Atjaunināt sīkdatņu piekrišanu

Artist Management for the Music Business 4th edition [Mīkstie vāki]

3.94/5 (189 ratings by Goodreads)
Edited by (Associate Professor, Middle Tennessee State University)
  • Formāts: Paperback / softback, 322 pages, height x width: 235x191 mm, weight: 600 g
  • Izdošanas datums: 14-May-2018
  • Izdevniecība: CRC Press Inc
  • ISBN-10: 0815392664
  • ISBN-13: 9780815392668
Citas grāmatas par šo tēmu:
  • Mīkstie vāki
  • Cena: 55,14 €*
  • * Šī grāmata vairs netiek publicēta. Jums tiks paziņota lietotas grāmatas cena
  • Šī grāmata vairs netiek publicēta. Jums tiks paziņota lietotas grāmatas cena.
  • Daudzums:
  • Ielikt grozā
  • Pievienot vēlmju sarakstam
Artist Management for the Music Business 4th editionPalielināt
  • Formāts: Paperback / softback, 322 pages, height x width: 235x191 mm, weight: 600 g
  • Izdošanas datums: 14-May-2018
  • Izdevniecība: CRC Press Inc
  • ISBN-10: 0815392664
  • ISBN-13: 9780815392668
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9780815392668.html
Keywords:
Anyone managing an artists career needs to be well versed and have a savvy understanding of the moving parts of the music business. Learn how and why those moving parts "move," as well as how to manage and navigate a music-based career. Artist Management for the Music Business gives a comprehensive view of how to generate income through music and how to strategically plan for future growth. The book is full of valuable practical insights. It includes interviews and case studies with examples of real-world management issues and outcomes. Updates to this new edition include the importance of online streaming to music careers, how anyone can effectively network, tools for successful negotiation, ways to identify and manage income sources, and guidance on the ever-changing social media landscape of the music business. This book gives access to resources about artist management and the music business at its companion website.
Acknowledgments xiv
Introduction xv
Chapter 1 Professional Artist Management and Its Principles
1(15)
Considering Artist Management as a Profession
1(1)
Be Creative, Informed, and Connected
2(1)
Understand People and Business
3(1)
Functions of Management
4(1)
Planning
4(1)
Organizing
5(1)
Leading and Directing
5(1)
Controlling
6(1)
Artist Management Skills: Networking Is a Key to Success
6(4)
Other Artist Manager Skills and Traits
10(1)
Understanding Human Nature
10(1)
Leadership
11(1)
Coaching
11(1)
Communication
11(1)
Other Skills
12(1)
Building a Career in Artist Management
13(3)
Chapter 2 Preparing to Manage
16(16)
Management Is Part of a Big Business
16(2)
Acquiring the Knowledge
18(1)
Understanding the Nature of Artist Management
19(1)
Making Decisions
19(1)
Managing Pressure
20(1)
Reality One
21(1)
Reality Two
22(1)
Reality Three
22(1)
Reality Four
22(1)
Reality Five
23(1)
Reality Six
23(1)
Reality Seven
23(1)
Reality Eight
24(1)
Reality Nine
24(1)
Managers Are Inconspicuous
24(1)
An Understanding of Power in the Music Business
25(1)
The Power of Money
25(1)
The Power of Access
26(1)
The Power of Your Latest Success
27(1)
The Power of Your Body of Work
27(1)
The Power of Hard Work
27(1)
Power Carries a Responsibility to Give Back
28(1)
Code of Practice
28(4)
Chapter 3 Entrepreneurship and Basic Money Management
32(11)
The Tools for the Artist Management Entrepreneur
33(1)
Education
33(1)
Experience
34(1)
Vision
35(1)
Business Plan
35(2)
The Skills and Characteristics of the Entrepreneur Manager
37(1)
Money Management: Yours and Theirs
38(1)
Basic Money Management
39(1)
Tracking Your Company's Money
40(1)
Funding Your Company at Startup
41(1)
Final Thoughts
41(2)
Chapter 4 The Artist Prepares to Be Managed
43(11)
Being Commercial Is Not Selling Out
44(1)
Know Who You Are Artistically
45(1)
Get Experience
45(2)
Social Media and Networking
47(1)
Be Professional
48(2)
Be Prepared for Management
50(2)
Plan to Be Patient
52(2)
Chapter 5 Lessons in Artist Management
54(20)
Tom Parker: King Maker
55(1)
Lessons Learned
55(1)
Rene Angelil: Target Marketing
56(1)
Lessons Learned
57(1)
Michael Jeffery: Conflicts of Interest
57(1)
Lessons Learned
58(1)
Peter Grant: A Shared Belief Between the Artist and the Manager
58(1)
Lessons Learned
59(1)
Herbert Breslin: Promoting Your Artist
60(1)
Lessons Learned
60(1)
Joe Simpson: Manage by the Boy Scout Motto
61(1)
Lessons Learned
61(1)
Jon Landau: Keeping a Business Focus
62(1)
Lessons Learned
62(1)
Bob Doyle: Using Your Network
63(1)
Lessons Learned
63(1)
Andrew Loog Oldham: Exploit Your Artist's Talents
64(1)
Lessons Learned
64(1)
Johnny Wright: A Matter of Timing
64(1)
Lessons Learned
65(1)
Lou Pearlman: A Matter of Trust
65(1)
Lessons Learned
66(1)
Sharon Osbourne: A Family Experience
66(1)
Lessons Learned
67(1)
Lukasz Gottwald (Dr. Luke): Having It in Writing
67(1)
Lessons Learned
68(1)
Jonnetta Patton: Managing an Artist's Image
68(1)
Lessons Learned
69(1)
Tohme Tohme: "I Am Not in the Music Business"
69(1)
Lessons Learned
70(1)
Scott Hinds: "What Can You Do for Me that I Can't Do for Myself?"
70(1)
Lessons Learned
71(3)
Chapter 6 The Artist Management Contract
74(15)
Negotiating the Contract
75(1)
The Length of the Contract
75(1)
The Manager's Services to the Artist
76(1)
Exclusivity
77(1)
Power of Attorney
78(1)
Payment for the Manager's Services
78(2)
Earnings Following the Contract Period
80(1)
The Manager's Expenses
81(1)
Other Sections
82(1)
Contracting with a Minor
83(1)
A Contract Example
84(1)
Review Michael Jackson's Final Artist Management Contract
84(5)
Chapter 7 A Planning Primer for the Artist Manager
89(12)
Setting and Achieving Goals
90(2)
Planning a Personal Budget for the Artist
92(2)
Planning and Budgeting an Event
94(1)
An Event Plan
95(1)
When and Where
95(1)
Invitations
96(1)
Food and Beverage
97(1)
The Performance
97(1)
Promotion
98(1)
A Sample Budget
98(2)
Planning Tools
100(1)
Chapter 8 The Artist as a Business and a Brand
101(17)
Understanding Target Markets
102(1)
Defining an Artist's Target Market
102(1)
Ways to View Market Segments
102(1)
Branding and Image
103(2)
The Artist's Support Team
105(1)
Booking Agent
106(1)
Attorney
106(1)
Publicist
107(1)
Manager of Digital Media
108(1)
Manager of Promotion
108(1)
Business Advisors
109(1)
Alternative Forms of Business for the Artist
110(1)
Proprietorship
111(1)
Partnership
111(1)
Corporation
111(1)
Limited Liability Company or Partnership
112(1)
The Internet and Worldwide Web: A Primer for the Artist Manager and the Self-Managed Artist
112(1)
The Importance of a Domain Name
112(2)
AURL
114(1)
Web Hosting Services
114(1)
Content
114(1)
Mining Digital Media for Information
115(3)
Chapter 9 Income from Live Performance
118(19)
Booking the Performance
120(2)
Business Management of Live Performances
122(2)
Tour Management
124(2)
Promoting the Performance
126(1)
The Promoter
127(2)
The Performance Contract
129(1)
Merchandise
130(3)
International Touring
133(1)
College Tours
134(3)
Chapter 10 Income from Songwriting
137(10)
Copyright
138(1)
Song Publishing
139(1)
Songwriting Income from Sales of Recordings
140(2)
Songwriting Income from Song Performance
142(2)
Songwriting Income from Streaming
144(1)
Publishing as a Negotiating Asset
145(2)
Chapter 11 Income from Recording
147(20)
Recording for Full-Service Labels
148(1)
Income and Expenses for the Artist from a Recording Contract
149(1)
Creating and Paying for the Recording
150(1)
Artist's Income
151(2)
The Role of the Producer
153(1)
Other Expenses Charged to the Artist
153(1)
Things for Which the Label Customarily Pays
154(1)
360 Recording Contracts
155(1)
Labels and Artist Management
156(1)
Artists Who Own or Record for Independent Labels
157(1)
It's Business
158(1)
The Role of Traditional Radio in the Recording Artist's Income
158(1)
The Business of Terrestrial Radio
159(2)
The Business of Streaming Services and Satellite Radio
161(1)
The Charts
161(1)
College Radio
162(1)
Sponsorships, Endorsements, Television, and Motion Pictures
163(1)
Unions and the Recording Industry
164(3)
Chapter 12 Conducting Business for the Artist
167(14)
Time Management
167(1)
Going for the Contract
168(1)
Know the Purpose of the Meeting and Do the Homework
168(2)
Prepping for the Meeting
170(1)
Planning for Results
171(1)
Budget the Time
172(1)
Practice the Meeting
173(1)
The Meeting
173(1)
Should the Artist Attend the Meeting?
174(1)
Ending the Meeting
175(1)
Negotiating
176(2)
Ethics and Payola
178(1)
Ethics
178(1)
Payola
178(3)
Chapter 13 The Artist Career Plan
181(20)
An Introduction to the Plan
181(2)
Recording Artist Business Plan
183(1)
About the Artist
184(1)
Musical Genre
184(1)
Biography
184(1)
Talents
184(1)
Experience
185(1)
Uniqueness of the Artist
186(1)
Evaluation of the Artist
186(1)
Strengths and Weaknesses of the Artist
186(1)
Opportunities and Threats
186(1)
Action Points Based on This Evaluation
187(1)
Evaluation of the Manager
187(1)
Strengths and Weaknesses of the Manager
187(1)
Opportunities and Threats
187(1)
Conflicts of Interest
188(1)
Establishment of Goals and Timelines
188(1)
Major Goals for the Artist and Sample Strategies and Tactics to Achieve Them
188(1)
Goals Supporting Major Goals (Subordinate to Major Goals) and Sample Strategies and Tactics to Achieve Them
189(1)
Setting Timelines
189(1)
Development of a Marketing Plan
190(1)
The State of the Industry
191(1)
The Target Market for the Artist
192(1)
Detailed Plans to Reach the Target
192(1)
Business Framework
193(1)
Form of the Business
193(1)
Personnel Requirements
193(1)
Insurance
194(1)
Other
194(1)
The Financial Plan
194(1)
A Personal Budget for the Artist
194(1)
Budget for Career Plan
194(1)
Exit Strategy
195(1)
The Artist in a Mature Career
195(1)
Planning by the Manager to End the Relationship
196(1)
The Plan Outline
197(1)
Recording Artist Business Plan
197(4)
Chapter 14 Coaching, Leadership, and Final Advice
201(8)
Coaching
202(2)
Leadership
204(2)
Final Advice
206(3)
Appendix A Artist Management Contract Form 209(16)
Appendix B Partnership Agreement for Members of a Band 225(26)
Appendix C Recording Contract 251(51)
Appendix D Kesha's Artist Management Contract 302(6)
Appendix E Code of Conduct: Music Managers Forum in Australia 308(2)
Index 310
Paul Allen is Associate Professor in the Department of Recording Industry at Middle Tennessee State University and co-author of Record Label Marketing, published by Focal Press. He is also a frequent lecturer at other universities on artist management and other music business subjects. His career includes service in the US Air Force, and work in commercial radio and TV, political management, the music business, academia, and as your author.