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| Acknowledgments | |
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| Preface | |
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| Understanding Music Publishing | |
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| Grasping the Basics of Music Publishing | |
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| What Music Publishing Really Means | |
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| What a Music Publisher Really Does | |
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| Creative Responsibilities | |
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| Administrative Responsibilities | |
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| The Difference Between a Music Publisher and a Record Label | |
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| The Relationship Between a Songwriter and a Music Publisher | |
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| Music Publishing Versus Work for Hire | |
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| Getting a Publisher to Represent Your Work | |
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| It All Starts with Writing Great Songs | |
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| ...But You Also Need to Consider the Market | |
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| Getting Feedback About Your Work | |
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| Where to Go to Get Your Songs Critiqued | |
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| How to Get the Most from a Song Critique-and What Not to Do | |
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| Getting Your Foot in the Door | |
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| Why Referrals Are Useful in Attracting a Publisher's Attention | |
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| How to Get Referrals That Attract Attention | |
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| Preparing to Interest a Publisher with a Presentation Package | |
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| Composing an Effective Cover Letter | |
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| What to Include on Your CD | |
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| How Many Songs to Include-and in What Order | |
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| Preparing for and Meeting with a Publisher Face-to-Face | |
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| Preparing a Proper Lyric Sheet | |
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| Presenting Yourself Professionally | |
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| Asking the Right Questions | |
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| Working As a Staff-Writer | |
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| What Staff-Writing Really Means | |
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| How Staff-Writers Are Paid | |
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| Options | |
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| How a Publisher Recoups | |
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| Reversion | |
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| The Pros and Cons of Staff-Writing | |
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| How to Get a Staff-Writing Deal | |
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| Understanding Music Publishing Agreements | |
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| Analyzing a Single Song Publishing Agreement | |
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| Assignment of Work | |
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| Compensation | |
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| Royalties | |
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| Warranties and Representations | |
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| Assignment | |
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| Terms Defined | |
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| Correspondence | |
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| Legal Action | |
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| Reversion | |
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| Complete Terms of Agreement | |
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| Analyzing an Assignment of Copyright | |
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| Analyzing an Exclusive Songwriting Agreement | |
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| Engagement | |
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| Term | |
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| Grant of Rights | |
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| Prior Compositions | |
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| Exclusivity | |
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| Warranties, Covenants, and Representations | |
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| Power of Attorney | |
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| Delivery Requirement | |
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| Advances | |
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| Royalties | |
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| Accounting | |
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| Writer's Services; Demonstration Recordings | |
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| Promotional Appearances | |
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| Collaboration with Other Writers | |
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| Name and Likeness | |
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| Separate Agreements | |
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| Actions | |
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| Indemnity | |
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| Post-Term Rights | |
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| Unique Services | |
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| Notices | |
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| Entire Agreement | |
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| Modification; Waiver; Enforceability | |
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| Assignment | |
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| Status of Parties | |
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| Notice of Breach | |
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| Insurance | |
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| Legal Counsel | |
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| Headings | |
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| Controlling Law | |
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| Attorneys' Fees | |
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| Self-Publishing Your Work and Exploiting Your Copyrights | |
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| Setting Up a Music Publishing Company | |
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| Affiliating with a Performing Rights Organization | |
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| Clearing a Name Through ASCAP, BMI, or SESAC | |
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| What It Takes to Be a Successful Publisher | |
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| Exploiting Your Self-Published Work | |
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| How to Know Who Is Looking for Songs-and How to Get to Them | |
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| Using Tip Sheets Effectively | |
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| Joining Taxi | |
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| Preparing Your Song Submission Package | |
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| Cover Letter | |
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| Lyric Sheet | |
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| Compact Disc | |
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| Casting Your Self-Published Songs | |
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| Getting Feedback | |
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| Analyzing Artists' Work | |
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| Allowing Developing Artists to Record Your Songs | |
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| Pitching Songs to Unsigned and Independent Artists | |
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| Providing Track Mixes | |
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| The Pros and Cons of Self-Publishing | |
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| Copublishing Your Work | |
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| Co-administering Your Material | |
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| How to Get a Copublishing Deal | |
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| Analyzing Copublishing Provisions for Single Song and Exclusive Songwriting Agreements | |
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| Advances | |
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| Ownership and Administration | |
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| Administration; Reversion | |
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| First Right of Refusal: Matching Right | |
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| Exhibit "A" | |
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| Understanding Participation Agreements | |
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| Operating As a Performing Songwriter | |
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| The Benefits of Publishing Deals for Performing Songwriters | |
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| Sources of Income for Performing Songwriters | |
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| Recording Your Own CD | |
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| Hiring a Producer | |
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| Hiring Musicians and Vocalists | |
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| Paying Mechanical Royalties | |
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| Understanding Copyright Administration and Administration Agreements | |
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| Administration Deals | |
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| Analyzing an Administration Agreement | |
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| Compositions | |
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| Rights | |
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| Collections | |
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| Royalties | |
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| Warranties | |
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| Indemnification | |
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| Settlement of Claims | |
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| Royalty Accounting | |
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| Term of Agreement | |
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| Subpublishing | |
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| Entire Agreement | |
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| Power of Attorney | |
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| How Songs Generate Income | |
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| Understanding Mechanical Licenses and Mechanical Royalties | |
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| Mechanical Licenses | |
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| Analyzing a Mechanical Licensing Agreement | |
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| Right to Grant Mechanical License | |
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| Rights Granted | |
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| Musical Arrangements | |
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| Royalty Rate | |
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| Royalty Accounting | |
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| Right to Audit | |
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| License Termination | |
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| Definition of Phonorecords | |
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| Copyright Acknowledgment | |
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| Limitation of Rights; Legal Disputes | |
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| Compulsory Mechanical Licenses | |
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| First Use Licenses | |
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| Holds | |
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| Digital Licensing | |
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| Digital Permanent Downloads | |
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| Limited or Tethered Downloads | |
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| Streaming and On-Demand Streaming | |
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| Burning | |
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| Ringtones | |
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| Mechanical Royalties | |
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| Statutory Rate | |
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| Controlled Compositions | |
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| Additional Reduced Mechanical Royalty Rates | |
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| The Harry Fox Agency | |
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| Reserves and Returns | |
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| Audits | |
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| Foreign Mechanical Rights Organizations | |
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| Understanding Performance Royalties | |
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| Performing Rights Organizations | |
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| ASCAP | |
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| BMI | |
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| SESAC | |
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| How Radio Performance Royalties Are Monitored and Calculated | |
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| How ASCAP Monitors and Pays for Radio Performances | |
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| Credit Weights | |
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| Radio Feature Premium Payments | |
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| How BMI Monitors and Pays for Radio Performances | |
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| Current Activity Payments | |
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| Hit Song Bonus | |
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| Standards Bonus | |
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| Commercial Radio Performance Payments | |
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| Additional Radio Performance Payments | |
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| Radio Feature Performance Bonus Payment Rates | |
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| Super Bonus Payment Rates | |
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| Upper-Level Bonus Payment Rate | |
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| Mid-Level Bonus Payment Rate | |
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| Entry-Level Bonus Payment Rate | |
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| Additional Bonuses | |
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| How SESAC Monitors and Pays for Radio Performances | |
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| How Television Performance Royalties Are Monitored and Calculated | |
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| Categories of Television Music and the Royalties They Generate | |
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| Cue Sheets | |
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| How ASCAP Monitors and Pays for Television Performances | |
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| Weighting for Various Television Music Uses | |
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| Feature Performances | |
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| Theme Songs | |
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| Background Music | |
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| Music in Television Commercials | |
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| How BMI Monitors and Pays for Television Performances | |
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| Time of Day | |
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| Length of Performance | |
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| Number of Network Stations | |
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| BMI Royalty Payments for Music on ABC, CBS, and NBC | |
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| BMI Royalty Payments for Music on Local Television | |
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| BMI Royalty Payments for PBS and Cable Television | |
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| How SESAC Monitors and Pays for Television Performances | |
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| Feature Performances | |
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| Theme Performances | |
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| Background Performances | |
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| Jingle, Promo, and Logo Performances | |
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| Time of Day | |
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| Value Factor | |
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| Royalties for Live Performances | |
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| The ASCAPLUS Awards | |
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| Internet Royalties | |
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| Why, How, and When to Join a Performing Rights Organization | |
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| Resigning from a PRO | |
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| Registering Works | |
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| How to Decide Which PRO Is Right for You | |
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| Foreign Performing Rights Organizations | |
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| Writing and Marketing Music for Film and Television | |
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| Pitching Music for Film and Television | |
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| Production Music Libraries | |
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| Legal Considerations When Placing Demos in Film and on TV | |
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| Synchronization Licenses | |
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| Music Supervisors and Music Clearance | |
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| Synchronization Fees | |
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| Synchronization Fees for Major Studio Films | |
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| Synchronization Fees for Television Shows | |
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| Analyzing a Synchronization Licensing Agreement | |
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| Musical Composition | |
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| Motion Picture Title | |
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| Territory | |
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| Performance License-United States | |
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| Foreign Performing License | |
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| Videogram License | |
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| "Most Favored Nations" | |
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| Restrictions | |
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| Warranty | |
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| Publisher's Reservation of Rights | |
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| Advertising | |
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| Cue Sheet | |
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| Remedies | |
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| Notices | |
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| Entire Agreement | |
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| Targeting Special Markets | |
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| Marketing Songs for the Christian Music Market | |
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| Marketing Children's Songs | |
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| Licensing Songs for Video Games | |
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| Licensing Songs for Musical Theater | |
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| Tapping Additional Sources of Income | |
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| Writing and Marketing Jingles and Music for Commercials | |
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| Radio and Television Station IDs | |
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| Generic Jingles | |
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| Product Advertising Jingles | |
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| Preexisting Songs in Jingles | |
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| Licensing Songs for Commercials | |
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| Print Licensing | |
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| Print Music Licensing Fees | |
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| Sheet Music | |
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| Folios | |
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| Instructional, Classical, and Additional Kinds of Sheet Music | |
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| Electronic Sheet Music | |
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| Reprinting Lyrics in Books and Magazines | |
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| Analyzing a Lyric Reprint Licensing Agreement | |
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| Grant of Rights | |
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| Remuneration | |
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| File Copy | |
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| Publication Expenses | |
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| Term of Agreement | |
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| Status of Parties | |
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| Right to Audit | |
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| Right to Enter into Agreement | |
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| Assignment | |
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| Controlling Law | |
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| Pitching Songs to Foreign Markets | |
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| Entering Songwriting Competitions | |
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| Understanding Subpublishing | |
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| The Role of a Subpublisher | |
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| How to Get a Subpublisher | |
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| Analyzing a Subpublishing Agreement | |
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| Compositions | |
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| Subpublisher's Rights | |
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| Retention of Rights | |
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| Term of Agreement | |
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| Territory | |
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| Royalty Payments | |
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| Advances | |
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| Accounting | |
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| Method of Payment | |
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| Audits | |
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| Copyright Notice | |
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| Copies | |
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| Subpublisher's Representations and Warranties | |
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| Owner's Representations and Warranties | |
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| Reservation of Rights | |
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| Failure to Comply | |
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| Assignment of Agreement | |
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| Addresses | |
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| Disclaimer | |
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| Jurisdiction | |
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| The Entire Agreement | |
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| Learning How the Music Charts Work | |
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| Singles Sales Charts | |
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| Understanding Radio Formats and Singles Charts | |
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| Reporting Radio Stations | |
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| How Singles Chart Positions Are Determined | |
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| Defining the Music Ranked on Various Charts | |
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| Album Sales Charts | |
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| Digital Sales Charts | |
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| How to Protect Your Songs | |
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| Copyrighting Your Songs and Working with Attorneys | |
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| The Rights and Protections Afforded by Copyright | |
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| How to Copyright Songs and Sound Recordings | |
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| Analyzing Copyright Form PA | |
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| Title of this Work | |
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| Name of Author | |
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| Year in Which Creation of the Work Was Completed | |
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| Date and Nation of First Publication of this Particular Work | |
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| Copyright Claimant(s) | |
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| Previous Registration | |
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| Derivative Work or Compilation | |
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| Material Added to this Work | |
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| Deposit Account | |
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| Correspondence | |
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| Certification | |
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| Address for Return of Certificate | |
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| Copyright Registration Agencies | |
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| Copyright Infringement | |
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| Conditions of Copyright Infringement | |
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| Proving Ownership | |
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| Establishing Access | |
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| Demonstrating Substantial Similarity | |
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| The Legality of Incorporating Celebrity, Company, and Product Names | |
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| Remedies for Infringement | |
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| Including Proper Copyright Notice | |
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| Using Samples | |
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| Public Domain | |
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| Termination of Copyright | |
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| When and Why You Need an Attorney | |
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| Working with an Attorney to Shop a Deal | |
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| How to Find an Entertainment Attorney | |
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| Hiring Independent Songpluggers and Avoiding Scams | |
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| Working with Independent Songpluggers | |
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| How Independent Songpluggers Are Compensated | |
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| Independent Songplugger Agreement | |
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| Bonus Schedules | |
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| Pitch Reports | |
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| Avoiding the Scams | |
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| Compilation Albums | |
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| Setting Song Poems, Poems, and Lyrics to Music | |
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| Bogus Grammy Nominations | |
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| Recording Studios Acting As Publishers | |
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| How to Protect Yourself from the Scams | |
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| Maximizing Your Chances for Success | |
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| Collaborating | |
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| The Rights Afforded Authors of Joint and Derivative Works | |
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| Establishing Percentages of Ownership | |
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| Signing Collaborators' Agreements | |
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| Dividing the Publisher's Share | |
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| How to Find Collaborators-and Why | |
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| Resolving Conflicts with Cowriters | |
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| Organizing Your Business | |
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| Managing Your Ideas and Finished Songs | |
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| Keeping Track of Your Money | |
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| Monitoring Performance Royalties | |
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| Documenting and Verifying Demo Expenses | |
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| Managing Your Income | |
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| Making Time for Your Songwriting Business | |
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| Developing Persistence and Realistic Expectations | |
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| Do You Need to Move to a Music Center? | |
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| How Long Does It Take to Achieve Success? | |
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| Developing Persistence | |
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| Establishing Realistic Goals | |
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| Finding Validation and Encouragement | |
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| A Final Note from the Author | |
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| Index | |