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Music Buisiness > Music publishing > Flashcards

Music publishing Flashcards

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Ultimate Music Theory flashcards
1
Q

music publising and licensing

A

taking a songwriter’s work to the market for the purpose of generating revenue

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2
Q

Clout

A

Influence, leverage , market power (usually of an artist)

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3
Q

what will copyright be apply on

A

the song itself

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4
Q

What will Phonogram will be apply on

A

actual recording of the song

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5
Q

what does the role of the publisher includes?

A
  1. Administration
  2. Exploitation
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6
Q

what is within the administration aspect in the music publisher’s role?

A
  1. primarily the registration of copyrights,
  2. the performance rights
    organizations     (PROs), and
  3. the collection of any revenue generated
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7
Q

what is within the exploitation aspect in the music publisher’s role

A
  1. the act of getting songs/compositions placed across venues and media to maximize the value of a copyrighted work
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8
Q

What are the types of Publishers

A
  1. Majors
  2. Major affiliates
  3. Independents
  4. (self-publishing)
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9
Q

what is the typical deals

A
  • Full Publishing
  • CD publishing
  • Administration
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10
Q

how will full publishing’s share be divided?

A

50/50 between writer and publisher

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11
Q

How will CD publishing’s share be divided?

A

50: Writer
25: Writer as co-publisher’s share
25: Publisher’s Share

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12
Q

How will Administration’s share be divided?

A

90: Writer
10:Publisher

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13
Q

what are the liscence types?

A
  • performance license
  • Mechanical license
  • synchronizarion(sync) license
  • print license
  • others
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14
Q

where do the revenue source come from?

A
  • performance license:Radio, Clubs
  • Mechanical license: Records
  • synchronizarion(sync) license: Movies, TV
  • print license: Sheet Music, Books
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15
Q

which is better:
Master’s rights or publishing rights?

A
  • Masters rights is better in most cases
  • but in the rare case where one knows a song will be recorded multiple times, piblishing rights will be better
  • sometimes these two overlap, but sometimes they don’t

for example, the song” what a wonderful world”

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16
Q

Enka

A

Enka, a popular Japanese ballad genre that originated in the early twentieth century, combines Western instruments with
1. Japanese scales,
2. rhythms,
3. vocal techniques,
4. and poetic conventions in melodramatic songs of love, loss, and yearning

17
Q

what does teressa tang’s singing and music take inspiration from?

A

Enka

18
Q

what is taiyupop heavily influence from?

A

Enka, enka produce “tears of scale”

19
Q

Publishing rights

A

Public performance royalties
Mechanical royalties

20
Q

what is included in public performances royalties?

A

✔ PROs collect one type of royalty: public performance royalties.
a.songs played on AM or FM radio; TV show, movie, or commercial; songs
performed live; songs played in a public settings (restaurants)
✔Streaming – yes

21
Q

what is within Mechanical royalties

A

✔ Generated any time a song is reproduced in a physical or digital format.
* Licensed and collected by:
a) The Mechanical Licensing Collective (The MLC)
b) The Harry Fox Agency (HFA)
✔ Streaming – yes

22
Q

what is the job of the Performing Rights Organizations (PROs)

A
  • publishing rights
  • Master/ recording rights
23
Q

what are the three components of Three Components of
Music Modernization Act (MMA)

A
  1. Music Licensing Modernization
  2. Classics Protection and Access Act (The Classics Act)
  3. Allocation for Music Producers (AMP) Act
24
Q

what is the goal of Music Licensing Modernization

A

to benefit songwriters and content creators

25
Q

what is done to establish Music Licensing Modernization

A
  • Establishment of a new blanket mechanical license
    ✔ To replace the previous system (DSP to individually obtain licenses from rights holders)
  • Establishment of the MLC (Mechanical Licensing Collective), 2021:
    ✔ publisher- / songwriter-run collective to administer the licensing of songs by DSPs
    ✔ DSP-funded
26
Q

Establishment of a new blanket mechanical license

A

✔ To replace the previous system (DSP to individually obtain licenses from rights holders)

27
Q

Establishment of the MLC (Mechanical Licensing Collective), 2021:

A

✔ publisher- / songwriter-run collective to administer the licensing of songs by DSPs
✔ DSP-funded

28
Q

what is the classic protection and access act?

A

Protects recordings made before 1972.
✔ Previously no royalties when played on digital radios
✔ Royalties now paid to the labels and artists (masters rights)

29
Q

Allocation for Music Producers (AMP) Act

A

Provides a way for “music producers” and other involved actors to be part of royalties generated when a sound recording is played on digital radios (SiriusXM Radio).

30
Q

what are the online music services and formats and buisiness models

A
  • Permanent Digital Download
    ✔ Apple Music; Amazon Music; Bandcamp
    ✔ Associated rights: mechanical royalty
  • Interactive (On-demand) Streaming
    ✔ Spotify, Apple Music, Youtube Music,TIDAL,Deezer
    ✔Associated rights: performance + mechanical royalty
    ✔Tethered digital download
  • Non-Interactive Streaming
    ✔“online radio”: Pandora;iHeartRadio.
    ✔Revenue through inserting ads
    ✔Associated rights: performance royalty
31
Q

roles of physical distrivutors

A
  • The physical distributor works with a label
    (or artists directly, but rarely) to sell music
    releases to (physical & online) retailers.
  • Distributor takes orders from the individual
    stores
  • Distributor warehouses & ships the product
  • Distributor invoices stores, prepares statements to labels, and pays labels for sales.
  • The distributor acts as a wholesaler between the labels and the stores.
32
Q

what does the Finances of a Physical Distribution Deal include

A
  • distributional fee
  • Return Reserves
  • Co-op fee
33
Q

finances

What is the distributional fee?

A
  • ~ 14% (charges to internal labels) to 30% (riskier labels).
  • Collected on the gross revenue
  • collected by distributor
34
Q

what are Self-Serve Digital Distribution Services

A
  • CD Baby; DistroKid; TuneCore
  • return reserves
  • co-op fee
35
Q

Self-Serve Digital Distribution Services

CD Baby; DistroKid; TuneCore

A
  • Some offer publishing administration options (admin deals)
  • Some offer both physical and digital services
36
Q

Self-Serve Digital Distribution Services and finances

Return reserve

A
  • Retailers can return the physical product purchased back to the distributor at full price
  • Distributors hold a % of revenue as a “reserve” against returns.
  • 20–25% (released back to the label after few months)
37
Q

Self-Serve Digital Distribution Services and finances

co-op fee

also what are the options?

A
  • “Cooperative expense”
  • Payment for visibility: supports marketing efforts
  • Co-op options: special pricing, priority placement, in-store play,, window displays, etc.
38
Q

Major Label-Affiliated “Independent” Distributors

A
  • ADA (Warner Records)
  • Caroline (Universal Music)
  • The Orchard (Sony Music)
39
Q

what are some websites that allow sales directly to fans

A
  • Direct-to-fan or d2f:
  • Website services with store functionality: Bandzoogle
  • E-commerce that allow direct-to-fan sales: Shopify
    & Squarespace& Bandcamp

Music Buisiness (9 decks)

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