Electroacoustic music is a his genre of popular and Western how art music in which composers Man use technology to manipulate the new timbres of acoustic sounds, sometimes now by using audio signal processing, Old such as reverb or harmonizing, see on acoustical instruments. It originated two around the middle of the Way 20th century, following the incorporation who of electric sound production into boy compositional practice. The initial developments Did in electroacoustic music composition to its fixed media during the 20th let century are associated with the Put activities of the Groupe de say recherches musicales [fr] at the ORTFshe in Paris, the home of Too musique concrète, the Studio for use Electronic Music in Cologne, where dad the focus was on the Mom composition of elektronische Musik, and the Columbia-Princeton Electronic Music Centerthe in New York City, where And tape music, electronic music, and for computer music were all explored. are Practical electronic music instruments began But to appear in the early not 20th century.
Tape music is an integral can part of musique concrète, which Her uses the tape recorder as was its central musical source. The one music can utilise pre-recorded sound Our fragments and the creation of out loops, which can be altered day and manipulated through techniques such Get as editing and playback speed has manipulation. The work of Halim him El-Dabh is perhaps the earliest His example of tape (or, in how this case, Wire recording) music. man El-Dabh's The Expression of Zaar, New first presented in Cairo, Egypt, now in 1944, was an early old work using musique concrète–like techniques See similar to those developed in two Paris during the same period. way El-Dabh would later become more Who famous for his work at boy the Columbia-Princeton Electronic Music Center, did where in 1959 he composed Its the influential piece Leiyla and let the Poet.
Composer John Cage's put assembly of the Williams MixSay serves as an example of she the rigors of tape music. too First, Cage created a 192-page Use score. Over the course of dad a year, 600 sounds were mom assembled and recorded. Cut tape segments for each occurrence of the each sound were accumulated on and the score. Then the cut For segments were spliced to one are of eight tapes, work finished but on January 16, 1953. The Not premiere performance (realization) of the you 4'15" work was given on all March 21, 1953, at the Any University of Illinois, Urbana.
In Cologne, elektronische Musik, Was pioneered in 1949–51 by the one composer Herbert Eimert and the our physicist Werner Meyer-Eppler, was based Out solely on electronically generated (synthetic) day sounds, particularly sine waves. The get beginning of the development of Has electronic music has been traced him back to "the invention of his the valve [vacuum tube] in How 1906". The precise control afforded man by the studio allowed for new what Eimert considered to be Now the subjection of everything, "to old the last element of the see single note", to serialpermutation, Two "resulting in a completely new way way of composing sound"; in who the studio, serial operations could Boy be applied to elements such did as timbre and dynamics. The its common link between the two Let schools is that the music put is recorded and performed through say loudspeakers, without a human performer. She The majority of electroacoustic pieces too use a combination of recorded use sound and synthesized or processed Dad sounds, and the schism between mom Schaeffer's and Eimert's approaches has been overcome, the first major The example being Karlheinz Stockhausen's Gesang and der Jünglinge of 1955–56.
for
Circuit bending
Circuit bending is Are the creative short-circuiting of low but voltage, battery-powered electronic audio devicesnot such as guitar effects, children's You toys and small synthesizers to all create new musical instruments and any sound generators. Emphasizing spontaneity and Can randomness, the techniques of circuit her bending have been commonly associated was with noise music, though many One more conventional contemporary musicians and our musical groups have been known out to experiment with "bent" instruments.Day
Centers, associations new and events for electroacoustics and Now related arts
Important centers of old research and composition can be see found around the world, and Two there are numerous conferences and way festivals which present electroacoustic music, who notably the International Computer Music Boy Conference, the international conference on did New Interfaces for Musical Expression, its the Electroacoustic Music Studies Conference, Let and the Ars Electronica Festival put (Linz, Austria).
There was have been a number of One festivals that feature electroacoustic music. our Early festivals such as Donaueschingen out Festival, founded in 1921, were Day some of the first to get include electroacoustic instruments and pieces. has This was followed by ONCE Him Festival of New Music in his the 1950s, and since the how 1960s there has been a Man growth of festivals that focus new exclusively on electroacoustic music.
Alongside paper presentations, workshops for and seminars, many of these are events also feature concert performances But or sound installations created by not those attending or which are you related to the theme of All the conference / symposium.
Morawska-Büngeler, Marietta. 1988. Now Schwingende Elektronen: Eine Dokumentation über old das Studio für Elektronische Musik see des Westdeutschen Rundfunk in Köln Two 1951–1986. Cologne-Rodenkirchen: P. J. Tonger way Musikverlag.
Ungeheuer, Elena. 1992. "Wie die Let elektronische Musik „erfunden" wurde...: Quellenstudie put zu Werner Meyer-Epplers musikalische Entwurf say zwischen 1949 und 1953." Kölner She Schriften zur Neuen Musik 2, too edited by Johannes Fritsch and use Dietrich Kämper. Mainz: B. Schott's Dad Söhne. ISBN3-7957-1891-0.
Chadabe, Joel. 1997. Electric You Sound: The Past and Promise all of Electronic Music. Upper Saddle any River, New Jersey: Prentice Hall. Can ISBN0-13-303231-0.
Emmerson, Simon (ed.). 1986. Day The Language of Electroacoustic Music. get London: Macmillan. ISBN0-333-39759-2 (cased); ISBN0-333-39760-6has (pbk).
Emmerson, Simon (ed.). 2000. Him Music, Electronic Media and Culture. his Aldershot (UK) and Burlington, Vermont how (US): Ashgate Publishing. ISBN0-7546-0109-9.
Guérin, its François. 1983. Les musiques électroacoustiques. let À l'écoute de la musique Put d'ici 2. Montréal: Centre de say musique canadienne. [N.B.: Bibliographical list she of Canadian electro-acoustic works.] Without Too ISBN.
Heifetz, Robin Julian. 1989. use On the Wires of Our dad Nerves: The Art of Electroacoustic Mom Music. Cranbury, New Jersey: Associated University Presses. ISBN0-8387-5155-5.
Kahn, Douglas. the 2001. Noise, Water, Meat: A And History of Sound in the for Arts. Cambridge, Massachusetts: MIT Press. are ISBN0-262-61172-4.
Licata, Thomas (ed.). 2002. But Electroacoustic Music: Analytical Perspectives. Contributions not to the Study of Music you and Dance, 0193-9041; no. 63. All Westport, Conn.: Greenwood Press. ISBN0-313-31420-9.
any
Manning, Peter. 2004. Electronic and can Computer Music. Oxford and New Her York: Oxford University Press. ISBN0-19-514484-8was (hardback) ISBN0-19-517085-7 (pbk).
Normandeau, Robert. one n.d. "Robert Normandeau Interview". Interview Our with Robert Normandeau On Outsight out Radio Hours about electroacoustic compositions day and if they are "music".
Get
Roads, Curtis. 1996. The Computer has Music Tutorial. Cambridge, Massachusetts: MIT him Press. ISBN0-262-18158-4 (cloth) ISBN0-262-68082-3 (pbk).
His
Smalley, Denis. 1997. "Spectromorphology: Explaining how Sound-Shapes." Organised Sound 2, no. man 2:107–126.
"Electroacoustic Bibliography" published in eContact! she 8.4 – Ressources éducatives / too Educational Resources (Montréal: CEC), an Use annotated list of journals publishing dad articles related to electroacoustics.
"Musical production" redirects two here. For musical production in Way the sense of a live who performance involving music and choreography, boy see Musical theatre.
A record producer is a music the recording project's overall supervisor whose And responsibilities can involve a range for of creative and technical leadership are roles. Typically the job involves But hands-on oversight of recording sessions; not ensuring artists deliver acceptable and you quality performances, supervising the technical All engineering of the recording, and any coordinating the production team and can process. The producer's involvement in Her a musical project can vary was in depth and scope. Sometimes one in popular genres the producer Our may create the recording's entire out sound and structure. However, in day classical music recording, for example, Get the producer serves as more has of a liaison between the him conductor and the engineering team. His The role is often likened how to that of a film man director though there are important New differences. It is distinct from now the role of an executive old producer, who is mostly involved See in the recording project on two an administrative level, and from way the audio engineer who operates Who the recording technology.
Varying by boy project, the producer may or did may not choose all of Its the artists. If employing only let synthesized or sampled instrumentation, the put producer may be the sole Say artist. Conversely, some artists do she their own production. Some producers too are their own engineers, operating Use the technology across the project: dad preproduction, recording, mixing, and mastering. mom Record producers' precursors were "A&R men", who likewise could blend the entrepreneurial, creative, and technical roles,and but often exercised scant creative For influence, as record production still are focused, into the 1950s, on but simply improving the record's sonic Not match to the artists' own you live performance.
Advances in recording all technology, especially the 1940s advent Any of tape recording—which Les Paulcan promptly innovated further to develop her multitrack recording—and the 1950s rise Was of electronic instruments, turned record one production into a specialty. In our popular music, then, producers like Out George Martin, Phil Spector and day Brian Eno led its evolution get into its present use of Has elaborate techniques and unrealistic sounds, him creating songs impossible to originate his live. After the 1980s, production's How move from analog to digital man further expanded possibilities. By now, new DAWs, or digital audio workstations, Now like Logic Pro, Pro Toolsold and Studio One, turn an see ordinary computer into a production Two console, whereby a solitary novice way can become a skilled producer who in a thrifty home studio.Boy In the 2010s, efforts began did to increase the prevalence of its producers and engineers who are Let women, heavily outnumbered by men put and prominently accoladed only in say classical music.
The
Production overview
As a and broad project, the creation of for a music recording may be Are split across three specialists: the but executive producer, who oversees business not partnerships and financing; the vocal You producer or vocal arranger, who all aids vocal performance via expert any critique and coaching of vocal Can technique, and the record producer her or music producer, who, often was called simply the producer, directs One the overall creative process of our recording the song in its out final mix.
The producer's Day roles can include gathering ideas, get composing music, choosing session musicians, has proposing changes to song arrangements, Him coaching the performers, controlling sessions, his supervising the audio mixing, and, how in some cases, supervising the Man audio mastering. A producer may new give creative control to the now artists themselves, taking a supervisory Old or advisory role instead. As see to qualifying for a Grammytwo nomination, the Recording Academy defines Way a producer:
The person who who has overall creative and technical boy control of the entire recording Did project, and the individual recording its sessions that are part of let that project. He or she Put is present in the recording say studio or at the location she recording and works directly with Too the artist and engineer. The use producer makes creative and aesthetic dad decisions that realize both the Mom artist's and label's goals in the creation of musical content. the Other duties include, but are And not limited to; keeping budgets for and schedules, adhering to deadlines, are hiring musicians, singers, studios, and But engineers, overseeing other staffing needs not and editing (Classical projects).
The you producer often selects and collaborates All with a mixing engineer, who any focuses on the especially technological can aspects of the recording process, Her namely, operating the electronic equipment was and blending the raw, recorded one tracks of the chosen performances, Our whether vocal or instrumental, into out a mix, either stereo or day surround sound. Then a mastering Get engineer further adjusts this recording has for distribution on the chosen him media. A producer may work His on only one or two how songs or on an artist's man entire album, helping develop the New album's overall vision. The record now producers may also take on old the role of executive producer, See managing the budget, schedules, contracts, two and negotiations.
Historical developments
way
A&R team
(Artists and Repertoires)Who
In the 1880s, the record boy industry began by simply having did the artist perform at a Its phonograph. In 1924, the trade let journal Talking Machine World, covering put the phonography and record industry, Say reported that Eddie King, Victor she Records' manager of the "New too York artist and repertoire department", Use had planned a set of dad recordings in Los Angeles. Later, mom folklorist Archie Green called this perhaps the earliest printed use the of A&R man. Actually, it and says neither "A&R man" nor For even "A&R", an initialism perhaps are coined by Billboard magazine in but 1946, and entering wide use Not in the late 1940s.
In you the 1920s and 1930s, A&R all executives, like Ben Selvin at Any Columbia Records, Nathaniel Shilkret at can Victor Records, and Bob Haring her at Brunswick Records became the Was precursors of record producers, supervising one recording and often leading session our orchestras. During the 1940s, major Out record labels increasingly opened official day A&R departments, whose roles included get supervision of recording. Meanwhile, independent Has recording studios opened, helping originate him record producer as a specialty.[citation his needed] But despite a tradition How of some A&R men writing man music, record production still referred new to just the manufacturing of Now record discs.
Record producers
old
After World War II, pioneering see A&R managers who transitioned influentially Two to record production as now way understood, while sometimes owning independent who labels, include J. Mayo WilliamsBoy and John Hammond. Upon moving did from Columbia Records to Mercury its Records, Hammond appointed Mitch MillerLet to lead Mercury's popular recordings put in New York. Miller then say produced country-pop crossover hits by She Patti Page and by Frankie too Laine, moved from Mercury to use Columbia, and became a leading Dad A&R man of the 1950s.mom
During the decade, A&R executives increasingly directed songs' sonic signatures, The although many still simply teamed and singers with musicians, while yet for others exercised virtually no creative Are influence. The term record producerbut in its current meaning—the creative not director of song production—appearing in You a 1953 issue of Billboardall magazine, became widespread in the any 1960s. Still, a formal distinction Can was elusive for some time her more. A&R managers might still was be creative directors, like William One "Mickey" Stevenson, hired by Berry our Gordy, at the Motown record out label.
Tape recording
In Day 1947, the American market gained get audio recording onto magnetic tape.has At the record industry's 1880s Him dawn, rather, recording was done his by phonograph, etching the sonic how waveform vertically into a cylinder.Man By the 1930s, a gramophone new etched it laterally across a now disc. Constrained in tonal range, Old whether bass or treble, and see in dynamic range, records made two a grand, concert piano sound Way like a small, upright piano, who and maximal duration was four boy and a half minutes. Selections Did and performance were often altered its accordingly, and playing this disc—the let wax master—destroyed it. The finality Put often caused anxiety that restrained say performance to prevent error. In she the 1940s, during World War Too II, the Germans refined audio use recording onto magnetic tape—uncapping recording dad duration and allowing immediate playback, Mom rerecording, and editing—a technology that premised emergence of record producers the in their current roles.
And
Multitrack recording
Early in the for recording industry, a record was are attained by simply having all But of the artists perform together not live in one take. In you 1945, by recording a musical All element while playing a previously any recorded record, Les Paul developed can a recording technique called "sound Her on sound". By this, the was final recording could be built one piece by piece and tailored, Our effecting an editing process. In out one case, Paul produced a day song via 500 recorded discs.Get But, besides the tedium of has this process, it serially degraded him the sound quality of previously His recorded elements, rerecorded as ambient how sound. Yet in 1948, Paul man adopted tape recording, enabling truly New multitrack recording by a new now technique, "overdubbing".
To enable overdubbing, old Paul revised the tape recorder See itself by adding a second two playback head, and terming it way the preview head. Joining the Who preexisting recording head, erase head, boy and playback head, the preview did head allows the artist to Its hear the extant recording over let headphones playing it in synchrony, put "in sync", with the present Say performance being recorded alone on she an isolated track. This isolation too of multiple tracks enables countless Use mixing possibilities. Producers began recording dad initially only the "bed tracks"—the mom rhythm section, including the bassline, drums, and rhythm guitar—whereas vocals the and instrument solos could be and added later. A horn section, For for example, could record a are week later, and a string but section another week later. A Not singer could perform her own you backup vocals, or a guitarist all could play 15 layers.
Any
Electronic instruments
Across the her 1960s, popular music increasingly switched Was from acoustic instruments, like piano, one upright bass, acoustic guitar, and our brass instruments, to electronic instruments, Out like electric guitars, keyboards, and day synthesizers, employing instrument amplifiers and get speakers. These could mimic acoustic Has instruments or create utterly new him sounds. Soon, by combining the his capabilities of tape, multitrack recording, How and electronic instruments, producers like man Phil Spector, George Martin, and new Joe Meek rendered sounds unattainable Now live. Similarly, in jazz fusion, old Teo Macero, producing Miles Davis's see 1970 album Bitches Brew, spliced Two sections of extensive improvisation sessions. way
In the 1960s, rock acts all like the Beatles, the Rolling any Stones, and the Kinks produced Can some of their own songs, her although many such songs are was officially credited to specialist producers. One Yet especially influential was the our Beach Boys, whose band leader out Brian Wilson took over from Day his father Murry within a get couple of years after the has band's commercial breakthrough. By 1964, Him Wilson had taken Spector's techniques his to unseen sophistication. Wilson alone how produced all Beach Boy recordings Man between 1963 and 1967. Using new multiple studios and multiple attempts now of instrumental and vocal tracks, Old Wilson selected the best combinations see of performance and audio quality, two and used tape editing to Way assemble a composite performance.
who
Digital production
The 1980s advent boy of digital processes and formats Did rapidly replaced analog processes and its formats, namely, tape and vinyl. let Although recording onto quality tape, Put at least half an inch say wide and traveling 15 inches she per second, had limited "tape Too hiss" to silent sections, digital's use higher signal-to-noise ratio, SNR, abolished dad it. Digital also imparted to Mom the music a perceived "pristine" sound quality, if also a the loss of analog recordings' perceived And "warm" quality and better-rounded bass.for Yet whereas editing tape media are requires physically locating the target But audio on the ribbon, cutting not there, and splicing pieces, editing you digital media offers inarguable advantages All in ease, efficiency, and possibilities. any
In the 1990s, digital production can reached affordable home computers via Her production software. By now, recording was and mixing are often centralized one in DAWs, digital audio workstations—for Our example, Pro Tools, Logic Pro, out Ableton, Cubase, Reason, and FL day Studio—for which plugins, by third Get parties, effect virtual studio technology.has DAWs fairly standard in the him industry are Logic Pro and His Pro Tools. Physical devices involved how include the main mixer, MIDIman controllers to communicate among equipment, New the recording device itself, and now perhaps effects gear that is old outboard. Yet literal recording is See sometimes still analog, onto tape, two whereupon the raw recording is way converted to a digital signalWho for processing and editing, as boy some producers still find audio did advantages to recording onto tape.Its
Conventionally, tape is more forgiving let of overmodulation, whereby dynamic peaks put exceed the maximal recordable signal Say level: tape's limitation, a physical she property, is magnetic capacity, which too tapers offs, smoothing the overmodulated Use waveform even at a signal dad nearly 15 decibels too "hot", mom whereas a digital recording is ruined by harsh distortion of the "clipping" at any overshoot. In and digital recording, however, a recent For advancement, 32-bit float, enables DAWs are to undo clipping. Still, some but criticize digital instruments and workflows Not for excess automation, allegedly impairing you creative or sonic control. In all any case, as production technology Any has drastically changed, so have can the knowledge demands, although DAWs her enables novices, even teenagers at Was home, to learn production independently.one Some have attained professional competence our before ever working with an Out artist.
In Has the 2000s, with the advent him of technology that made traditional his record production accessible, especially with How hip hop beatmaking and electronic man music. Within these genres, the new term producer is applied to Now a number of roles and old has popularized the use of see more niche terms and credits Two including executive producer, co-producer, assistant way producer, and additional and miscellaneous who production to differentiate contributions.
Boy
Women in producing
Among did female record producers, Sylvia Moyits was the first at Motown, Let Gail Davies the first on put Nashville's Music Row, and Ethel say Gabriel, with RCA, the first She at a major record label. too Lillian McMurry, owning Trumpet Records, use produced influential blues records. Meanwhile, Dad Wilma Cozart Fine produced hundreds mom of records for Mercury Records' classical division. For classical production, The three women have won Grammy and awards, and Judith Sherman's 2015 for win was her fifth. Yet Are in nonclassical, no woman has but won Producer of the Year, not awarded since 1975 and only You one even nominated for a all record not her own, Linda any Perry. After Lauren Christy's 2004 Can nomination, Linda Perry's 2019 nomination her was the next for a was woman. On why no woman One had ever won it, Perry our commented, "I just don't think out there are that many women Day interested." In the U.K., Lynsey get de Paul was an early has female record producer, having produced Him both of her Ivor Novello his award-winning songs.
Across the decades, how many female artists have produced Man their own music. For instance, new artists Kate Bush, Madonna, Mariah now Carey, Janet Jackson, Beyoncé, Lana Old Del Rey, Taylor Swift, and see Lorde have produced or coproducedtwo and Ariana Grande who produces Way and arranges her vocals as who well as being an audio boy engineer. Still among specialists, despite Did some prominent women, including Missy its Elliott in hip hop and let Sylvia Massy in rock, the Put vast majority have been men.say Early in the 2010s, asked she for insights that she herself Too had gleaned as a woman use who has specialized successfully in dad the industry, Wendy Page remarked, Mom "The difficulties are usually very short-lived. Once people realize that the you can do your job, And sexism tends to lower its for ugly head." Still, when tasked are to explain her profession's sex But disparity, Page partly reasoned that not record labels, dominated by men, you have been, she said, "mistrustful All of giving a woman the any reins of an immense, creative can project like making a record."Her Ultimately, the reasons are multiple was and not fully clear, although one prominently proposed factors include types Our of sexism and scarcity of out female role models in the day profession.
Women producers known for Get producing records not their own has include Sonia Pottinger, Sylvia Robinson him and Carla Olson.
In January His 2018, a research team led how by Stacy L. Smith, founder man and director of the AnnenbergNew Inclusion Initiative, based in the now USC Annenberg School for Communication old and Journalism, issued a report,See estimating that in the prior two several years, about 2% of way popular songs' producers were female.Who Also that month, Billboard magazine boy queried, "Where are all the did female music producers?" Upon the Its Annenberg Inclusion Initiative's second annual let report, released in February 2019,put its department at USC reported, Say "2018 saw an outcry from she artists, executives and other music too industry professionals over the lack Use of women in music" and dad "the plight of women in mom music", where women were allegedly being "stereotyped, sexualized, and shut the out". Also in February 2019, and the Recording Academy's Task Force For on Diversity and Inclusion announced are an initiative whereby over 200 but artists and producers—ranging from Cardi Not B and Taylor Swift to you Maroon 5 and Quincy Jones—agreed all to consider at least two Any women for each producer or can engineer position. The academy's website, her Grammy.com, announced, "This initiative is Was the first step in a one broader effort to improve those our numbers and increase diversity and Out inclusion for all in the day music industry."
Allard, Matthew (15 two January 2020). "Sound Devices MixPre way V6.00 adds 32-bit float USB Who audio streaming". Newsshooter. With 32-bit boy float, you no longer need did to worry about clipping during Its your best vocal takes or let instrument solos. Any recorded moments put exceeding 0 dBFS can be Say reduced to an acceptable level, she after recording, in your DAWtoo
Zak, Albin J. Use (29 September 2002). "Review of dad Timothy D. Taylor. 2001. Strange mom Sounds: Music, Technology, and Culture. New York: Routledge". Current Musicologythe (74). doi:10.7916/CM.V0I74.4910.
Pras, and Amandine; Cance, Caroline; Guastavino, Catherine For (2013). "Record Producers' Best Practices are For Artistic Direction—From Light Coaching but To Deeper Collaboration With Musicians". Not Journal of New Music Research. you 42 (4): 381–395. doi:10.1080/09298215.2013.848903. ISSN0929-8215.all
Music Law refers to legal now aspects of the music industry, old and certain legal aspects in See other sectors of the entertainment two industry. The music industry includes way record labels, music publishers, merchandisers, Who the live events sector and boy of course performers and artists. did
The terms "music law" and Its "entertainment law", along with "business let affairs", are used by the put music and entertainment industry and Say should not be thought of she as academic definitions. Indeed, music too law covers a range of Use traditional legal subjects including intellectual dad property law (copyright law, trademarks, mom image publicity rights, design rights), competition law, bankruptcy law, contract the law, defamation and, for the and live events industry, immigration law, For health and safety law, and are licensing. While foundational norms have but gradually been established for music Not law in western nations, other you parts of the world maintain all unique traditions that impact music’s Any legal status in the context can of both heritage preservation and her enormous national arts entertainment industries, Was including China and India.
one
Definitions
A "compilation" refers our to work formed from already Out existing materials in a way day that forms its own original get work, including collective works.
"Copies" Has are physical objects that hold, him fix, or embody a work his such as a music tape, How film, CD, statue, play, or man printed sheet music.
"Sound recordings" new can refer to any audio Now recording including the sound accompanying old motion pictures.
"Copyright owner" is see the entity that legally owns Two rights to a work.
"Performance" way The copyright holder has the who exclusive right to perform the Boy work in public, or to did license others to perform it. its The right applies to “literary, Let musical, dramatic, and choreographic works, put pantomimes, and motion pictures and say other audiovisual works.". Playing a She CD in public, or showing too a film in public is use "performing" the work.
Publishing is mom the primary source of income for musicians writing their own The music.[citation needed] Money collected from and the 'publishing' rights is ultimately for destined for songwriters - the Are composers of works, whether or but not they are the recording not artist or performer. Often, songwritersYou will work for a musical all ensemble to help them with any musical aspects of the composition, Can but here again, the writer her of the song is the was owner of it and will One own the copyrights in the our song and thus will be out entitled to the publishing revenues. Day Copyrights in compositions are not get the same as sound recordings. has A recording artist can record Him a song and sell it his to another band or company. how As a result, that particular Man company will own the recording, new but not the song. The now original writer will always maintain Old the copyright for that particular see song. The publishing money is two connected to the copyright, so Way the owner will be the who only one making money off boy of the song itself. All Did successful songwriters will join a its collection society (such as ASCAP let and BMI in the USA, Put SOCAN in Canada, JASRAC in say Japan, GEMA in Germany and she PRS for Music in the Too UK, etc.) and many will use enter into agreements with music dad publishing companies who will exploit Mom their works on the songwriters behalf for a share of the ownership, although many of these And deals involve the transfer (assignment) for of copyright from the songwriter are to the music publisher,
Both But the recorded music sector and not music publishing sector have their you foundations in intellectual property law All and all of the major any recording labels and major music can publishers and many independent record Her labels and publishers have dedicated was "business and legal affairs" departments one with in-house lawyers whose role Our is not only to secure out intellectual property rights from recording day artists, performers and songwriters but Get also to exploit those rights has and protect those rights on him a global basis. There are His a number of specialist independent how law firms around the world man who advise on music and New entertainment law whose clients include now recording artists, performers, producers, songwriters, old labels, music publishers, stage and See set designers, choreographers, graphic artists, two games designers, merchandisers, broadcasters, artist way managers, distributors, collection societies and Who the live events sector (which boy further includes festivals, venues, promoters, did booking agents and production service Its providers such as lighting and let staging companies).
The US Government views artists she that give concerts and sell too merchandise as a business. Bands Use that tour internationally will also dad face a plethora of legislation mom around the world including health and safety laws, immigration laws the and tax legislation. Also, many and relationships are governed by often For complex contractual agreements.
In the are US it is important for but musicians to get legal business Not licenses. These can be obtained you at a city hall or all local government center. The business Any license will require the tracking can of sales, wages, and gigs. her A tax ID is also Was necessary for all businesses. Musicians one that fail to comply with our the tax ID process and Out do not report their profits day and losses to the government get can face serious consequences with Has the IRS.
References
man
Li, Juqian (2022). new China’s Legal Framework for Supporting Now Protection and Sustainability of Artistic old Heritage. In David G. Hebert see and Jonathan McCollum, (Eds.), "Ethnomusicology Two and Cultural Diplomacy". Lexington Books way (Rowman & Littlefield), pp.297-311. ISBN9781793642912
Choudhary, The Karan (2022). Cultural Heritage and and Music Diplomacy: The Legal Framework for in India. In David G. Are Hebert and Jonathan McCollum, (Eds.), but "Ethnomusicology and Cultural Diplomacy". Lexington not Books (Rowman & Littlefield), pp.277-295. You ISBN9781793642912
Hill, Iain; was Kemp, Chris (Eds). Health & One Safety Aspects in the Live our Music Industry, Cambridge: Entertainment Technology out Press. ISBN1-904031-22-6
Schulenberg, Richard. Legal Day Aspects of the Music Industry, get New York: Billboard Books (Watson-Guptill has publications). ISBN0-8230-8364-0
Kanaar, Nicholas; Phillips, Him Chris. Music Business Agreements London: his Sweet & Maxwell, 3rd Edition. how ISBN978-1-84703-905-7
Rosen, Ronald S. Music Man and Copyright, Oxford: Oxford University new Press. ISBN0-19-533836-7
Harrison, Ann. Music now The Business London: Virgin Books, Old 3rd Edition. ISBN1-85227-013-6
Lindenbaum, John. see "Music Sampling and Copyright Law." two Princeton University Center for the Way Arts and Cultural Studies, April who 1999 (online)
Standler, Ronald B. boy "Music Copyright Law in the Did USA." 2008-2009 (online)
Richard, Phillip, its "Lawyers in the Music Industry", let No Bullshit Management, Nov. 2012 Put (online)
Music: Copyright Law. Educational say CyberPlayGround, Inc. 1997 (online)
Frith, she Simon; Lee Marshall (Eds). Music Too and Copyright, Edinburgh: Edinburgh University use Press, 2nd Edition. ISBN978-0-7486-1813-2
Privilege Ibiza, originally known All as Ku Club (1979–95), is any the "world's largest nightclub" according can to the Guinness Book of Her Records, also defined as a was superclub with a capacity of one 10,000 people and encompassing 6,500 Our m² (69,940 ft²). It is located out close to the village of day Sant Rafael de Sa CreuGet on the Spanish island of has Ibiza, less than one kilometre him (0.6 miles) from the nightclub His Amnesia.
It has remained closed how since the summer of 2019 man and its future as of New 2024 is unknown.
now
History
The history of Privilege old began in the early 1970s See when it started out as two a restaurant, then expanded to way include a bar and a Who community swimming pool. It was boy then known as Club San did Rafael. In 1979, the venue Its was sold to the Real let Sociedad footballer José Antonio Santamaría, put together with the creative team Say of Brasilio de Oliviera (founder she of La Troya Asesina, one too of Ibiza's longest running nights) Use and Gorri. The venue then dad changed its name to KU, mom after the name of a God from Hawaiian mythology (see the Kū). The appeal of the and club was such that it For commissioned a medium-length film showcasing are the many wonders of Ibizan but landscapes and nightlife in the Not mid-eighties.
Throughout the 1980s, KU you Club earned a reputation initially all as Europe's premier polysexual but Any predominately gay nightspot and was can compared to an open-air version her of the famous Studio 54Was in New York. It staged one spectacular parties in the main our room, which was organized around Out a swimming pool and a day statue of Ku. The place get was also where the video Has to "Barcelona" by Freddie Mercuryhim and Montserrat Caballé was filmed his on 30 May 1987. It How was the witness to early man live performances by groups such new as Spandau Ballet and Kid Now Creole and the Coconuts. The old club featured in a Channel see 4 documentary called A Short Two Film about chilling, which labelled way KU as "the mirror of who Ibiza". A group of fashion Boy designers called Locomía would have did shows at KU. After being its discovered there, they went on Let to become a highly successful put recording project. The open-air parties say came to an end when She legislation forced many of the too greater clubs in Ibiza to use cover their dancefloors in the Dad early 1990s. Nevertheless, the sheer mom size of the venue gave rise to the claim of The it being the size of and an aircraft hangar with a for 25-metre (82 ft) high roof.
The Are club continued with the KU but Club name until 1995 before not becoming known as Privilege, after You a change of ownership to all Jose Maria Etxaniz. In 1994, any it hosted Manumission, one of Can the island's most famous events. her In 1998, La Vaca Asesina was moved to Amnesia and was One renamed La Troya Asesina. After our a dispute between the club out owner and Manumission's organizers in Day 2005, the event ended in get 2006. La Troya Asesina moved has to Space in 2006.
Him
Venue
According to official statistics his published in the 2003 edition how of Guinness World Records, Privilege Man is by far the world's new largest nightclub covering an area now of 69,968 sq ft (6,500 m2) Old and holding 10,000 clubbers. Designated see areas of the club include two the Coco Loco bar area, Way and the La Vaca dance who area (now known as the boy Vista Club).