BELMONT UNIVERSITY

MIKE CURB COLLEGE OF ENTERTAINMENT AND MUSIC BUSINESS

COURSE SYLLABUS

Course Title: Survey of Music Business

Course #: MBU 1110.02-03-04- Credit Hrs: 3 Semester: Fall 2007

Class Location/Time:

MBU 1110.01- Room MC 103-Time 9-9:50 am MWF

MBU 1110.02 -Room MC 200b-Time 11-11:50 am MWF

MBU 1110.03-Room MC 200a-Time 1-1:50 pm MWF

MBU 1110.04-Room MC 200a-Time 2-2:50pm MWF

Honolulu CC- Local time MWF transmission of MBU 1110.04

Final Exam:

MBU 1110.01- Monday, December 10, Room MC 103-Time 8-9:50 am

MBU 1110.02 - Thursday December 6, Room MC 200b-Time 11-12:50 am

MBU 1110.03- Friday, December 7, Room MC 200a-Time 2-3:50 pm

MBU 1110.04- Monday, December 10, Room MC 200a-Time 2-3:50pm

Honolulu CC -TBD December 8-14.

Instructor: Dr. Wacholtz

Office: 224 B. Massey

Contacts: Phone: 460-5437

Email: wacholtzl@mail.belmont.edu

lwacholtz@comcast.net

COURSE DESCRIPTION:

An overview study of the business of music. Attention is given to the practical application as well as the theoretical foundations. In-depth study of organizations and a general overview of the industry; Guest lecturers from the music industry may be utilized.

Course Objective

The objective of study in MBU 1110, is to define and explain the major areas of the music and related entertainment industry in relationship to copyrights that generate profits. The course focuses on four revenue streams: music publishing, recording studios, record labels, and artist management/touring. The course explores the relationships of each revenue stream to the other, to other media, and to the overall music/entertainment industry. Students are encouraged to participate in class activities and will be tested with written examinations as announced by the instructor.

Course Outcomes:

· After completion of the course you should:

· Have a thorough understanding of the major revenue streams of the music industry

· Be able to trace the money flows from music consumers, through the major revenue streams, to the label, manager, agents, artists and songwriters.

· Be able to identify career options and roles in the industry.

· Understand basics contracts/terminology that define industry operations and relationships

· Name the major entertainment conglomerates and their country of domicile

· Have a basic understanding of copyright law with respect to the entertainment industry

· Understand the process of taking an idea for a song through the system and presenting it to the public for sale, including recording costs and concert promotion.

Performance Criteria

· Identify and describe the participants in the industry revenue streams.

· Graph the flow of revenues from their sources to the artists, publishers, songwriters, managers, promoters and booking agents.

· Calculate typical royalty payments, splits and shares to songwriters and publishers under the statutory and controlled composition clause rates

· Calculate a master recording budget.

· Use a bid sheet to determine concert scenarios profitability.

Course Academic Goals:

The main objective of study in MBU 111x is to define and explain the major areas of the music and related entertainment industry in relationship to copyrights that generate profits. The course focuses on four revenue streams: music publishing, recording studios, record labels, and artist management/touring. The course explores the relationships of each revenue stream to the other, to other media, and to the overall music/entertainment industry. Students are encouraged to participate in class activities and will be tested with written examinations as announced by the instructor.

The objective is to provide a better understanding of:

· The major revenue streams of the music industry

· The components of each revenue stream and their roles in the industry

· The mega entertainment conglomerates and their country of domicile

· The copyright law with respect to the entertainment industry

· The process of taking an idea for a song through the system to presenting it to the public for sale.

· Intellectual property rights

· Music publishing operations

· Different types of deals for songwriters, publishers, recording artists and managers/artists

· The effects and industry uses of new technologies such as MP3.com, Napster, and Internet marketing, digital file sharing and downloads

· Music video production, expenses and purposes

· The principal job responsibilities of attorneys, managers, talent agents, concert promoters, musicians, publishers, recording artists, vocalists, producers, booking agents, film industry contacts, and how they interface

· Icons, message, and consumer psychographics and demographics

· A basic music and entertainment industry vocabulary

· Industry related ethical responsibilities

· Sound, lighting and effects companies in relationship to concert tours

· Industry marketing practices, promotion publicity and uses of mass media outlets

· Distribution, retail and Internet career opportunities

· Artist management and concert promotion processes and career opportunities

· Basic business strategies and non-profit organizations as related to the music and entertainment industry

· Trends for entrepreneurship and related industry strategies and career opportunities

· Retail outlets and types of distribution

· Music and radio formats, trends, demographics

· Unique business mergers and practices such as virtual corporations

· Financial information and industry breakeven points

· Recording Deals

· Recording session procedures, financials and career opportunities

· Union representation

· Industry related historical perspectives and future trends

· Industry personalities and gatekeepers

· Media promotion and publicity through Television, radio, the internet, and print media

GOALS OF THE MIKE CURB COLLEGE OF ENTERTAINMENT AND MUSIC BUSINESS:

The following objectives will be applied toward course completion:

· To provide a personalized, career-oriented and practical education that emphasizes leadership, innovation, private enterprise, and entrepreneurship.

· To equip students with the tools to think critically, communicate effectively, accept responsibility, make successful decisions, and prosper in diverse work environments.

· To emphasize quality classroom instruction within the parameters of ethical Christian principles.

Honor CODE:

As members of the Belmont community, students, faculty, staff, and administrators are all responsible for ensuring that their experiences will be free of behaviors, which compromise value. In order to uphold academic integrity, the University has adopted an Honor System. Students and faculty will work together to establish the optimal conditions for honorable academic work. Following is the Student Honor Pledge that guides academic behavior:

“I will not give or receive aid during examinations; I will not give or receive false or impermissible aid in course work, in the preparation of reports, or in any other type of work that is to be used by the instructor as the basis of my grade; I will not engage in any form of academic fraud. Furthermore, I will uphold my responsibility to see to it that others abide by the spirit and letter of this Honor Pledge.”

COURSE REQUIREMENTS:

1. Attendance:

Belmont University is committed to the idea that regular class attendance is essential to successful scholastic achievement. When the number of absences for any reason exceeds four times the number of scheduled class meetings per week (25% of meetings during summer term), the student is involuntarily dropped from the course with a grade of “WF” – ^{Belmont University Catalo}

2. Materials: Textbooks

1. All You Need to Know about the Music Business by Donald S. Passman, 6th edition, Simon & Schuster Free Press, 2006- ISBN 13:978-0-7432-9318-1

3. Participation and Prepared assignments:

Students are expected to come to class prepared to participate. This participation includes having read any assigned materials. A passing participation grade requires the student to actively contribute to the class on a regular basis by asking pertinent questions in addition to adding to the discussions. A participation grade will be assigned for every class.

ADDITIONAL REQUIRED COURSE WORK

· Industry Interview: Each student is required to complete an interview with an individual who works in the music industry. The interview must be typed and handed to the instructor by dead day-the day before final exams start.

· Industry participation (visits): Each student is required to attend two music business functions. Examples include a recording session, a taping for the Nashville Network, a concert, songwriter’s workshop, etc.

Note: The interview and visit are not factored into the final grade unless you fail to accomplish the work. Then the final grade is reduced 10% for the interview and 5% for each visit (for a total of another 10%). For example, if you fail to complete the interview and visits the highest possible grade in the class is a B-.

4. Testing:

A. Test One-General Overview and Intellectual Properties

B. Test Two-Music Publishing/Songwriting Royalty Stream

C. Test Three-Mega Entertainment/Recording/Production & Record Label Revenue Stream

D. Test Four-Distribution/Promotion/Publicity & Artist Management Revenue Stream

E. Final Exam 20%

Total Points (%) = 100

5. Basis of grade evaluation: Grading scale as per the current Undergraduate Bulletin.

Exams may consist of a variety of question types: multiple choices; true/false, short answer, matching, or essay questions. Students will be advised prior to the exam what type of questions to expect. In addition to the text, students are also responsible for any information presented in class in the form of readings, handouts, videos, exercises, cases, etc. Your instructor will announce the exact date of examination. Please see policies stated in the current Belmont University Bulletin. However, the grading system and scales are based on a formula that states that only a certain segment of the class may attain a particular grade on each exam (curve). The final grade is determined by a formula without regard to the number of students who can attain a particular overall course grade (absolute grade). Each individual test is curved with a mean/standard deviation scale. Each test score is competitive and the final course grades are not curved.

GRADING SCALE

Item/Criteria PERCENTAGE

All Unit Exams (20% each) 80 %

Final Exam 20%

Total 100%

A 93-100

A- 90-92

B+ 87-89

B 83-86- Superior to the average.

B- 80-82

C+ 77-79

C 73-76- Average or typical grade of class

C- 70-72

D+ 67-69

D 63-66 Inferior to the average.

D- 60-62

F 59-0 Failure to receive credit for the course.

MAKE UP TEXTS

Only those students with a legitimate university approved excuse will be permitted to take a make-up exam. All make-up examinations will be given on date that is convenient to the instructor.

CHEATING

Students caught cheating (during exams, through plagiarism or any other form) will result in a grade of zero (0) for that exam or assignment. Please refer to the Belmont University Student Handbook. Appropriate college personnel will be notified to determine if student will receive a grade of “F” in the course.

Accommodation of Disabilities:

In compliance with Section 504 of the Rehabilitation Act and the Americans with Disabilities Act, Belmont University will provide reasonable accommodation of all medically documented disabilities. If you have a disability and would like the university to provide reasonable accommodations of the disability during this course, please notify Tammye Tanksley, Director of Counseling & Developmental Support in the Office of the Dean of Students (460-6407) as soon as possible.

Class Schedule:

*THIS SYLLABUS PROVIDES A GENERAL PLAN FOR THIS COURSE. DEVIATIONS MAY BE NECESSARY AND WILL BE ANNOUNCED IN CLASS.

TENTATIVE CLASS SCHEDULE-MBU 111

Date Topics Chapters/Assignments

08/22 W	Welcome/Introduction	Listen
08/24 F	Talent Creativity Theories of Communication	Passman-pages 1-10 Wacholtz-Pages 2-11
08/27 M	Cast of Characters (Creative System) Songwriters Music Publishers Recording Artists Singers/BGV’s Musicians Record Producers Audio Engineers Merge Technology Engineers Additional Creative Team Members How to Pick a Team................................................................................................................................	Passman-pages 11-26 Wacholtz-pages 11-20
08/29 W-	Cast of Characters (Business System) Supporting Business Systems................................................................ Error! Bookmark not defined. Record Labels Recording Studios Promotion Publicity Artist Managers Talent Agents (Booking Agents) Concert Promoters Additional Business Contributors Consumers
08/31 F	The Process…………………………………………………… Industry Evolution The New Music Business 1. Songwriting/Music Publishing Revenue Stream (Intellectual Properties, Copyrights & Music Publishing). 2. The Recording Studio Revenue Stream (Musicians, Singers, and the Studio Business).	Wacholtz--Lecture
09/03 M	Labor Day (No classes Belmont)
09/05 W	3. Record Label Revenue Stream (Mega Entertainment Organizations & Record Labels) 4. Artist Management/Personal Appearance/Touring Revenue Stream (Shameless Self- Promotion, Publicity Concert Business, Merchandise) Centers of Creativity Attitude Summary.	Wacholtz -Lecture
09/07 F	Intellectual Property Rights Historical Perspectives Statute of Anne United States Constitution Copyright	Passman-pages 197-228 Wacholtz-Pages 21-31
09/10 M	Protecting Creativity Acts & Agreements…………………………………………… Copyright Act of 1790 Copyright Act of 1831 Public Domain Copyright Act of 1909 Copyright Act of 1976 The Audio Home Recording Act of 1992 Copyright Act of 1992-Amendment for Renewal The Copyright Royalty Tribunal Reform Act of 1993 The Digital Performance Right in Sound Recording Act of 1995 The Fairness in Music Licensing and The Sonny Bono Copyright Acts of 1998 The Digital Millennium Copyright Act of 1998 The No Electronic Theft Law (NET ACT) Advanced Copyright Concepts Copyrights in Sound Recordings and Songs	Passman-pages 229-249 Wacholtz-Pages 32-43
09/12 W	Copy rights Continued:……………………………………….. Copyright Notice Copyright Infringement Non-copyright ability A Work for Hire Authorship Phonorecords What Can Be Protected By Copyrights Fixation Process Exclusive Rights Fair Use Rights MP3.com, Napster.com, and other Digital Sharing Programs	Passman-pages 285-299 Wacholtz-pages 43-51
09/14 F	Compulsory License………………………………………….. Publication Registration Certificate of Registration Copyright Registration Forms Deposit of Copies Mailing Address Collective Works Collaboration Co-songwriting Musical Arrangements Sampling Termination (Recapturing) of Assigned Copyrights Street Realities Key Definitions Even More Advanced Copyright concepts Summary	Passman-300-316 Wacholtz-52-69 Passman-300-316
09/17 M	Test # 1
09/19 W	Music Publishing…………………………………………. The Song Business Historical Perspective Tin Pan Alley Music and Intelligence Music and Emotions Lifestyle Analysis Professional Songwriters Commercial Songwriting Pitching Songs to Music Publishers What to “Look For” in a Music Publisher What Publishers “Look For” in Songwriters	Wacholtz-pages 70-81
09/21 F	Types of Music Publishers……………………………………. Departments Transfer of Copyrights & Assignment of Exclusive Rights Splits Types of Deals Single Song Contracts Certificate of Recordation Publishing Companies and major income sources	Passman-pages 250-272 Wacholtz-pages 82-94
09/24 M	Music Publishing Continued………………………………….. Business Equity and Value Rolling the Dice Reassignment Process Artist Line Professional Songwriting Organizations Memberships in professional The Songwriter Guild of America The National Academy of Songwriters The Nashville Songwriters Association International Exploiting Copyrights Mechanicals and the Statutory Rate	Passman-pages 273-284
0926 W	Exploiting Copyrights………………………………………… Mechanicals and the Statutory Rate Indirect Royalty “Splits” Reserves Controlled Composition Clause Foreign Mechanical Royalties Right of “First Use” Music Publishers’ Mechanical Organizations American Mechanical Rights Association (AMRA) Copyright Management Inc The National Music Publishers Association & The Harry Fox Agency, Inc Cover Tune Mechanicals Public Performance Performance License Performance Rights Organizations Historical Perspectives Affiliation Performance Rights Membership Blanket License Fee The Fairness in Music Licensing Act Blanket License Fees	Wacholtz-pages 95-111