| Foreword | ||
| Music in the Marketplace | ||
| Overview | ||
| Music and Society: We've Got Music in Us | ||
| Art Versus Commerce: Music Changes Everything | ||
| Historical Development | ||
| Tools of the Trade: Everybody's Gotta Learn Sometime | ||
| T he Music Business System | ||
| Getting Through the Maze | ||
| Show Me the Money | ||
| Music Business Studies in Higher Education | ||
| Help Wanted! | ||
| Songwriting, Publishing, Copyright, and Licensing | ||
| Professional Songwriting | ||
| The Market | ||
| Predictors of Success | ||
| The Craft | ||
| The Business of Writing | ||
| Income Sources | ||
| Publishing Options | ||
| Evaluating Publishers | ||
| The Songwriters Guild of America | ||
| Contract Reassignment or Default | ||
| Breaking In | ||
| Music Publishing | ||
| Types of Publishers | ||
| Subpublishing | ||
| Administration | ||
| Contracts With Writers | ||
| Split Publishing, Copublishing | ||
| Copyright Protection: Sampling | ||
| Promotion, Advertising | ||
| Income Sources | ||
| Trade Associations | ||
| Music Copyright | ||
| Background | ||
| Essential Provisions | ||
| Key Terms | ||
| Coverage | ||
| Exclusive Rights | ||
| Fair Use of Copyrighted Material | ||
| Copyright Ownership | ||
| Transfer or Assignment | ||
| Work Made for Hire | ||
| Musical Arrangements | ||
| Sound Recordings | ||
| Compulsory Mechanical License | ||
| Royalty Payments (Section 115[c]) | ||
| Duration of Copyright | ||
| Formalities | ||
| Infringement, Remedy | ||
| Record Counterfeiting, Penalties | ||
| Changing Laws | ||
| Rights in Names and Trademarks | ||
| A Final Note on Law | ||
| Music Licensing | ||
| Music Rights: An Overview | ||
| Performing Rights Organizations | ||
| Keeping Track of the Music | ||
| Membership Options | ||
| Mechanical Licenses | ||
| Synchronization Licenses | ||
| Cable Television Licenses | ||
| Video Licenses | ||
| Transcription Licenses | ||
| Special Use Permits | ||
| Jukebox Licenses | ||
| Dramatic Music Rights | ||
| Managing Artist Relationships | ||
| Agents, Managers, and Attorneys | ||
| Agents | ||
| Managers | ||
| Attorneys | ||
| Artists' Recording Contracts | ||
| AFTRA Agreements | ||
| AFM Agreements | ||
| Royalty Artist Contracts | ||
| Unions and Guilds | ||
| American Federation of Musicians | ||
| American Federation of Television and Radio Artists | ||
| American Guild of Musical Artists | ||
| American Guild of Variety Artists | ||
| Actors' Equity Association | ||
| Screen Actors Guild | ||
| International Alliance of Theatrical Stage Employees | ||
| Other Unions and Guilds | ||
| Artist Management | ||
| Discovering Each Other | ||
| The Financial Relationship | ||
| Manager's Commission | ||
| The Manager's Role | ||
| Advancing the Career | ||
| Personal Management Agreement | ||
| Producing, Performing, and Merchandising | ||
| Record Production | ||
| Record Producers | ||
| Matching Producer to Artist | ||
| Production Deals | ||
| The Recording Studio: Operation and Selection | ||
| The Five Stages of Record Production | ||
| Getting Started as a Producer | ||
| Professional Associations | ||
| Concert Production | ||
| Concert Promotion | ||
| Getting Started | ||
| Booking the Artist | ||
| Making an Offer | ||
| The Art of the Deal | ||
| Contracts | ||
| Marketing | ||
| Publicity and Public Relations | ||
| Sponsorships | ||
| Ticketing | ||
| Licensed Music Merchandise | ||
| Arts Administration | ||
| The Classical Music Market | ||
| Perspective | ||
| Representative Organizations | ||
| Symphonic Music | ||
| Funding the Arts | ||
| Classical Artist Management | ||
| Administration | ||
| Music Products | ||
| Music Retailers | ||
| Sales Leaders | ||
| Promotion of Musical Products | ||
| New Trends in Music Retail | ||
| Trade Associations | ||
| Opportunities for Employment | ||
| T he Recording Industry | ||
| R ecord Labels | ||
| Perspective | ||
| Major Labels | ||
| Independent Labels | ||
| Specialty Labels | ||
| Do-It-Yourself Labels | ||
| Record Company Structure | ||
| Trade Associations | ||
| Record Promotion and Distribution | ||
| The Marketing Plan | ||
| The Elements of a Marketing Plan | ||
| Record Distribution | ||
| Record Markets | ||
| Understanding the Consumer | ||
| Research Topics | ||
| Data Sources | ||
| The Digital Age | ||
| The Double-Edged Sword | ||
| Internet Synergy | ||
| Labels Lay Seeds of Self-Destruction | ||
| Smaller, Cheaper, Faster, Better(?) | ||
| The Economics of Digital Distribution: Change and Evolution | ||
| The New Economic Order | ||
| The Digital Future | ||
| Music in Broadcasting, Film, and Theater | ||
| Music in Radio | ||
| Types of Stations | ||
| Audience Identification and Market Research | ||
| Spectrum of Formats | ||
| How Commercial Radio Stations Work | ||
| Music in Television and Video | ||
| Variety and Talk Shows | ||
| Music Specials/Events/Awards Shows | ||
| Theme Songs | ||
| Background Music and Foreground Spotlights | ||
| The Singer/Actors | ||
| The Commercials | ||
| The Evolving TV Picture | ||
| MTV and the Rise of the Music Video | ||
| Producing Short-Form Videos | ||
| Dramatic Scoring for Movies, TV, and Games | ||
| Background | ||
| The Craft | ||
| Music Scoring for TV | ||
| Music Scoring for Video Games | ||
| Library Music | ||
| Hiring Practices | ||
| Music in Advertising | ||
| Influences on Style | ||
| Jobs | ||
| Music Uses | ||
| Budgets | ||
| Station Branding Logos | ||
| The Agency Role | ||
| Spot Production | ||
| Music and Theater | ||
| Types of Musical Theater | ||
| Theater Associations | ||
| Production Components | ||
| Business Music and Production Libraries | ||
| Foreground and Background Music | ||
| Service Companies | ||
| Production Music Libraries | ||
| Career Planning and Development | ||
| Career Options | ||
| Creative Careers | ||
| Directing/Producing Careers | ||
| Performing Careers | ||
| Teaching Careers | ||
| Broadcasting/Film/Video Game Careers | ||
| Music-Related Careers | ||
| Entrepreneurs/Starting Your Own Business | ||
| Starting Your Own Business | ||
| Getting the Process Started | ||
| Choosing a Name | ||
| Forms of Ownership | ||
| Permits and Legalities | ||
| Raising Funds | ||
| Marketing | ||
| Accounting and Finance | ||
| Keeping Track of the Money | ||
| Operations Management | ||
| Management | ||
| Motivating Employees | ||
| Where to From Here? | ||
| Career Development | ||
| Defining Goals | ||
| Climbing the Ladder | ||
| Finding Work | ||
| The Global View | ||
| Understanding Canada's Music Scene | ||
| Would You Believe a Government | ||
| The Record Industry in Canada | ||
| Live Music Opportunities in Canada | ||
| Quebec: Vive La Différence | ||
| Promoting Music in Canada | ||
| Royalty Collection in Canada | ||
| Canada: A Hothouse for Talent-And a Challenge for U.S. Musicians | ||
| The World Outside the United States | ||
| The International Scene | ||
| New Patterns Around the World | ||
| International Copyright by Phil Hardy | ||
| Copyright Conventions | ||
| Multilateral and Bilateral Agreements | ||
| Intergovernmental Bodies and International | ||
| Membership and Copyright Forms | ||
| Selected Readings | ||
| Books | ||
| Journals, Magazines, Newspapers, Newsletters | ||
| Professional Organizations |