BELMONT UNIVERSITY

MIKE CURB COLLEGE OF ENTERTAINMENT AND MUSIC BUSINESS

COURSE SYLLABUS

Course Title: Survey of Music Business / Section: MBU1110.11 Semester:

Summer One 2008

Instructor: Dr. Wacholtz

Instructor Contact: Office: Room 224 (MBC) Phone 460-5437

Instructor Office Hours: M-F 8:30-9:30 and after classes as scheduled

Course Credit: X Hrs.

Meeting Times:

• MBU 1110.11-Room MC 200a-Time 9:30-11:15 am MTWRF

Educational Objectives of the Mike Curb College of Entertainment & Music Business: 1) To provide a personalized, career-oriented and practical education that emphasizes leadership, innovation, private enterprise and entrepreneurship. 2) To equip students with the tools to think critically, communicate effectively, accept responsibility, make successful decisions, and prosper in diverse work environments. 3) To emphasize quality classroom instruction within the parameters of ethical Christian principles.

Course Description: “This course is a general overview and a study of the major functional areas of the music business. Attention is given to the theoretical foundations and practical application of current business practices in the music industry including supporting organizations and the revenue flow from music consumer to creator.”www.belmont.edu/catalog/undergrad2007jun/cemb/courses.html .)

Learning Outcomes: Students will synthesize all course outcomes through demonstrated understanding of common business practices related to the systemic study of music business environment and related topics through homework, quizzes, and a student driven research project.

Performance Criteria: After completion of the course students’ should be able to:

• Name and discuss the major revenue streams of the music industry and explain/describe key areas and players
• Name and discuss the role of key roles within the revenue stream as well as identify career options in the industry.
• Name basic contracts clause/terminology defining basic industry operations and relationships
• Name key major entertainment conglomerates and identify country of origin as well as general effect of the merger on the industry.
• Explain the basics of early and current copyright law with respect to the music business and broader entertainment industry
• Compute basic calculation pertaining to studio production budgets, record royalty payments, concert promotion expense/bid/offer sheets, and basic publishing splits and songwriter shares, s well as mechanical royalty calculations under the statutory and controlled composition clause rates
• Calculate a basic master recording budget.
• Write/discuss the effects and industry uses of new technologies such as MP3.com, Napster, and Internet marketing, digital file sharing and downloads and discuss possible effects and existing model

Honor Code: It is the responsibility of each student to abide by the Belmont University Honor Code. “In affirmation of the Belmont University Statement of Values, I pledge that 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.”

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 the Office of the Dean of Students located in Beaman Student Life Center (460-6407) as soon as possible.

Course Requirements:

A. 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. Class participation is expected; attendance and absence will be noted. THEN STATE ANY ADDITIONAL SPECIFIC ATTENDANCE REQUIREMENTS OF THE COURSE.

B. Materials/Textbooks:

Off the Record: How the Music Business Really Works by Larry Wacholtz Ph.D., Copyright 2008 Thumbs Up Publishing

C. Assignments:

Homework: There will be short class assignments related to lecture material covering calculation exercises. These are either handouts or assigned pages from Music Business Workbook.

Testing/Assignments (100%):

(A) Exams (5): 4 chapter/section exams and one final exam will be given. Exams primarily cover lecture and all readings, material, video, or any content assigned or discussed in class. Each exam is scored for 100 points and is comprised of 50 or more questions consisting of multiple choice/essay/short answer, or any combination thereof. Final exam is typically 100 comprehensive questions (or more) in accordance with the final exam schedule at the assigned time and place—NO FINAL EXAM will be given at any earlier time.

(B) There are NO MAKE UP EXAMS for any tests! At the instructor’s discretion, students with a test absence will have the final exam count double, triple or more: depending on the number of missed exams. An exception is made for official Belmont University Absences. Students may be tested on any portion of material presented in readings, web site or lecture at instructor’s discretion.

Grading Scale: A= 100 - 90; B= 89 - 80; C= 79 - 70; D= 69 - 60; F= Below 60. Grades will not be curved.

Remember that pre-reading chapters before lecture will reinforce and clarify lecture material. It is best to review previous lecture notes before class or at least once a week. This will make testing easier for you.

TENTATIVE CLASS SCHEDULE (Subject to change)  

^{Week One}

^{Greetings, Overview of course expectations.}

^{Creative System}

^{Recording Artist/Musicians}

^{Record Producers}

^{Audio Engineers}

^{Entertainment as Communication Theories}

^{Business System/Gross income (size) of the industry}

^{Music Publishers}

^{Record Studios}

^Promotion

^Publicists

^{Artist Managers}

^{Concert Promoters}

^{Booking Agents/Talent Agents}

^Promotion

^{Concert Promoters}

^{The Mass Media}

^{The Click Media}

^{Entertainment as a business model}

^{Songwriting/Music Publishing Revenue Stream}

^{Label Revenue Stream}

^{Event/Management Revenue Stream}

^{Associated Careers}

^Consumers

^{Provide summary and study guide}

^{Original works or authorship/Categories}

^{Historical Perspective}

^{Statute of Anne}

^{United States Constitution}

^{Article 1, Section 8}

^{Exclusive Rights}

^Reproduction

^{Prepare Derivative Works}

^Distribute

^{Perform the Work Publicly}

^{Display the Work Publicly}

^{Digital Audio Transmission}

^{Types of Copyright Ownership}

^{Authorship/Ownership}

^{Works Made for Hire}

^{A Contribution to a collective Work}

^{Transfer of Ownership}

^PhonoRecords

^{Sound Recordings}

^{Act of 1790}

^{Act of 1831}

^{Act of 1909}

^{Act of 1976}

^{Act of 1992}

^{Act of 1993}

^{Act of 1995}

^{Act of 1997}

^{Acts of 1998/The DMC}

^{The Fairness in Music Licensing Act}

^{Sonny Bono}

^{Supreme Court Decision on Peer-to-Peer File Sharing}

^{Act of 2004}

^{Notice of Intention}

^{Neighboring Rights}

^Geneva

^{Geneva Phonograms Convention}

^Paris

^Brussels

^{The Berne Convention}

^{The WTO and WIPO}

^{Not Protected}

^{Poor Man’s Copyright}

^{A Work for Hire}

^Authorship

^{Fixation Process}

^Publication

^{The United States Copyright Office}

^{Certificate of Registration}

^{Registration Process}

^{Electronic Registration}

^{Copyright Registration Forms}

^TX

^SE

^PA

^VA

^SR

^{Collaboration Team}

^{Co-songwriting}

^{Musical Arrangements}

^Sampling

^{Fair Use Rights}

^{Compulsory License}

^{Recapturing Assigned copyrights}

^{Key Definitions}

^{Provide Summary and Study Guide}

^{Test # One}

^{Week Two}

^{Review of Test One}

^{The Song Business}

^{Historical Perspective}

^{Professional Songwriting Organizations}

^SGA

^NSAI

^{Songwriting as a Profession}

^{Pitching Songs to Music Publishers}

^{Career Song}

^{What to “Look For” in a Music Publisher}

^{What Publishers “Look For” in Songwriters}

^{The National Music Publisher Association}

^{Types of Music Publishers}

^{Major Publishers}

^{Independent Publishers}

^{Specialty Publishers}

^{Foreign Publishers}

^{Vanity Publishers}

^Departments

^Acquisitions

^Legal

^{Administrative}

^Payroll

^Creative

^{Splits and Shares}

^{Value of Copyright Ownership}

^{Business Equity of the Copyright}

^{Single Song Contracts}

^{Types of Deals}

^{A Work-for-Hire}

^{Staff Writer}

^{Co-Publishing}

^{Sub-Publishing}

^{Shark Deal}

^{Certificate of Registration}

^{Certificate of Recordation}

^Licenses

^Mechanical

^Sync

^Blanket

^Print

^{Transcription}

^{Artist Line}

^{The Harry Fox Agency}

^{Mechanical Licenses}

^{Holds and First Use Rights}

^{The Statutory Rate for Mechanical Licenses}

^{The Exception-the Compulsory License}

^{Cover Tune Mechanicals - Compulsory License}

^{Foreign Mechanical Royalties}

^{Indirect Royalty “Splits”}

^{Memorandum Opinion on Ringtones}

^SoundScan

^{Sync (Synchronization) License}

^{Performance Rights Organizations}

^ASCAP

^BMI

^SESAC

^Affiliation

^{Blanket License}

^{Blanket License Fees}

^{Direct Payments}

^{Collection Procedures}

^{The Fairness in Music Licensing Act}

^{In The Pipeline}

^{Payment Rates and Schedules}

^{Print License}

^{Transcription License}

^{Best Efforts}

^{Termination of Contract}

^{Reassignment Process}

^{Single Song Contract Negotiation Points}

^{Elements of Contractual Negotiation}

^{Key Music Publishing Terms}

^{Provide Summary and Study Guide}

^{Test Two}

^{Review of Test Two}

^{Week Three}

^{Mega Entertainment Industry Companies}

^{Historical Perspectives}

^Bertelsmanns

^EMI

^Sony

^TimeWarner

^{Vivendi/Universal}

^Divisions

^{Major Labels}

^{Important Record Labels}

^Columbia

^{RCA Records}

^{Capitol Records}

^{Warner Bros.}

^{Motown Records}

^{Types of Labels}

^{Major Labels}

^{Affiliate Labels}

^{Independent Labels}

^{Vanity Labels}

^{Specialty and Virtual Reality labels}

^{Label Administrative Structure}

^{Creative/Business Milieu}

^{What Artists look for in Labels}

^{What Labels look for in Artists}

^{Getting Noticed}

^{Digital Discovery}

^Showcases

^{Pitch Memo}

^{Deal Memo}

^{Types of Deals}

^Major

^{Development Deals}

^Indie

^Vanity

^{The Shark Deal}

^{Key Contact Points}

^Accounts

^Advances

^Audits

^{Commitment Album}

^{Controlled Composition Clause}

^{Copyright Owner}

^{Cross Collateralization}

^{Delivery Date}

^{Digital Download Financials}

^Exclusivity

^Formula

^{Name and Likeness}

^{Platform Financials (CDs)}

^Product

^{Royalty Points and Packaging Fees}

^Recoupment

^{Recording Label Breakeven Points}

^{Recording Label Profits}

^{Marketing Plans}

^{Promotion/Publicity}

^{Placement Distribution}

^One-Stops

^{Mass Merchandisers}

^{Rack Jobbers}

^{Record Clubs}

^{P.I. Advertising}

^{Internet Websites}

^{Cell Phones/PDA's}

^{Executive Administration}

^{Chairperson of the Board/Chief Executive Officer}

^Legal

^{Personnel/Payroll}

^{Artists and Repertoire (A&R)}

^Creative

^{Administrative}

^Development

^{Creative Development}

^{Artist Development}

^{Product Development}

^{The Recording Industry Association of America (RIAA)}

^{Summary and Study Guide}

^{The Studio business}

^{Recording Variables}

^{The Recording Team}

^{Record/Session Producers}

^{Independent Producers}

^{Record Label Staff Producers}

^{Major Independent Producers}

^{Garage/Jam Band Musicians}

^{Working Musicians}

^{Road Musicians and Event Artists}

^{Recording Artists}

^{Studio Musicians}

^Virtuosos

^{Audio Engineers}

^{Entry-Level Audio Engineers}

^{Second Engineers}

^{Staff Engineers}

^{Major Artist Engineers}

^{Royalty Artist}

^{BGV's Background Vocalists}

^{Types of Recording Studios}

^{Master Studios}

^{Project Studios}

^{Demo Studios}

^{Post Production Studios}

^{Computer Based Studio}

^{Scheduling Sessions}

^Unions

^AFTRA

^{AF of M}

^{Types of Sessions}

^{A.F. of M. Recording Scales}

^{A.F.T.R.A. Recording Scales}

^{Non-Union Recording Sessions}

^{Stages of a Recording Session}

^{Pre-Production}

^{Basic Tracks}

^Overdubbing

^Mixdown

^Mastering

^{Recording Budget Chart}

^{Recording Budgets}

^{Production Budget and Digital Storage Fee}

^{Lowering The Cost of Production}

^{Computer based Recording Budget}

^{Key Studio Terms & Equipment:}

^{Additional Studio Terms and Definitions}

^{Summary and Study Guide}

^{Test # 3}

^{Review of Test # 3}

^{Week Four}

^{The Event business}

^{Non-Label Artists}

^{The Business of Fame}

^{Selecting a Manager}

^{Management Team}

^{Booking Agents}

^Attorneys

^{Business Financial Managers}

^{Road Managers}

^Promotion

^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

^{Contracts/Termination of Contract}

^{Stage Names}

^{Tour Support}

^Promoters

^{Bid Sheets}

^{Concert Promotion Process}

^{Virtual Corporations}

^Deposits

^{Profit Margins}

^{Guarantees and Splits}

^{Sponsoring Radio Station}

^{Risky Business}

^Merchandise

^Rider

^IATSE

^Roadies

^Ticketmaster

^{Serious Music Market}

^{Pollstar & Soundscan}

^{Billboard Magazine}

^{New Business Models}

^{Music as a Public Utility}

^{Free Music}

^{Artist as a Free Agent}

^{The Current System}

^{Key Artist Management Contractual Terms}

^{Key Management and Concert Promotion Terms}

^{Summary and Study Guide}

^{Create a Local Buzz}

^{Start in the Mail Room}

^{Education and Internships}

^Image

^{Shameless Self-Promotion}

^{Types of Businesses}

^{Sole Proprietorship}

^Partnerships

^{Various Types of Corporations}

^{Entrepreneurship}

^{Revenue Streams}

^{Songwriting, Music Publishing Revenue Stream}

^{Record Label Revenue Stream}

^{Management, Touring Revenue Stream}

^{Capturing Emotions as Sellable Products}

^{Launching the Products}

^{Event Marketing}

^{Test # 4}

^{Review of Test # 4}

^{July 2, Final Exam}