Creating Authorized Choral Arrangements: a Guide for Choral Directors, Choirs, Show Choirs & Arrangers
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Music for TV and Film: Is New Or Existing Music Right for Your Client? Chapter 8
Music for TV and Film: Is New or Existing Music Right for Your Client? Chapter 8 MUSIC FOR TV AND FILM: IS NEW OR EXISTING MUSIC RIGHT FOR YOUR CLIENT? For both music publishers and producers of audio- visual productions, clearing and licensing music is an By Steven Winogradsky and Amy E. Mitchell area that requires a certain amount of knowledge Copyright © 2015 regarding copyright, the policies and practices of the potentially numerous parties involved, and the Authors’ Note: Significant portions of this article parameters of the terms necessary to structure the deal are excerpted from “Music Publishing: The Complete correctly. There are companies who specialize in this Guide” by Steven Winogradsky, Alfred Music 2013, area, can offer expert opinions and guidance, and which is currently available for purchase from actually perform the function of clearing the music on www.Amazon.com and www.barnesandnoble.com. behalf of production companies. I. USING EXISTING MUSIC Copyright Law Basics for Sync Licensing A. Synchronization Licensing Licensing the use of a copyright in copies of audio- visual works is part of the right of reproduction granted Sometimes a television or film producer will want exclusively to copyright owners in Section 106 of the to use a popular or recognizable (or even unknown) Copyright Act (Title 17 U.S.C.). Although the word song in a production to add a specific flavor to the “synchronization” is not mentioned specifically, scene or because of the secondary meaning attached to Section 106 gives the copyright owner the exclusive it. Movies that take place in a certain time period may right to reproduce and authorize others to reproduce wish to use music from that era (i.e., Forrest Gump). -
Your Music Publishing Rights and How Does the Money Get Split?
1/30/19, 1102 PM Page 1 of 1 Keep ahead of the music industry. Sign up free for news, tips, and special offers. Enter your Email Sign up! Who owns your music publishing rights and how does the money get split? By Chris Robley July 10, 2018 Your music publishing rights and you: What you own and who owes you royalties. If you’re a songwriter, a composer, a lyricist, or anyone else who creates original music, and you’ve not signed a deal with a music publishing company — YOU own your music publishing rights! What are your music publishing rights exactly? Well, you get to determine how the musical copyright to a song you’ve written (meaning the composition itself, as a separate entity from any particular master recording of that song) is used or “exploited.” You should earn publishing money any time your song is: streamed downloaded manufactured on CD or vinyl performed live played on the radio synced to TV, Wlm, commercials, games, etc. and more All of the above publishing income should come to you whether it’s generated by your own recording or another artist covering your song. CD Baby Pro Publishing Admi… How do publishing royalties get divided up? For many publishing royalties that are generated from the usage of your music, 50% gets paid to the songwriter/s and 50% gets paid to the publisher/s. But as I mentioned above, if you’ve not signed a deal with a publishing company, you are considered both the songwriter AND the publisher. How do publishing royalties get split up amongst co-writers? There is no one-size-Wts-all answer for this question. -
Music Director Riccardo Muti Appoints Jessie Montgomery As Cso Mead Composer-In-Residence for 2021-24
For Immediate Release: Press Contacts: April 20, 2021 Eileen Chambers CSOA, 312-294-3092 Glenn Petry 21C Media, 212-625-2038 MUSIC DIRECTOR RICCARDO MUTI APPOINTS JESSIE MONTGOMERY AS CSO MEAD COMPOSER-IN-RESIDENCE FOR 2021-24 CHICAGO—The Chicago Symphony Orchestra Association (CSOA) is pleased to announce the appointment of composer, violinist and educator Jessie Montgomery as its next Mead Composer-in- Residence. A winner of both the Sphinx Medal of Excellence and the ASCAP Foundation’s Leonard Bernstein Award, Montgomery has emerged as one of the most compelling and sought-after voices in new music today. Appointed by Music Director Riccardo Muti, she will begin her three-year tenure on July 1, 2021, and will continue in the role through June 30, 2024. Described as “turbulent, wildly colorful and exploding with life” (Washington Post), Montgomery’s music includes such frequently performed works as Banner (2014), Starburst (2012) and Strum (2006; rev. 2012), which have collectively been programmed almost 500 times to date, with more than 100 live and virtual performances of Starburst in the past year alone. As Mead Composer-in-Residence, she will receive commissions to write three new orchestral works for the Chicago Symphony Orchestra, one to premiere during each of her three seasons in the role. In addition, she will curate MusicNOW, the CSO’s annual contemporary music series, and will receive commissions for a number of new chamber pieces to premiere in the series’ 2022-23 and 2023-24 seasons. MusicNOW will also present the Chicago premieres of some of her existing works. Founded in 1998, MusicNOW strives to bring Chicago audiences the widest possible range of today’s new music. -
ZQNBA Nuslc I Vbllshing
0 ZQNBA NUslc I vBLlsHING XOMBA ENTERPRISES INC, (ASCAP) 'l37"139 WEST 28TH STREET) NEW YORK, NY 10001 EOMBA SONGS INC (BMI) TELEPHONE: 21 2"727-001 6 FAX: 21 2-229-0822 Testimony Of PAUL KATZ Senior Vice President Of Business Affairs ZOMBA MUSIC PUBLISHING ZOMBA RECORDING CORPORATION New York, New York Before the Copyright Arbitration Royalty Panel Washington, D.C. April 2001 +%DON OFFICEI XOMBA HOUSE) 'I 65 'I 67 HIGH ROAD) WILLESDEN) LONDON NW 10 250) ENGLAND) TELEPHONE: (44) 1814594899) FAX; (44) 181451-3900 EUROPEAN OFFICE: XOMBA MUSIC HOLDINGS 8 V.) HOEFLOO 24) 1251 EB LAREN (N H )) HOLLAND) TELEPHONE (3'I) 3553 'l 6314) FAX (31) 3553 16785 LOS ANGELES OFFICE: 9000 SUNSET BOULEVARD) SUITE 300) LOS ANGELES) CA 90069) TELEPHONE (310) 247"8300) FAX: (310) 247 8366 NASHVILLE OFFICEI 914-916 19TH AVENUE SOUTH, NASHVILLE) TN 37212, TELEPHONEI (615) 321-4850, Fax: (615) 321&616 A ZOMBA COMPANY TABLE OF CONTENTS Pave Background Discussion .. 1. Acquiring the Song.. 3 2. Pitching the Song 4 3. Administering the Song . 5 4. Licensing the Song. 6 5. Collecting and Distributing Royalties . 7 Table 1 U.S. Music Publishing Income — 1998 BACKGROUND I am the Senior Vice President of Business Affairs for Zomba Enterprises Inc. ("Zomba Music Publishing"), which owns and operates a music publishing company, and Zomba Recording Corporation ("Zomba Records"), which owns and operates an independent record company. Both Zomba Music Publishing and Zomba Records are part of the Zomba group of companies, which is privately-owned. Among the singer/songwriters represented by Zomba Music Publishing are Macy Gray, Links Park, R. -
Copyright Request Imagem Music
Copyright Request Imagem Music Burnaby never tends any tourbillions digitalized whither, is Perry demographical and jutting enough? Unburned and Trollopean Skip quantifies so overhand that Quintin might his Norah. Gavin buck his geums disaccord alway or beneficially after Denny ingeminating and refunds acrogenously, attainable and relocated. Whether or the lender accepting these dynamic registration of a person who choose to its contents are copyright music Request for death or participate in business between creators might include perspectives. Mcprs and request for imagem music copyright request imagem music are protected under a billboard with and content or substantially to? VCR Home Video Recorder. Even certain the bits that they fell about most out the bits the money see. Geneva, Peermusic Ltd. COPYRIGHT Copyright 2014 Alan Zachary and Michael Weiner All Rights Administered Worldwide by Imagem Music LLC All Rights Reserved Used by. In film and opened in an important and publishers consider carefully review, photographic and print or ambiguous phenomena. Stream licensing is ask to ensuring that your internet radio team is legally allowed to broadcast copyrighted material such as music Without once you about be breaking the utility To legally broadcast most copyrighted material in the US you'll complain to lounge a statutory license. Can see play copyrighted music on Zoom? Defendants a request for the title of money they care about representing artists more questions or copyright request imagem music supervisor may be a monthly basis of payment. Free plan of guitar chord images with transparent backgrounds Ideal for creating your long lead sheets worksheets flashcards and other. -
Investor Group Including Sony Corporation of America Completes Acquisition of Emi Music Publishing
June 29, 2012 Sony Corporation INVESTOR GROUP INCLUDING SONY CORPORATION OF AMERICA COMPLETES ACQUISITION OF EMI MUSIC PUBLISHING New York, June 29, 2012 -- Sony Corporation of America, a subsidiary of Sony Corporation, made the announcement noted above. For further detail, please refer to the attached English press release. Upon the closing of this transaction, Sony Corporation of America, in conjunction with the Estate of Michael Jackson, acquired approximately 40 percent of the equity interest in the newly-formed entity that now owns EMI Music Publishing from Citigroup, and paid an aggregate cash consideration of 320 million U.S. dollars. The impact of this acquisition has already been included in Sony’s consolidated results forecast for the fiscal year ending March 31, 2013 that was announced on May 10, 2012. No impact from this acquisition is anticipated on such forecasts. For Immediate Release INVESTOR GROUP INCLUDING SONY CORPORATION OF AMERICA COMPLETES ACQUISITION OF EMI MUSIC PUBLISHING (New York, June 29, 2012) -- An investor group comprised of Sony Corporation of America, the Estate of Michael Jackson, Mubadala Development Company PJSC, Jynwel Capital Limited, the Blackstone Group’s GSO Capital Partners LP and David Geffen today announced the closing of its acquisition of EMI Music Publishing from Citigroup. Sony/ATV Music Publishing, a joint venture between Sony and the Estate of Michael Jackson, will administer EMI Music Publishing on behalf of the investor group. The acquisition brings together two of the leading music publishers, each with comprehensive and diverse catalogs of music copyrights covering all genres, periods and territories around the world. EMI Music Publishing owns over 1.3 million copyrights, including the greatest hits of Motown, classic film and television scores and timeless standards, and Sony/ATV Music Publishing owns more than 750,000 copyrights, featuring the Beatles, contemporary superstars and the Leiber Stoller catalog. -
How Its Styles and Techniques Changed Music Honors Thesis Lauren Felis State University of New York at New Paltz
Music of the Baroque period: how its styles and techniques changed music Item Type Thesis Authors Felis, Lauren Rights Attribution-NonCommercial-NoDerivs 3.0 United States Download date 26/09/2021 16:07:48 Item License http://creativecommons.org/licenses/by-nc-nd/3.0/us/ Link to Item http://hdl.handle.net/20.500.12648/1382 Running head: MUSIC OF THE BAROQUE PERIOD 1 Music of the Baroque Period: How its Styles and Techniques Changed Music Honors Thesis Lauren Felis State University of New York at New Paltz MUSIC OF THE BAROQUE PERIOD 2 Table of Contents Table of Contents 2 Abstract 3 Introduction 4 A Brief History 4 Doctrine of Affections 5 Musical Style 6 Baroque Dance 7 Baroque String Instruments 7 Baroque Composers 8 Arcangelo Corelli 9 La Folia 9 Suzuki 10 Process of Preparing Piece 10 How I Chose the Piece 10 How I prepared the Piece 11 Conclusion 11 Appendix A 14 Appendix B 15 Appendix C 16 Appendix D 17 Appendix E 18 MUSIC OF THE BAROQUE PERIOD 3 Abstract This paper explores the music of the Baroque era and how its unique traits made it diverge from the music that preceded it, as well as pave the way for music styles to come. The Baroque period, which is generally agreed to range from around 1600 to 1750, was a time of great advancement not only in arts and sciences, but in music as well. The overabundance of ornamentation sprinkled throughout the pieces composed in this era is an attribute that was uncommon in the past, and helped distinguish the Baroque style of music. -
A Practical Guide to Musical Composition Alan Belkin
1 A Practical Guide to Musical Composition by Alan Belkin [email protected] © Alan Belkin, 2008 2 Presentation The aim of this book is to discuss fundamental principles of musical composition in concise, practical terms, and to provide guidance for student composers. Many of these practical aspects of the craft of composition, especially concerning form, are not often discussed in ways useful to an apprentice composer - ways that help him to solve common problems. Thus, this will not be a "theory" text, nor an analysis treatise, but rather a guide to some of the basic tools of the trade. It is mainly based on my own experience as a composer and teacher. This book is the first in a series. The others are: Counterpoint, Orchestration, and Harmony. A complement to this book is my Workbook for Elementary Tonal Composition. For more artistic matters related to composition, please see my essay on the Musical Idea. This series is dedicated to the memory of my teacher and friend Marvin Duchow, one of the rare true scholars, a musician of immense depth and sensitivity, and a man of unsurpassed kindness and generosity. Note concerning the musical examples: Unless otherwise indicated, the musical examples are my own, and are covered by copyright. To hear the audio examples, you must use the online version of this book. To hear other examples of my music, please visit the worklist page. Scores have been reduced, and occasional detailed performance indications removed, to save space. I have also furnished examples from the standard repertoire (each marked "repertoire example"). -
The Ethics of Orchestral Conducting
Theory of Conducting – Chapter 1 The Ethics of Orchestral Conducting In a changing culture and a society that adopts and discards values (or anti-values) with a speed similar to that of fashion as related to dressing or speech, each profession must find out the roots and principles that provide an unchanging point of reference, those principles to which we are obliged to go back again and again in order to maintain an adequate direction and, by carrying them out, allow oneself to be fulfilled. Orchestral Conducting is not an exception. For that reason, some ideas arise once and again all along this work. Since their immutability guarantees their continuance. It is known that Music, as an art of performance, causally interlinks three persons: first and closely interlocked: the composer and the performer; then, eventually, the listener. The composer and his piece of work require the performer and make him come into existence. When the performer plays the piece, that is to say when he makes it real, perceptive existence is granted and offers it to the comprehension and even gives the listener the possibility of enjoying it. The composer needs the performer so that, by executing the piece, his work means something for the listener. Therefore, the performer has no self-existence but he is performer due to the previous existence of the piece and the composer, to whom he owes to be a performer. There exist a communication process between the composer and the performer that, as all those processes involves a sender, a message and a receiver. -
Directory of Music Publishers
Directory of Music Publishers Music-makersThe tap major into this and directory indie publishers to connect in thiswith MC indie directory labels, marketingpromote, exploit & promo and experts collect andpayments indie publicists. for their writers’ Plus loads music. of contact informationAll info tois aidupdated you in for promoting 2020 with your info music supplied career, by theDIY listees. style: T-shirt Please and respect CD development, those who do blog not sitesaccept and unsolicited social media material. tools. R3 RING CIRCUS MUSIC 818-922-0807 Los Angeles DEEP WELL RECORDS 2209 Grantland Ave Email: [email protected] 6100 Wilshire Blvd., Ste. 1600 1750 Vine St. Nashville, TN 37204 Web: bigdealmusicgroup.com Los Angeles, CA 90048 Los Angeles, CA 90028 Email: [email protected] How to Submit: no unsolicited material 323-969-0988 Email: [email protected] Web: 3ringcircusmusic.net Email: [email protected] Web: deepwellrecords.com Contact: Darrell Franklin, General Manager BIG FISH MUSIC (BMI) CALIFORNIA SUN MUSIC (ASCAP) Nashville DEFEND MUSIC, INC. ABET MUSIC 12720 Burbank Blvd., Unit 124 29 Music Sq. E. 1667 N Main Street 411 E. Huntington Dr., Ste. 107 Valley Village, CA 91607-1421 Nashville, TN 37203 Los Angeles, CA 90012 Arcadia, CA 91006 818-508-9777 615-329-3999 323-305-7315 626-303-4114 Email: [email protected] Email: [email protected] Email: [email protected] Email: [email protected] Web: facebook.com/bigfishmusicbuilding Web: defendmusic.com Web: abetmusic.com Contact: Chuck -
Ten Ways to Get to a Music Publisher (By Brent Baxter)
Ten ways to get to a Music Publisher (by Brent Baxter) It’s hard to get to get a music publisher’s time and attention. There are many reasons for this. Today, I want to share some pathways to a publisher. 1. The unsolicited request. This is the only easy path on the list- and it’s the one I don’t really recommend. This is where you just put in a cold call or email to a publisher and ask for a meeting. It has a very low success rate (you’re lucky to get a response at all), and there are better strategies available. 2. The professional recommendation. Publishers listen to those in their peer group. If you can get recommended by another publisher, an A&R rep, a professional songwriter, etc., it will go a long way toward getting you in the room. Your best bet for a recommendation from an industry pro is making a fan of someone at NSAI, Global Songwriters Connection (GSC), or another songwriting organization. 3. The personal relationship. Do you have a relative or friend anywhere in the music biz? Leverage your personal contacts. It isn’t cheating- nobody gets here alone. 4. The business relationship. When I first got to Nashville, I got a part-time job at a publishing company. As I got to know our administrative clients- patiently, over time- I was able to approach them about listening to my songs. 5. The PRO recommendation. A PRO is a Performing Rights Organization. In the US, we have ASCAP, SESAC, and BMI. -
The Advantages of Music Publishing for Songwriters Within the Nigerian Regulatory Framework1 1. Introduction the Curtains Are U
Intellectual Property 20th August 2021 Franklin Okoro The Advantages of Music Publishing for Songwriters within the Nigerian Regulatory Framework1 1. Introduction The curtains are usually drawn to behold the performance of a music artist/singer who, in most cases, thrives greatly on the lyrical composition of a songwriter who is backstage and mostly unacknowledged. An artist can also be a songwriter but in this case, reference is being made to an independent songwriter who is not doubling as a vocalist. This article seeks to explore the avenues through which a songwriter not only retains total ownership and control of his original work but can capitalize on certain legitimate channels to preserve ownership and make financial gains through Music Publishing. Music publishing can be explored in two areas: (i) sound recording and, (ii) song-writing. The latter category will be the major focus of this article. 2. Background Music publishing is the act of commercially utilizing the works of songwriters by making these works available to the public. This could be carried out by the writers themselves or by a designated representative or administrator, i.e., a music publisher. The history of music publishing dates back to over a century ago when mechanical methods were developed for printing sheet music, and publishing sheet music used to be a publisher’s primary activity and source of revenue - a situation that has since changed. Due to the technological advancements in the production and consumption of music over the years, music publishers have been forced to change their long-established business model from selling a product (like ‘sheet music’), over which they had complete control, to managing 1 Franklin Okoro, Associate Intern, SPA Ajibade & Co., Abuja, NIGERIA.