing a catalogue .................................... 151 Why is the catalogue being sold or bought? ..........................154 Managing risk..........................................................................154 Background information .........................................................155 Questions .................................................................................156 Retention period ......................................................................157 Reasons for buying a catalogue ..............................................157 Postcompletion plan ................................................................158 Summary .................................................................................158 CHAPTER 14 Business and strategic planning ........................ 159 SWOT e strengths, weakness, opportunities and threats ......159 PEST e political, economic, social and technological ..........160 Aims and objectives ................................................................160 The marketing mix e the four Ps of marketing.....................161 Scenario planning....................................................................163 Summary .................................................................................164 CHAPTER 15 Corporate social responsibility in the twenty-first century e making the case for business responsibility in the creative industries ............. 165 Definitions ...............................................................................165 Introduction .............................................................................165 Why does CSR matter to you? ...............................................167 Technology and the sustainability of the creative industries .169 Environmental impact .............................................................170 Investigating the current state of the CSR debate ..................171 Conclusion...............................................................................175 Conclusion .............................................................................................................179 Biographies ............................................................................................................181 Glossary .................................................................................................................189 Index ......................................................................................................................195 This page intentionally left blank Introduction e How it all began This book is dedicated to two wonderful friends and business mentors; two people with hearts and spirits that truly inspired me. They made life fun and definitely amusing. To Chris Brough, who worked with artists such as Cat Stevens, Shakin’ Stevens, Samantha Fox, Showaddywaddy and Jaki Graham, to name but a few. Having substantial UK and international success, Chris was a producer, music publisher, manager and visionary, who lived life to the full. His success helped him to build an incredible network, which he generously shared over the many years that we knew each other. And to Mike Collier, ex-MD of Carlin/Intersong Music, who was an inspirational mentor and friend. He signed such acts as DuranDuran, and the disco hit ‘Blame It On The Boogie’, made famous by the legendaryMichael Jacksonwith a top 3 and top 8 in the US and UK charts, respectively, and several million record sales and millions of radio performance plays later. Hits continued with Phyllis Nelson’s song ‘Move Closer’ becoming a worldwide hit having been covered by countless artists since. Mike’s personal perseverance (despite ill-health in later years) never stopped his strong belief in the value of songs and music. Mike was a ‘can do’ man and I hope this characteristic and unstoppable optimism radiates from me too. In his later years, Mike worked as catalogue activator and compilation guru alongside Freddie Faber, and they were infamous in London for knowing the established major publishers’ catalogues like the backs of their hands. At this time, mergers and acquisitions were rife, and as a consequence staff churn was high and this left a void where staff didn’t know what they had in the catalogue. Individuals like Mike and Freddie knew where the gold was buried, and were retained by many of the major publishing houses to assist them in activating their back catalogue. This knowledge has largely been lost to younger publishing A&R personnel. It’s still a problem today with all the mergers and acquisitions that have occurred (perhaps there is an even bigger need now than ever before where intellectual property management is the key to unlocking new revenue flows). Mike was affectionately known as ‘Grandpa disco’ because of his knack for finding great pop tunes and turning classics into contemporary versions in those days. Later he became known as ‘Grandpa line dance’ when he single-handedly brokered many new deals for the use of masters and songs for line dancing videos and programs.Mike’s breadth of legal expertise and his love and passion formusic, and all things publishing, provided me with the essential training ground that has helped all aspects of my career ever since. He was the epitome of creative publishing. I also dedicate this book to Mike’s lovely wife Joyce and dearest friend Jack Robinson, whose catalogue Robin Song Music was administered by Mike for many years. The night I met Mike is indelibly imprinted on my memory. Arriving at a dinner with my writer and producer husband Rod Gammons, we were met by our host, the ix

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