- 510 Pages
- Published by Watson-Guptill
- Hardcover
Product Description
Now in its tenth edition, This Business of Music has been revised and completely updated to reflect the latest changes in the ever-evolving music business. Every chapter has been revised. An entirely new chapter has been added, asking and answering the question “Are there borders in cyberspace?” The answer is yes, and the book clearly and concisely explains what they are and how to maintain them. Commentary on recent legislation, a reader-friendly summary of the law… More >>
This old chestnet has been revised so many times – and in this edition so badly – that I had to return my copy. No anecdotal or empiral information, no up to date examples, full of mistakes and outdated data. If they want this book to survive they need to start all over and not revise it based on other books and old files. Barely high school level – certainly not for anyone in the music business or wanting to enter it.
This from a professional writer, producer and publisher.
Rating: 1 / 5
This book was in excellent condition and full of great information. Shipping was VERY slow on this item. It is pretty technical but probably a must for anyone who is in the music business. I would have given it more stars if it would have arrived sooner.
Rating: 3 / 5
This book is the bible for Music Business. It has been very helpful to me. It explains everything you need to know about the business and legals behind it.
Rating: 5 / 5
This warhorse of a textbook still gives you the information you need when you need it. My one complaint is that it’s still written in a very user unfriendly language. It just seems to me that this book can explain things with a little simpler English.
There are some good additions/changes to reflect current changes in the industry.
However, if you are a novice trying to get a feel for the machinations of the music industry, there are better books out there.
Rating: 4 / 5
I have owned several editions of this book through the years. I am impressed with this tenth edition of a standard reference work that I point my students toward (I am a composer and a professor of music involved with production and recording).
Ever wonder about the potential legal issues involved in publishing a compilation? Or covering a famous song? The finer points of movie soundtrack copyright? Or perhaps you are confused about terms often used but poorly understood by most musicians, such as mechanical rights or what constitutes a work for hire.
As far as updates, I am pleased to see a discussion of digital downloads, the legal issues and battles involved, and their share of the music business pie. There are lists of labels distributed by the four majors– I didn’t know that Caroline and Astralwerks are both owned by EMI, for example– as well as the inclusion of contemporary phenomena such as the South by Southwest Festival, ascendant in recent years.
But the most important aspect of this book to me is the authoritative voice of a seasoned New York City entertainment lawyer who has been around for a long time and manages to stay abreast of new trends and practices.
In short: highly recommended.
Rating: 5 / 5