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| Acknowledgments | |
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| Introduction | |
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| About the Author | |
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| The Music Business and Its Components | |
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| The Record Industry: A History and General Introduction | |
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| A Brief History of Recording | |
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| How Major and Independent Labels are Organized: Business and Creative Functions | |
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| Terms to Know | |
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| For Class Discussion | |
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| Record Distribution and Promotion | |
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| Record Distribution | |
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| Digital Distribution | |
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| Record Promotion | |
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| Payola and Other Illegal Promotions | |
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| Terms to Know | |
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| For Class Discussion | |
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| Record Deals | |
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| How Artists Get Record Deals | |
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| TV Placements and Commercials | |
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| Recording Contracts | |
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| Why Few Artists Earn Royalties from Records | |
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| Artist-Owned Labels | |
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| Financing Your Own Record | |
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| Piracy, Bootlegging, and File Sharing | |
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| Terms to Know | |
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| For Class Discussion | |
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| Intermediaries: Booking Agents, Personal Managers, and Business Managers | |
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| Booking Agents | |
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| Self-Booking | |
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| The College Market and Block Booking | |
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| Double Contracts | |
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| Band Franchises | |
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| Personal Managers | |
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| When Does an Act Need a Manager? | |
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| What Does a Manager Want in an Artist? | |
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| Pitfalls to Avoid | |
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| Finding a Manager | |
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| Business Managers | |
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| Terms to Know | |
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| For Class Discussion | |
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| Talent Unions | |
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| Background of the Union Movement in the United States | |
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| The American Federation of Musicians (AFM) | |
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| AFTRA and SAG | |
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| Other Talent Unions | |
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| The Outlook for Entertainment Unions | |
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| Terms to Know | |
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| For Class Discussion | |
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| Copyright and Performance Rights | |
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| Copyright | |
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| Infringement | |
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| Performance Rights Organizations: ASCAP, BMI, and SESAC | |
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| Performance Rights for Artists | |
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| Publishing and the Songwriter | |
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| Music Publishers | |
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| Terms to Know | |
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| For Class Discussion | |
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| Music Publishing | |
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| Publishing Rights | |
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| Mechanicals | |
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| Printed Music | |
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| Print Publishers | |
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| Synchronization Rights | |
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| Grand Rights | |
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| The Outlook for Music Publishing | |
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| Terms to Know | |
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| For Class Discussion | |
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| Regional Music Markets | |
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| The Rise and Fall of Regional Scenes | |
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| Nashville, Tennessee: Country Music U.S.A | |
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| Little Labels that Could: The Memphis Story | |
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| Rap-a-Lot: Atlanta | |
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| Alternative Scenes | |
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| Specialized Scenes | |
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| Studio Dispersion and Regional Scenes | |
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| Conclusion | |
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| Terms to Know | |
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| For Class Discussion | |
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| Specialized Musical Styles | |
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| Classical Music | |
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| Jazz | |
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| Contemporary Christian Music | |
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| Latin Music | |
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| World Music | |
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| Hip-Hop Music | |
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| Children's Music | |
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| Bluegrass, Folk, and Related Music | |
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| Other Musical Genres | |
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| Terms to Know | |
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| For Class Discussion | |
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| The International Music Markets | |
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| Similarities and Differences in International Music Markets | |
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| Role of Government | |
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| Unions | |
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| Legal Concerns | |
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| Immigration | |
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| Piracy in Emerging Markets | |
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| Touring | |
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| Cultural Matters | |
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| Terms to Know | |
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| For Classroom Discussion | |
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| Careers, Entrepreneurship, and the Entertainment Business | |
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| Music Business Education and Entrepreneurship | |
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| College Music Programs | |
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| What Students Should Look for in a Music Business Program | |
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| Music Business Education in the Twenty-First Century | |
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| Developing Entrepreneurial Skills | |
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| Establishing a Business: an Introduction | |
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| Taxes, Investments, and Savings | |
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| Long-Term Careers | |
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| Terms to Know | |
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| For Class Discussion | |
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| Songwriting and Composing | |
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| Song Sharks | |
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| Contests | |
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| How Songwriters Get Songs Recorded | |
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| Collaborations | |
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| Resources | |
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| Can a Songwriter Succeed Outside the Major Music Markets? | |
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| Composing | |
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| Music Arrangers | |
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| Terms to Know | |
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| For Class Discussion | |
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| Careers in Music Teaching | |
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| Teaching Individual and Group Lessons | |
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| Teaching in the School System | |
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| College Teaching | |
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| Instructional Books, Videos, and Clinics | |
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| Terms to Know | |
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| For Class Discussion | |
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| Recording Careers | |
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| Audio Engineering | |
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| Learning Audio Engineering | |
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| Operating a Studio | |
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| Engineering as a Career | |
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| Session Musicians | |
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| Record Production | |
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| Breaking In | |
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| What Producers Do | |
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| Production Styles | |
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| Hip-Hop Producers | |
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| A&R (Artist and Repertoire) | |
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| Producer Compensation | |
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| Producers and Gender and Race Discrimination | |
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| Producer Managers | |
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| Signing a Record Deal with a Producer | |
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| Terms to Know | |
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| For Class Discussion | |
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| Concert Promotion | |
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| The Concert Promotion Business | |
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| The Role of the Promoter | |
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| Promoting Non-Traditional Concerts | |
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| Terms to Know | |
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| For Class Discussion | |
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| Music Merchandising | |
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| Record Stores | |
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| Home Computers and the Growth of Digital Media | |
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| The Music Products Industry | |
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| Music Retailers | |
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| Exporting Musical Products | |
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| Trade Shows | |
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| Terms to Know | |
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| For Class Discussion | |
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| Individual Entrepreneurship | |
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| Randall Williams: Musician/Explorer | |
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| Mary Kadderly: Vocalist, Jazz Singer, and Actress | |
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| Noah Peterson: Jazz with an Open Mind | |
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| Michael Kearsey: Multitalented Bass Player | |
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| Chris Daniels: Band Leader, Producer, and College Professor | |
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| Mary Flower: Teacher/Performer | |
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| Otis Taylor: Bluesman | |
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| Misty River: The Power of Four | |
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| Conclusion | |
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| Terms to Know | |
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| For Class Discussion | |
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| The Future | |
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| Brave New World | |
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| Other Career Opportunities | |
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| Grants | |
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| Putting a Career Together | |
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| Terms to Know | |
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| For Class Discussion | |
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| Appendix | |
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| Glossary | |
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| Index | |