Work for Hire Songwriting Agreement
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Money from Music: Survey Evidence on Musicians’ Revenue and Lessons About Copyright Incentives
MONEY FROM MUSIC: SURVEY EVIDENCE ON MUSICIANS’ REVENUE AND LESSONS ABOUT COPYRIGHT INCENTIVES Peter DiCola* According to the incentive theory of copyright, financial rewards are what the public trades for the production of creative works. To know whether this quid pro quo is working, one needs to know how much the creators are getting from the bargain. Based on an original, nationwide survey of more than 5,000 musicians, this Article addresses one of the key links in the incentive theory’s chain of logic. For most musicians, copyright does not provide much of a direct financial reward for what they are producing currently. The survey findings are instead consistent with a winner-take-all or superstar model in which copyright motivates musicians through the promise of large rewards in the future in the rare event of wide popularity. * Associate Professor, Northwestern University School of Law. A.B. 1998, Princeton University; J.D. 2005, Ph.D. (Economics) 2009, University of Michigan. I am grateful to my colleagues Jean Cook and Kristin Thomson of the Future of Music Coalition. We worked together to develop and analyze the Internet survey of musicians discussed in this Article, and I have benefited greatly from our discussions as a research team. The views expressed in this Article are my own, however, and not those of Jean, Kristin, or Future of Music Coalition. My thanks to Ken Ayotte, Scott Baker, Shari Diamond, Zev Eigen, Josh Fischman, Ezra Friedman, William Hubbard, Jessica Litman, Anup Malani, Mark McKenna, Tom Miles, Max Schanzenbach, and Avishalom Tor for helpful comments and advice. -
Lecture Outlines
CHAPTER FOURTEEN: “SMELLS LIKE TEEN SPIRIT”: HIP-HOP, “ALTERNATIVE” MUSIC, AND THE ENTERTAINMENT BUSINESS Lecture Outlines Lecture 1: Hip-Hop and Techno I. Hip-Hop Breaks Out (1980s–1990s) A. In the mid-1980s, rap moved into the popular mainstream. B. 1986 saw the release of the first two multiplatinum rap albums: 1. Raising Hell by Run-D.M.C. a) Number Three on Billboard’s pop albums chart b) Over three million copies sold 2. Licensed to Ill by the Beastie Boys a) Number One for seven weeks b) Over seven million copies sold 3. Expansion of the audience for hip-hop music was the key to the commercial success of these albums. a) Included millions of young white fans, attracted by the rebelliousness of the genre C. Both Raising Hell and Licensed to Ill were released on a new independent label called Def Jam. CHAPTER FOURTEEN: “SMELLS LIKE TEEN SPIRIT”: HIP-HOP, “ALTERNATIVE” MUSIC, AND THE ENTERTAINMENT BUSINESS 1. Co-founded in 1984 by the hip-hop promoter Russell Simmons and the musician-producer Rick Rubin 2. Cross-promoting a new generation of artists 3. Expanding and diversifying the national audience for hip-hop 4. In 1986, Def Jam became the first rap-oriented independent label to sign a distribution deal with one of the “Big Five” record companies, Columbia Records. D. Run-D.M.C. 1. Trio: a) MCs Run (Joseph Simmons, b. 1964) and D.M.C. (Darryl McDaniels, b. 1964) b) DJ Jam Master Jay (Jason Mizell, b. 1965) 2. Adidas Corporation and Run-D.M.C. -
Americana Folk Rock Singer Songwriter Releases New Album "Simple Things" Recorded at Freemont Recording Studios - Mastered by Tone Proper
Subscribe Past Issues Translate View this email in your browser For Immediate Release Americana Folk Rock Singer Songwriter Releases New Album "Simple Things" Recorded at Freemont Recording Studios - Mastered by Tone Proper Portland Oregon (July 19, 2018) – Americana Folk Rock singer/songwriter Carl Solomon has just released his third album “Simple Things” and it’s quite the compilation. A personal collection of the songwriter’s from the heart songs that he delivers with notable passion. One of the hallmarks of Carl’s new release is the predominant incorporation of various Americana / Folk instruments that have been strategically placed at the beginning and throughout a number of his tracks. For instance on track five “Come What May” the arrangement incorporates an accordion and on track eight “Always Running” presents a banjo front and center. The noticeable incorporation of these instruments deliver a definitive distinction between the tracks. Another interesting feature of Carl’s new release is that the collection moves between various beats. For example track six, “Ticket To Nowhere” delivers a soft rock feel, noticeable but yet it does not over power the senses and therefore distract from the experience of enjoying the lyrics. Track seven on the other hand “Navajo Rain” sets itself apart with its subdued beat which again is not overpowering but quite different from track six. In total the album presents ten new tracks that is roots music at its best. Carl’s natural way of blending his music with his lyrics coupled with his marvelous storytelling capabilities presents the listener with a pleasant, enjoyable experience. -
An Exploration of Recording and the Music Business
Bowling Green State University ScholarWorks@BGSU Honors Projects Honors College Spring 4-30-2017 An Exploration of Recording and the Music Business Erika Nalow [email protected] Follow this and additional works at: https://scholarworks.bgsu.edu/honorsprojects Part of the Arts Management Commons, Audio Arts and Acoustics Commons, and the Music Performance Commons Repository Citation Nalow, Erika, "An Exploration of Recording and the Music Business" (2017). Honors Projects. 258. https://scholarworks.bgsu.edu/honorsprojects/258 This work is brought to you for free and open access by the Honors College at ScholarWorks@BGSU. It has been accepted for inclusion in Honors Projects by an authorized administrator of ScholarWorks@BGSU. Erika Nalow HNRS 4990 Honors Project Conclusion An Exploration of Recording and the Music Business The following questions were initially proposed during the planning of my Honors Project. I have chosen to organize the final project results around these questions and how they were specifically answered through conducting my creative project. “Can an independent artist record, mix, produce, promote, and distribute their own original work successfully?” o To answer this part of the research thoroughly, I will give a detailed recitation of the planning and execution of this project. This project began with me writing an original song entitled “Upside Down.” After composing it, I went to my project advisor, Mark Bunce, and reserved a day in the Kuhlin Center recording studio on BGSU’s campus to record the song. I then arranged additional music for the song- writing parts for trombone, trumpet, alto saxophone, acoustic guitar, electric guitar, bass, drums, piano, and vocals. -
Starr-Waterman American Popular Music Chapter 11: the 1970S: Rock Music, Disco, and the Popular Mainstream Key People Allman
Starr-Waterman American Popular Music Chapter 11: The 1970s: Rock Music, Disco, and the Popular Mainstream Key People Allman Brothers Band: Most important southern rock band of the late 1960s and early 1970s who reconnected the generative power of the blues to the mainstream of rock music. Barry White (1944‒2004): Multitalented African American singer, songwriter, arranger, conductor, and producer who achieved success as an artist in the 1970s with his Love Unlimited Orchestra; perhaps best known for his full, deep voice. Carlos Santana (b. 1947): Mexican-born rock guitarist who combined rock, jazz, and Afro-Latin elements on influential albums like Abraxas. Carole King (b. 1942): Singer-songwriter who recorded influential songs in New York’s Brill Building and later recorded the influential album Tapestry in 1971. Charlie Rich (b. 1932): Country performer known as the “Silver Fox” who won the Country Music Association’s Entertainer of the Year award in 1974 for his song “The Most Beautiful Girl.” Chic: Disco group who recorded the hit “Good Times.” Chicago: Most long-lived and popular jazz rock band of the 1970s, known today for anthemic love songs such as “If You Leave Me Now” (1976), “Hard to Say I’m Sorry” (1982), and “Look Away” (1988). David Bowie (1947‒2016): Glam rock pioneer who recorded the influential album The Rise and Fall of Ziggy Stardust and the Spiders from Mars in 1972. Dolly Parton (b. 1946): Country music star whose flexible soprano voice, songwriting ability, and carefully crafted image as a cheerful sex symbol combined to gain her a loyal following among country fans. -
Scale Agreement Between
Scale Agreement between and October 1, 2015 to September 30, 2020 NFB – CFM SCALE AGREEMENT Page 1 TABLE OF CONTENTS TABLE OF CONTENTS .............................................................................................. 1 RECOGNITION ....................................................................................................... 4 1. SCOPE ........................................................................................................... 4 2. DEFINITIONS ................................................................................................. 4 3. APPLICABLE FEES....................................................................................... 5 4. PENSION FUND ............................................................................................. 5 5. MEMBERSHIP ............................................................................................... 5 6. TEMPORARY MEMBER PERMITS ............................................................... 6 7. TELEVISION CLIPS OR FILLERS ................................................................. 7 8. LICENCE FEES .............................................................................................. 7 9. SCORING IN CANADA .................................................................................. 7 10. CONDITIONS AND FEES .............................................................................. 7 11. WORK DUES DEDUCTIONS ......................................................................... 8 12. CONTRACTS ................................................................................................ -
10 Chapter 2
10 Chapter 2 Answer 2.3 The ER diagram is shown in Figure 2.1. Exercise 2.4 A company database needs to store information about employees (iden- tified by ssn,withsalary and phone as attributes), departments (identified by dno, with dname and budget as attributes), and children of employees (with name and age as attributes). Employees work in departments; each department is managed by an employee; a child must be identified uniquely by name when the parent (who is an employee; assume that only one parent works for the company) is known. We are not interested in information about a child once the parent leaves the company. Draw an ER diagram that captures this information. Answer 2.4 Answer omitted. Exercise 2.5 Notown Records has decided to store information about musicians who perform on its albums (as well as other company data) in a database. The company has wisely chosen to hire you as a database designer (at your usual consulting fee of $2500/day). Each musician that records at Notown has an SSN, a name, an address, and a phone number. Poorly paid musicians often share the same address, and no address has more than one phone. Each instrument used in songs recorded at Notown has a unique identification number, a name (e.g., guitar, synthesizer, flute) and a musical key (e.g., C, B-flat, E-flat). Each album recorded on the Notown label has a unique identification number, a title, a copyright date, a format (e.g., CD or MC), and an album identifier. Each song recorded at Notown has a title and an author. -
The Compositional Influence of Wolfgang Amadeus Mozart on Ludwig Van Beethoven’S Early Period Works
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2018 Apr 18th, 12:30 PM - 1:45 PM The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works Mary L. Krebs Clackamas High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Musicology Commons Let us know how access to this document benefits ou.y Krebs, Mary L., "The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works" (2018). Young Historians Conference. 7. https://pdxscholar.library.pdx.edu/younghistorians/2018/oralpres/7 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THE COMPOSITIONAL INFLUENCE OF WOLFGANG AMADEUS MOZART ON LUDWIG VAN BEETHOVEN’S EARLY PERIOD WORKS Mary Krebs Honors Western Civilization Humanities March 19, 2018 1 Imagine having the opportunity to spend a couple years with your favorite celebrity, only to meet them once and then receiving a phone call from a relative saying your mother was about to die. You would be devastated, being prevented from spending time with your idol because you needed to go care for your sick and dying mother; it would feel as if both your dream and your reality were shattered. This is the exact situation the pianist Ludwig van Beethoven found himself in when he traveled to Vienna in hopes of receiving lessons from his role model, Wolfgang Amadeus Mozart. -
Beethoven's Eroica Sketches: a Form-Functional Approach
Thomas W. Posen Dissertation Prospectus. Approved Winter 2020 McGill University Beethoven’s Eroica Sketches: A Form-Functional Approach Introduction, Methodology, and Contributions This dissertation introduces new insights into Beethoven’s compositional process to his third symphony. It accomplishes this aim by reconstructing the transcribed single-line sketches to the Eroica found in the Eroica Sketchbook (Beethoven, Lockwood, and Gosman 2013), and by analyzing the reconstructed sketches with form-functional theory (Caplin 1998; 2013). More broadly, this study reorients the analyst’s perspective by valorizing the sketches instead of critiquing them. Form-function theory provides an ideal framework for finding and understanding the strengths in the sketches for three primary reasons.1 First, it prioritizes the role of local harmonic progressions as a determinant of form. We can realize the harmonies that Beethoven implies in his single-line sketches with a high degree of objective accuracy. By contrast, other musical parameters such as texture, dynamics, or instrumentation, which are vital criteria for other well-defined sonata theories (e.g., Hepokoski and Darcy 2011), are very sparse in the sketches and therefore difficult to reconstruct without substantial subjective interpretations. Second, form-function theory minimizes motivic content as the basis of formal function. This feature is important for describing how Beethoven uses the same musical material for different formal functions in successive drafts, and conversely, how he preserves particular formal functions while changing their musical content. Third, the theory establishes well- defined formal categories that can be applied flexibly at all levels of analysis of the sketches (Caplin 1998, 4). These strictly defined categories enable an analyst to elucidate Beethoven’s formal and phrase- structural strategies in individual sketches and compare them across drafts with firm theoretical foundations in an aesthetically neutral environment. -
Music Industry Report 2020 Includes the Work of Talented Student Interns Who Went Through a Competitive Selection Process to Become a Part of the Research Team
2O2O THE RESEARCH TEAM This study is a product of the collaboration and vision of multiple people. Led by researchers from the Nashville Area Chamber of Commerce and Exploration Group: Joanna McCall Coordinator of Applied Research, Nashville Area Chamber of Commerce Barrett Smith Coordinator of Applied Research, Nashville Area Chamber of Commerce Jacob Wunderlich Director, Business Development and Applied Research, Exploration Group The Music Industry Report 2020 includes the work of talented student interns who went through a competitive selection process to become a part of the research team: Alexander Baynum Shruthi Kumar Belmont University DePaul University Kate Cosentino Isabel Smith Belmont University Elon University Patrick Croke University of Virginia In addition, Aaron Davis of Exploration Group and Rupa DeLoach of the Nashville Area Chamber of Commerce contributed invaluable input and analysis. Cluster Analysis and Economic Impact Analysis were conducted by Alexander Baynum and Rupa DeLoach. 2 TABLE OF CONTENTS 5 - 6 Letter of Intent Aaron Davis, Exploration Group and Rupa DeLoach, The Research Center 7 - 23 Executive Summary 25 - 27 Introduction 29 - 34 How the Music Industry Works Creator’s Side Listener’s Side 36 - 78 Facets of the Music Industry Today Traditional Small Business Models, Startups, Venture Capitalism Software, Technology and New Media Collective Management Organizations Songwriters, Recording Artists, Music Publishers and Record Labels Brick and Mortar Retail Storefronts Digital Streaming Platforms Non-interactive -
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. -
Song Contest 2020 Entry Form
21st ANNUAL NSAI SONG CONTEST PRESENTED BY MARTIN GUITARS and strings AND CMT september 1, 2020 (12pm cDT) - NOVEMBER 3, 2020 (4pm CDT) 2 CATEGORY OPTIONS - SONG AND LYRIC-ONLY // ALL GENRES ACCEPTED Nashville Songwriters Association International: Contest website - www.nsai.cmt.com For questions, contact NSAI - www.nashvillesongwriters.com or call 800-321-6008 21ST ANNUAL NSAI SONG CONTEST PRESENTED BY MARTIN GUITARS and strings AND CMT (”CONTEST”) ABBREVIATED TERMS AND CONDITIONS: Begins at 12:00 p.m. CDT on 9/1/20, ends 4:00 p.m. CDT on 11/3/20. Open to legal residents of the U.S. & D.C. (excluding MD, CO, & CT), Canada (excluding Quebec), Australia, and United Kingdom 13 years of age or older. Eligible minors must obtain their parents or legal guardians’ permission prior to participating. Void in MD, CO, CT, Quebec & where prohibited. Subject to complete Terms and Conditions available at nsai.cmt.com. Provided by Nashville Songwriters Association International, 1710 21ST ANNUAL NSAI SONG CONTEST PRESENTED BY MARTIN GUITARS and strings AND CMT ENTRY FORM Print & mail completed form(s) and fee(s) to NSAI. You may enter as many times as you wish. Each song entered requires a separate form, CD (unless Lyric-Only), lyric sheet and payment. ALL ENTRIES MUST BE POSTMARKED BY 4pm CDT NOVEMBER 3, 2020. Entrant: _____________________________________________ ENTRY FEES, Please Choose One: Current NSAI Member $35 (per entry) Address: ____________________________________________ Non-Member $45 (per entry) City/State/Postal Code: _________________________________