No one understands the music industry--from the technology, to the legalities, to the new industry practices--better than veteran music lawyer Donald Passman. In this completely revised and updated seventh edition of All You Need To Know About the Music Business, which the Los Angeles Times called “the industry bible” and which has sold hundreds of thousands of copies, Passman offers executives and artists, experts and novices alike the essential information they need not only to survive in these volatile and exciting times, but also to thrive. Drawing on his unique, up-to-the-minute experience as one of the most trusted advisors in the business, Passman offers advice concerning: - The Copyright Royalty Board’s latest decisions regarding online transmissions. - The developing new customs concerning new technologies such as streaming on demand, ringtones, and digital downloads. Passman also gives guidance on other fundamental issues such as how to: - Select and hire a winning team of advisors--personal and business managers, agents, and attorneys--and structure their commissions, percentages, and fees in a way that will protect you and maximize these relationships. - Master the big picture and the finer points of record deals. - Navigate the ins and outs of songwriting, music publishing, and copyright law. - Maximize concert touring and merchandising deals. Almost everyone in the music business, from musicians and songwriters to entertainment lawyers and record company executives, are scrambling to sort out what is going to happen next, and Passman is right in the thick of these changes. Here is a book for anyone interested in a music career: a comprehensive and crucial guide to making it in one of the world’s most dynamic industries.

Why do we like music? What does it do for us? How has it become part of our being? Questions about the origin and relevance of human musicality have fascinated many of the greatest thinkers in history, including Confucius, Plato, Rousseau, and Darwin. This book is a novel approach to the subject. The text is built around brief biographies, or 'profiles, ' of thirty musicians from the distant past. These musicians lived between approximately 2500 BCE and 1500 CE at locations that span half the globe. They came from a variety of social classes, and the group includes both men and women. The biographies provide a unique glimpse into the geographical spread and variety of ancient musical life. They form the basis for an exploration of the 'why, ' 'what, ' and 'how' of our attraction to music. As described in this book, ancient musical activities resembled those of the present: The Mesopotamian princess Enheduanna composed hymns to her gods. The Greek composer Pindar sold songs about athletes. The Roman emperor Nero got an ego boost by singing on stage. The Arabian songstress Jamila performed erotic music for her ecstatic fans. The European troubadour Marcabru used music to criticize upper-class immorality. The blind Japanese lutenist Akashi no Kakuichi composed a massive and influential musical war epic. Present-day musicians carry out a number of social, political, religious, entertainment, and other functions in society. Information from the profiles demonstrates that ancient musical practice involved carrying out the same musical functions as at present. To the author's knowledge, this is the first time that such a conclusion has been based on firm historical evidence. This evidence of constancy through different historical stages adds support to the view that human musicality is a genetically determined trait, rather than a characteristic that is acquired from the individual's cultural context. The text reviews and comments on evolutionary theories concerning the acquisition of musicality. 'Musical entrainment, ' which has recently received a great deal of attention from evolutionary scientists, is singled out for special attention. Examples taken from the profiles and elsewhere help to clarify this rather obscure concept. The book is introduced by an historical overview of the ideas expressed by philosophers, scientists, and others about music. Appendices to the text establish the relation of this study to traditional ethnomusicology and describe the anthropological framework that has been employed. More than 400 bibliographic references and a detailed index complete the presentation.

Watch the presentation video @ https: //MusicBusinessMystery.com It may surprise you to learn that most people who claim they are in the music business (i.e., managers, agents, scouts, etc.) are not. As a matter of fact, they really don't even know what the music business is. At least, not exactly. Even worse, the aspiring recording artist knows even less. This being the case, the aspiring recording artist is not equipped to recognize the dangers of pretend sharks that fester around the music business. Actually, sharks run the music business. But this is not the problem. At least not the immediate one. The main problem the aspiring recording artist will encounter is the myriad of sharks that pretend they are in the music business. The main difference between the real sharks and the pretend sharks is that you can make legitimate record deals with the real sharks. The pretenders are on the front lines, patiently waiting to take advantage of unsuspecting naïve starry-eyed dreamers. Unfortunately, most aspiring recording artists are so attracted to the pursuit of fame and fortune that they completely neglect the business side of the music business. And they are easy targets for pretend sharks to trick into wasting valuable time and money that lead to nowhere. Granted, plenty of one hit wonders have come and gone over the decades leaving a false impression of how to make it. The real sharks who run the music business are businessmen who control all those lucrative record deals; and they operate in a certain format. Unfortunately, the aspiring recording artist has no idea what that format is. And neither do those pretend sharks who only serve to waste your time and money. THE ONLY WAY for the aspiring recording artist to make it in the music business is to first understand what exactly the music business is and how it works. This alone is enough information to help you instantly recognize and avoid all the pretend sharks. And second, understand the format of how the businessmen who run the music business operate. Aspiring recording artists who don't follow the proper music business format at most will become a one hit wonder. But those who do follow the proper music business format are offered the most lucrative record deals. Every aspiring recording artist should arm themselves with this crucial information.

Erin and Darcy, answering personal ads as research for a TV show, discover a whole new New York sub-culture - adulterers, con men, the shy and frankly weird, all looking for love. And one man looking for something darker . . . A serial killer who has just got away with murder for fifteen years, and has promised himself just two more . . .

This books outlines the author's new and original scientific theory about music - that music is a super-stimulus for the perception of musicality, where musicality is a perceived aspect of speech that provides information about the speaker's internal mental state.

(Amadeus). Conducting an orchestra is something that is seen as well as heard, but it is quite misunderstood when it comes to knowing what this person actually does for a living. This most mysterious of jobs is brought to life for the music lover as well as for the aspiring maestro in a book by Leonard Slatkin. Drawing on his own experiences on and off the podium, Slatkin brings us into the world of the baton. He tells tales of some of the most fascinating people in the musical world, including Frank Sinatra, Leonard Bernstein, and John Williams. He takes the reader to the great concert halls and orchestras, soundstages in Hollywood, and opera pits around the globe. Mr. Slatkin recounts his controversial appearance at the Metropolitan Opera, his creation and direction of summer music festivals, and a shattering concert experience that took place four days following 9/11. Life in the recording studio and on the road as well as health issues confronting the conductor provide an insider's glimpse into the private world of public figures. Covering everything from learning how to read music to standing in front of an orchestra for the first time, what to wear, and how to deal with the press, Conducting Business is a unique look at a unique profession.