BELMONT UNIVERSITY

MIKE CURB COLLEGE OF ENTERTAINMENT AND MUSIC BUSINESS

COURSE SYLLABUS

Course Title: Survey of Music Business

Course #: MBU 1110.21 Credit Hrs: 3 Semester: Summer 2006

Class Location: MBC 200a Meeting Time(s): MTWRF 9:30am-11:15am

Final Exam: Final exam is 9:30am Thursday August 8, 2006

Instructor: Dr. Wacholtz

Office: 224 B. Massey

Contacts: Phone: 460-5437 Email: wacholtzl@mail.belmont.edu

lwacholtz@bellsouth.net

COURSE DESCRIPTION:

A study of the major areas of the Music Business with attention given to the practical application as well as the theoretical foundations. An In-depth study of organizations and a general overview of the industry. Guest lecturers from the music industry may be utilized.

COURSE OBJECTIVES:

The main objective of study in MBU 111 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 Catalog}

2. Materials: Textbooks

1. Recording Industry by Geoffrey P. Hull Second Edition ISBN # 0-415-96802-X Routledge 2004.

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.

4. Testing:

A. Test One-General Overview and Intellectual Properties 25%

B. Test Two-Music Publishing/Songwriting Royalty Stream 25%

C. Test Three-Mega Entertainment/Recording/Production & Record Label Revenue Streams 25%

E. Final Exam including Distribution/Promotion/Publicity & Artist Management Revenue Stream 25%

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 (25% each) 75 %

Final Exam 25%

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.

6. 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

07//10/2006 M	Welcome/Introduction	Listen
	Creative and Business Systems……………………………… Understanding the Recording Industry	Wacholtz-Chapter 1 Pages 1-12 Hull pages 1-8
	Cast of Characters........ Error! Bookmark not defined. Songwriters Music Publishers Recording Artists Singers/BGV’s Musicians Record Producers Audio Engineers Merge Technology Engineers Additional Creative Team Members Understanding the Music Industry	Wacholtz-Chapter 1 Pages 13-16 Hull pages 10-26
07/11/2006 T	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	Wacholtz -Chapter 1 Pages 16-20
	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). 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 The Recording Industry and other Media	Wacholtz-Chapter 1 Pages 21-35 Hull Chapter 10 pages 231-254
07/12/2006 W	Intellectual Property Rights…………………………………… Historical Perspectives Statute of Anne United States Constitution Copyright Basics……………………………………………..	Wacholtz-Chapter 2 Pages 39-42 Hull Pages 27-44
	Acts & Agreements…………………………………………… Copyright Act of 1790 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) International Agreements Copyrights in Sounds Recording and Songs	Wacholtz-Chapter 2 Pages 42-48- Hull Pages 45-68
	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	Wacholtz-Chapter 2 Pages 48-70
07/13/2006 R	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 Summary	Wacholtz-Chapter 2 Pages 48-70
07/14/2006 F	Test # 1
07/17/2006 M	Music Publishing…………………………………………. 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-Chapter 3 and Internet websites Pages 71-78
	Publishing companies and Major Income Sources…………… Secondary Publishing Income	Hull pages 69-96
	Bonus Section-How to Set Up Publishing Company …….. Songwriter Deals	Wacholtz
	Types of Music Publishers……………………………………. Departments Transfer of Copyrights & Assignment of Exclusive Rights Splits Types of Deals Single Song Contracts Certificate of Recordation	Wacholtz-Chapter 3 Pages 79-86
0718/2006 T	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	Wacholtz-Chapter 3 & Websites Pages 86-90
	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-Chapter 3 & look up NMPA and Harry Fox websites Pages 90-98
07/19/2006 W	Co-Publishing and Administrative Deals…………………….. Advanced Copyright Concepts Even More Advanced Copyright Concepts	Wacholtz
07/20/2006 R	Song Pitching in Class	Look Up ASCAP, BMI and SESAC websites
	Music Publishing Contracts and Publishing Terms…………... The Fairness in Music Licensing Act Blanket License Fees Direct Payment Scheme Collection Procedures In The Pipeline Payment Methodology Payment Rates and Schedules ASCAP-American Society of Composers, Authors and Publishers BMI-Broadcast Music, Incorporated SESAC The Congress of International Societies of Authors and Composers Additional Information About PRO’s PRO’s Do Not: Synchronization, Print, Direct, and Other Licenses Key Songwriter Creative Publishing Terms	Wacholtz-Chapter 3 Pages 98-111
07/21/2006 F	Test 2
0724/2006 M	Record Labels…………………………………………………. Selling the Product Historical Perspectives Mega-Entertainment Corporations Bertelsmann’s AG (BMG) NBC-Universal Sony (Song BMG) AOL-Time Warner (Warner Music Group-Broufamann) EMI Group Disney/ABC, DreamWorks SKG Typical Divisions flow chart	Wacholtz-Chapter 5 and look up Mega Internet websites Pages 145-158
	Labels Continued:…………………………………………….. Major Labels Affiliate Labels Independent Labels Virtual Reality/Internet Labels Departments Marketing International Divisions Types of Deals Signing Bonuses Royalty Points Recoupment Packaging Charges & Discounts	Wacholtz-Chapter 5 and look up record label sites Pages-159-173
07/25/2006 T	The Recording Stream	Hull pages 121-138
	Real-Life Numbers ……………………………………………	Wacholtz
	Advanced Record Deal Points ………………………………. Advanced Royalty Computations Loan-out, Independent Production, Label and Distribution Deals	Wacholtz
07/26/2006 W	The Studio Business………………………………………….. The Recording Team Unions SAG/AFTRA AF of M Scheduling Sessions The AF of M Special Payment Funds Additional Industry Unions, Guilds & Professional Organizations Non-Union Recording Sessions	Wacholtz-Chapter 4 Pages 112-122
	Types of Recording Studios…………………………………... Key Studio Terms & Equipment Creative/Business Milieu Stages of a Recording Session Pre-production Basic Tracks Overdubbing Mix down MIDI/Computer Recordings Mastering MPEG & Win amp Liquid Audio NAMM International Music Products Association NARM The National Association of Recording Merchandisers The National Association of Recording Arts and Sciences	Wacholtz-Chapter 4 Pages 123-135
07/27/2006 R	Recording Budgets……………………………………………. Recording Studio Rental Album Budgets Label Recording Artists and Studio Vocalists (AFTRA Scale) Audio Engineer’s Scale Record Producer’s Scale Recording a Demo Key Terms and Definitions	Wacholtz-Chapter 4 Pages 135-144
07/28/2006 F	Test # 3
07/31/2006 M	Production and the A&R function ……………………………………………….	Hull pages 139-168
	Financials & Distribution…………………………………….. Right to Work Clause on Albums Key Label/Artist Negotiation Points Manufacturing Platforms Product Platforms Pricing Strategies Types of Distribution One-Stops Direct Mass Merchandisers Rack Jobbers Record Clubs Television Outlets Internet/Interactive Outlets	Wacholtz-Chapter 5 Pages 173-188
08/01/2006 T	Distribution & Promotion…………………………………….. MP3.com Peer to Peer Marketing Financial Advantage of Internet Downloads Other Types of Retail Product Return Rates Free Goods Piracy MAP policy Promotion Radio station airplay Radio Station Formats Crossovers Payola Street Promotion Radio Promotion Budget Internet Radio	Wacholtz-Chapter 5 Pages 188-198
08/02/2006 W	Trades…………………………………………………………. Billboard Magazine Top 40 Airplay Monitor Country Airplay Monitor R&B Airplay Monitor Rock Airplay Monitor Gavin Report Radio & Records Music & Media Trade Magazine Expenditures I Want My MTV Other Music Video Outlets Music Videos Movies Music Beds Variety RIAA IFPI Key Related Terms	Wacholtz-Chapter Pages 198-211
	The Marketing Function	Hull pages 255-266
08/03/2006 R	Artist Management: Selling the Image………………………. Management Duties Artist Image Popularity Artist Representation Management Team Booking or Talent Agents Attorneys Road Managers Publicity Public Relations Electronic Press Kits and Bio's TV Appearances Publicity Budgets Management Duties Non-Management Duties Artist-Manager Relationship Power of Attorney Agreement Commissions Key Artist Management Contractual Terms Splitsville Stage Names	Wacholtz-Chapter 6 Pages 212-223
08/04/2006 F	Personal Managers …………………………………………… Business Managers Attorneys Agents	Wacholtz Chapter 6
08/07/2006 M	Tours………………………………………………………….. Promoters Concert Promotion Process Virtual Corporations Deposits Profit Margins Guarantees and Splits Bid Sheets Merchandise Rider Roadies Ticket master Serious Music Market Endowment for the Arts Trade Magazines Amusement Business Pollstar Key Management and Concert Promotion Terms Arts Administration The Serious Music Market Perspective Representative Organizations Symphonic Music American Symphony Orchestra League Salary Arrangements Funding the Arts National Endowment for the Arts State Arts Councils Foundations, Corporate Giving Volunteer Support Administration	Wacholtz-Chapter 6 Pages 222-233
	Merchandising ………………………………………………. Retail Merchandising Music and New Technologies	Hull
	Financial Breakeven Points	Lecture
08/08/2006 T	Final Exam