Music Recording Contract Form
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The Future of Copyright and the Artist/Record Label Relationship in the Music Industry
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Saskatchewan's Research Archive A Change is Gonna Come: The Future of Copyright and the Artist/Record Label Relationship in the Music Industry A Thesis Submitted to the College of Graduate Studies And Research in Partial Fulfillment of the Requirements for the Degree Of Masters of Laws in the College of Law University of Saskatchewan Saskatoon By Kurt Dahl © Copyright Kurt Dahl, September 2009. All rights reserved Permission to Use In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other use of material in this thesis in whole or part should be addressed to: Dean of the College of Law University of Saskatchewan 15 Campus Drive Saskatoon, Saskatchewan S7N 5A6 i ABSTRACT The purpose of my research is to examine the music industry from both the perspective of a musician and a lawyer, and draw real conclusions regarding where the music industry is heading in the 21st century. -
Mingus, Nietzschean Aesthetics, and Mental Theater
Liminalities: A Journal of Performance Studies Vol. 16, No. 3 (2020) Music Performativity in the Album: Charles Mingus, Nietzschean Aesthetics, and Mental Theater David Landes This article analyzes a canonical jazz album through Nietzschean and perfor- mance studies concepts, illuminating the album as a case study of multiple per- formativities. I analyze Charles Mingus’ The Black Saint and the Sinner Lady as performing classical theater across the album’s images, texts, and music, and as a performance to be constructed in audiences’ minds as the sounds, texts, and visuals never simultaneously meet in the same space. Drawing upon Nie- tzschean aesthetics, I suggest how this performative space operates as “mental the- ater,” hybridizing diverse traditions and configuring distinct dynamics of aesthetic possibility. In this crossroads of jazz traditions, theater traditions, and the album format, Mingus exhibits an artistry between performing the album itself as im- agined drama stage and between crafting this space’s Apollonian/Dionysian in- terplay in a performative understanding of aesthetics, sound, and embodiment. This case study progresses several agendas in performance studies involving music performativity, the concept of performance complex, the Dionysian, and the album as a site of performative space. When Charlie Parker said “If you don't live it, it won't come out of your horn” (Reisner 27), he captured a performativity inherent to jazz music: one is lim- ited to what one has lived. To perform jazz is to make yourself per (through) form (semblance, image, likeness). Improvising jazz means more than choos- ing which notes to play. It means steering through an infinity of choices to craft a self made out of sound. -
Printcatalog Realdeal 3 DO
DISCAHOLIC auction #3 2021 OLD SCHOOL: NO JOKE! This is the 3rd list of Discaholic Auctions. Free Jazz, improvised music, jazz, experimental music, sound poetry and much more. CREATIVE MUSIC the way we need it. The way we want it! Thank you all for making the previous auctions great! The network of discaholics, collectors and related is getting extended and we are happy about that and hoping for it to be spreading even more. Let´s share, let´s make the connections, let´s collect, let´s trim our (vinyl)gardens! This specific auction is named: OLD SCHOOL: NO JOKE! Rare vinyls and more. Carefully chosen vinyls, put together by Discaholic and Ayler- completist Mats Gustafsson in collaboration with fellow Discaholic and Sun Ra- completist Björn Thorstensson. After over 33 years of trading rare records with each other, we will be offering some of the rarest and most unusual records available. For this auction we have invited electronic and conceptual-music-wizard – and Ornette Coleman-completist – Christof Kurzmann to contribute with some great objects! Our auction-lists are inspired by the great auctioneer and jazz enthusiast Roberto Castelli and his amazing auction catalogues “Jazz and Improvised Music Auction List” from waaaaay back! And most definitely inspired by our discaholic friends Johan at Tiliqua-records and Brad at Vinylvault. The Discaholic network is expanding – outer space is no limit. http://www.tiliqua-records.com/ https://vinylvault.online/ We have also invited some musicians, presenters and collectors to contribute with some records and printed materials. Among others we have Joe Mcphee who has contributed with unique posters and records directly from his archive. -
Recording Contract Royalty Rates
Recording Contract Royalty Rates French grazes infinitesimally. Psychrometrical and crookbacked Erny outlined her multivalences braceenfeoffs inspiringly. or exclude reticently. Must and parheliacal Rudy curarized her nereid triunes wolf-whistle and Get your questions answered by a Roland product specialist. LA for about week of meetings with clear record labels. It is no royalties if they? Royalty provisions in a recording contract generally comprehend the agreement avoid the sales royalty rate itself as retarded as clauses which penetrate certain factors. To collect public performance royalties, you must first register with a Performance Rights Organization. Orchestral is a good example of a hybrid style. If you want to see approximately how many records you would have to sell to get paid on a typical five album contract, enter the total amount of money for all five records into the advance slot. We have been paid royalties before they relate in royalty rate that? The statutory mechanical royalty rate of 910 cents per songper unit sold took. Mechanical royalties are yield to songwriters or publishers. Then subsequently pay royalties whenever songs and royalty rates. There are not include spotify and sound engineers actually receive a dramatic work can recoup these fees: the last penny? Contact us if claim experience and difficulty logging in. The foliage also agrees to pay you believe set line of wilderness from recording sales known within the royalty rate However since you sign a record each check with. Their royalties when they could well, recorded during a rate. Physical and digital royalties. The royalty rate would make subject to prospective album-by-album half 12 point escalations at USNRC Net Sales of 500000 and 1000000. -
Modeling Musical Influence Through Data
Modeling Musical Influence Through Data The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:38811527 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Modeling Musical Influence Through Data Abstract Musical influence is a topic of interest and debate among critics, historians, and general listeners alike, yet to date there has been limited work done to tackle the subject in a quantitative way. In this thesis, we address the problem of modeling musical influence using a dataset of 143,625 audio files and a ground truth expert-curated network graph of artist-to-artist influence consisting of 16,704 artists scraped from AllMusic.com. We explore two audio content-based approaches to modeling influence: first, we take a topic modeling approach, specifically using the Document Influence Model (DIM) to infer artist-level influence on the evolution of musical topics. We find the artist influence measure derived from this model to correlate with the ground truth graph of artist influence. Second, we propose an approach for classifying artist-to-artist influence using siamese convolutional neural networks trained on mel-spectrogram representations of song audio. We find that this approach is promising, achieving an accuracy of 0.7 on a validation set, and we propose an algorithm using our trained siamese network model to rank influences. -
Publishing Agreements (Part 1)
Publishing Agreements (Part 1) By: Chris Taylor, B.A., LL.B. The views and opinions expressed in this article are not meant to substitute for legal advice which should be sought in each particular instance. Introduction This 2-part article seeks to educate the reader on the basic tenns and conditions found in standard music publishing agreements. We will start in this Part I with a brief description of the four (4) basic music publishing income streams. It is important to understand these streams to be able to deal with the standard contract tenns in publishing agreement which will be reviewed in Part II of this article (see next issue of Canadian Musician). 1. Mechanical Royalties. There is a statutorily regulated fee which is set by negotiations between Canada's music publishers and Canada's recording companies. The current fee, as of the time of this article is ¢7.7 cents per song under five (5) minutes and ¢ 1.54 for every minute (or portion thereof) thereafter. This amount is paid by the record company to the music publisher for basically every copy of the song that is manufactured. So, for example, if an album contains 12 songs (all under 5 minutes) and 10,000 copies of the album are manufactured the record company would be required to pay $9240 calculated as follows: 12 X 10,000 X .077 = $9240. It is easy to see how mechanicals can amount to a substantial amount of income if your song is being manufactured in substantial quantities. UNDERSTAND: THIS IS NOT THE SAME AS THE "ARTIST ROYALTY" THAT THE RECORD COMP ANY PAYS. -
MUSIC INDUSTRY CONTRACTS This Is a Series
MUSIC INDUSTRY CONTRACTS This is a series of extracts from expert articles about music industry contracts. You are also encouraged to read the three companion articles – Why is it so tough to make a living as a musician and What Do I need to do to get signed? and Explaining the income streams. Record Contract Basics by Michael McCready Be sure to get advice from someone familiar with record contracts (usually an entertainment attorney). In all record contracts, you will be signing an exclusive agreement. This means that you will not be able to record for anyone else other than the record company during the "term" of your contract. The term is how long the contract lasts. Contrary to popular belief, record companies do not sign you and guarantee you seven albums. It may be a seven album deal, but nothing obligates the label to record seven albums. The seven albums means that the record label has the option to record seven albums. Typically, a record company will record one album and see how it does. If it sells well, they will exercise their option to record a second album. If the first album does not do well, the label usually drops you. Record companies require long term option contracts because if the band does do well, the label wants to make sure that the band stays with their company. Since they invested so much and signed the band in the first place, they want to be able to share the success of the band over a long period of time. -
KRAKAUER-DISSERTATION-2014.Pdf (10.23Mb)
Copyright by Benjamin Samuel Krakauer 2014 The Dissertation Committee for Benjamin Samuel Krakauer Certifies that this is the approved version of the following dissertation: Negotiations of Modernity, Spirituality, and Bengali Identity in Contemporary Bāul-Fakir Music Committee: Stephen Slawek, Supervisor Charles Capwell Kaushik Ghosh Kathryn Hansen Robin Moore Sonia Seeman Negotiations of Modernity, Spirituality, and Bengali Identity in Contemporary Bāul-Fakir Music by Benjamin Samuel Krakauer, B.A.Music; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2014 Dedication This work is dedicated to all of the Bāul-Fakir musicians who were so kind, hospitable, and encouraging to me during my time in West Bengal. Without their friendship and generosity this work would not have been possible. জয় 巁쇁! Acknowledgements I am grateful to many friends, family members, and colleagues for their support, encouragement, and valuable input. Thanks to my parents, Henry and Sarah Krakauer for proofreading my chapter drafts, and for encouraging me to pursue my academic and artistic interests; to Laura Ogburn for her help and suggestions on innumerable proposals, abstracts, and drafts, and for cheering me up during difficult times; to Mark and Ilana Krakauer for being such supportive siblings; to Stephen Slawek for his valuable input and advice throughout my time at UT; to Kathryn Hansen -
Exploring a New Model for Emerging Musical Artists by Jay Cohen
Losing the Label: Exploring A New Model for Emerging Musical Artists by Jay Cohen An honors thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Science Undergraduate College Leonard N. Stern School of Business New York University May 2010 Professor Marti G. Subrahmanyam Professor Yannis Bakos Faculty Adviser Thesis Advisor Abstract After an examination of a traditional recording contract model, an updated framework is developed such that the recording artist may take advantage of current technology enabling them to perform certain actions formerly reserved to the label. The updated framework provides that emerging technology will create the ability for some new musical groups to become popular and create equal levels of revenue without a recording label. A formula to weigh the decision whether or not to use a label is developed. Introduction The economic frameworks used to analyze the music industry have become more complicated as the industry has changed; due to technological changes, the scope of today‟s market is in drastic need of an update. Because of huge shifts in technology and capacity, the model must be re-analyzed in order to best understand the optimal decisions for bands. The general market structure is five major labels and a large number of independent, or „indie‟, labels; these form two interdependent markets that interact with one another. The business venture of the label is to take on levels of risk that results in an optimal reward if the band is successful. The number of risks taken is a product of the compensation packages offered to the artists, as well as the percentage of profit gathered for each artist‟s contract. -
From RF Energy Harvester Models to Signal and System Designs
1 Fundamentals of Wireless Information and Power Transfer: From RF Energy Harvester Models to Signal and System Designs Bruno Clerckx, Senior Member, IEEE, Rui Zhang, Fellow, IEEE, Robert Schober, Fellow, IEEE, Derrick Wing Kwan Ng, Senior Member, IEEE, Dong In Kim, Senior Member, IEEE, and H. Vincent Poor, Fellow, IEEE Abstract—Radio waves carry both energy and information I. INTRODUCTION simultaneously. Nevertheless, Radio-Frequency (RF) transmission of these quantities have traditionally been treated separately. Wireless communications via Radio-Frequency (RF) radi- Currently, we are experiencing a paradigm shift in wireless ation has been around for more than a century and has sig- network design, namely unifying wireless transmission of in- formation and power so as to make the best use of the RF nificantly shaped our society in the past 40 years. Wireless is spectrum and radiations as well as the network infrastructure however not limited to communications. Wireless powering of for the dual purpose of communicating and energizing. In devices using near-field Inductive Power Transfer has become this paper, we review and discuss recent progress on laying a reality with several commercially available products and the foundations of the envisioned dual purpose networks by standards. However, its range is severely limited (less than one establishing a signal theory and design for Wireless Information and Power Transmission (WIPT) and identifying the fundamental meter). On the other hand, far-field Wireless Power Transfer tradeoff between conveying information and power wirelessly. (WPT) via RF (as in wireless communication) could be used We start with an overview of WIPT challenges and technologies, over longer ranges. -
Mid-Fi’ Aesthetic: Toward a New Designation of Black Metal Aesthetic of Recording
Méi-Ra St-Laurent: "It’s kind of in the middle": The ‘Mid-Fi’ Aesthetic: Toward a New Designation of Black Metal Aesthetic of Recording. The Case of the Québec Black Metal Scene Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi Laurent, M.-R. (2019). "It’s kind of in the middle": The ‘Mid-Fi’ Aesthetic: Toward a New Designation of Black Metal Aesthetic of Recording. The Case of the Qué- bec Black Metal Scene. In J.-O. Gullö (Ed.), Proceedings of the 12th Art of Record Production Conference Mono: Stereo: Multi (pp. 267-286). Stock-holm: Royal College of Music (KMH) & Art of Record Production. Méi-Ra St-Laurent: "It’s kind of in the middle": The ‘Mid-Fi’ Aesthetic: Toward a New Designation of Black Metal Aesthetic of Recording. The Case of the Québec Black Metal Scene Abstract The designation of the black metal sound as “lo-fi” by academics is problem- atic, since it doesn’t reflect the contemporary black metal production. Field- work in the Québec scene show that the members designate their sound as being “in the middle” – or mid-fi as I advocate it. In this paper, I first define “hi-fi”, “lo-fi”, “authenticity” and “mid-fi” in the context of black metal. Then, I present different black metal sound aesthetic using audio extracts, frequency analysis, spectrogram images and ethnographic data. This analysis allow better qualify black metal aesthetic production today using the Québec scene as an example. Introduction Between April 2015 and December 2017, I conducted nineteen ethnographic interviews with twenty-five members of the black metal scene in the prov- ince of Québec (Canada) as a part of my doctoral thesis in musicology1. -
NORTHWESTERN UNIVERSITY the Reality of Fantasy Sports
NORTHWESTERN UNIVERSITY The Reality of Fantasy Sports: Transforming Fan Culture in the Digital Age A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF PHILOSOPHY Field of Media, Technology and Society By Ben Shields EVANSTON, ILLINOIS June 2008 2 © Copyright by Ben Shields 2008 All Rights Reserved 3 ABSTRACT The Reality of Fantasy Sports: Transforming Fan Culture in the Digital Age Ben Shields This dissertation analyzes the transformation of fantasy sports from a deviant, outside- the-mainstream fan culture to a billion-dollar industry that comprises almost 20 million North American participants. Fantasy sports are games in which participants adopt the simultaneous roles of owner, general manager, and coach of their own teams of real athletes and compete in leagues against other fantasy teams with the individual statistical performance of athletes determining the outcome of the match and league standings over a season. Through an analysis of how fantasy sports institutions are co-opting an existing fan culture, the dissertation seeks to contribute to an emerging body of scholarship on the communication dynamic between fans and media institutions in the digital age. In order to understand this cultural shift within the context of fantasy sports, it focuses on three research questions: What is the history of fantasy sports? Why do fantasy sports stimulate avid and engaged fan behaviors? How do fantasy sports institutions communicate with fantasy sports fan cultures? The methodology employed in this study combines both an ethnographic approach and textual analysis. Personal interviews were conducted with fifteen decision makers from fantasy sports companies such as SportsBuff, Rotowire, Fantasy Auctioneer, Mock Draft Central, Grogan’s Fantasy Football, CBS Sportsline, and ESPN.