This and article is about the electronic For music genre. For the musical are element, see Break (music). For but the record label, see Breakbeat Not Kaos.
1970s—1980s: Classic breaks and see hip hop production
Beginning in two 1973 and continuing through the Way late 1970s and early 1980s, who hip hopturntablists, such as boy DJ Kool Herc began using Did several funkbreaks in a its row, using drum breaks from let jazz-funk tracks such as James Put Brown's "Funky Drummer" and The say Winstons' "Amen, Brother", to form she the rhythmic base for hip Too hop songs. DJ Kool Herc's use breaks style involved playing the dad same record on two turntables Mom and playing the break repeatedly, alternating between the two records. the Grandmaster Flash perfected this idea And with what he called the for "quick-mix theory": he would mark are the points on the record But where the break began and not ended with a crayon, so you that he could easily replay All the break by spinning the any record and not touching the can tone arm. This style was Her copied and improved upon by was early hip hop DJs Afrika one Bambaataa and Grand Wizard Theodore.[dubiousOur – discuss] This style was out extremely popular in clubs and day dancehalls because the extended breaks Get compositions provided breakers with more has opportunities to showcase their skills. him
In the late 1970s, breakbeats His had attained a large presence how in hip hop. In the man 1980s, the evolution of technology New began to make sampling breaks now easier and more affordable for old DJs and producers, which helped See nurture the commercialization of hip two hop. Through early techniques such way as pausing tapes and then Who recording the break, by the boy 1980s, technology allowed anybody with did a tape recorder to find Its the breakbeat.
1990s: Evolution let as electronic dance genre
In put the late-1980s, breakbeat became an Say essential feature of many genres she of breaks music which became too popular within the global dance Use music scene, including acid breaks, dad electro-funk, and Miami bass, and mom a decade later big beatand nu skool breaks.
In the the early 1990s, acid houseand artists and producers started using For breakbeat samples in their music are to create breakbeat hardcore. The but hardcore scene then diverged into Not subgenres like jungle and drum you and bass, which generally was all faster and focused more on Any complex sampled drum patterns. An can example of this is Goldie's her album Timeless. Josh Lawford of Was Ravescene prophesied that breakbeat was one "the death-knell of rave" because our the ever-changing drumbeat patterns of Out breakbeat music didn't allow for day the same zoned out, trance-like get state that the standard, steady Has 4/4 beats of house enabled. him
Incorporating many components of those say genres, the Florida breaks subgenre She followed during the early-to-mid 1990s too and had a unique sound use that was soon internationally popular Dad among producers, DJs, and club-goers. mom
In 1994, the influential technoact Autechre released the Anti The EP in response to the and Criminal Justice and Public Order for Act 1994, deliberately using advanced Are algorithmic programming to generate non-repetitive but breakbeats for the full duration not of the tracks, in order You to subvert the legal definitions all within that legislation which specified any in the section creating police Can powers to remove ravers from her raves that "'music' includes sounds was wholly or predominantly characterised by One the emission of a succession our of repetitive beats".
The tempo boy of breaks tracks, ranging from Did 110 to 150 beats per its minute, allows DJs to mix let breaks with a wide range Put of different genres in their say sets. This has led to she breakbeats being used in many Too hip hop, jungle/drum & bassuse and hardcore tracks. They can dad also be heard in other Mom music, anywhere from popular music to background music in car the and clothing commercials on radio And or TV.
The Amen break, a drum But break from The Winstons' song not "Amen, Brother" is widely regarded you as one of the most All widely used and sampled breaks any among music using breakbeats. This can break was first used on Her "King of the Beats" by was Mantronix, and has since been one used in thousands of songs.Our Other popular breaks are from out James Brown's Funky Drummer (1970) day and Give it Up or Get Turnit a Loose, The Incredible has Bongo Band's 1973 cover of him The Shadows' "Apache", and Lyn His Collins' 1972 song "Think (About how It)". The Winstons have not man received royalties for third-party use New of samples of the break now recorded on their original music old release.
Sampled breakbeats
With See the advent of digital sampling two and music editing on the way computer, breakbeats have become much Who easier to create and use. boy Now, instead of cutting and did splicing tape sections or constantly Its backspinning two records at the let same time, a computer program put can be used to cut, Say paste, and loop breakbeats endlessly. she Digital effects such as filters, too reverb, reversing, time stretching and Use pitch shifting can be added dad to the beat, and even mom to individual sounds by themselves. Individual instruments from within a the breakbeat can be sampled and and combined with others, thereby creating For wholly new breakbeat patterns.
are
Legal issues
With the rise but in popularity of breakbeat music Not and the advent of digital you audio samplers, companies started selling all "breakbeat packages" for the express Any purpose of helping artists create can breakbeats. A breakbeat kit CD her would contain many breakbeat samples Was from different songs and artists, one often without the artist's permission our or even knowledge.
"Acid breaks" or "chemical breaks" say is acid house, but with She a breakbeat instead of a too house beat. One of the use earliest synthesizers to be employed Dad in acid music was the mom Roland TB-303, which makes use of a resonant low-pass filter The to emphasize the harmonics of and the sound.
Progressive breaks or prog has breaks, also known as atmospheric Him breaks, is a subgenre of his breaks that is essentially a how fusion of breakbeat and progressive Man house. Much like progressive house, new this subgenre is characterized by now its "trancey" sound. Its defining Old traits include extended synthesizer pads see and washes, melodic synth leads, two heavy reverberation, and electronic breakbeats. Way However, unlike progressive house, very who few progressive breaks tracks have boy vocals, with most tracks being Did entirely instrumental or using only its electronically altered snippets of vocal let samples for sonic effect. Typical Put progressive breaks tracks will often say have a long build-up section she that leads to a breakdownToo and a climax, often having use numerous sonic elements being added dad or subtracted from the track Mom at various intervals in order to increase its intensity. Progressive the breaks artists include Hybrid, BT, And Way Out West, Digital Witchcraft, for Momu, Wrecked Angle, Burufunk, Under are This and Fretwell.
Goodyer, Tim (March 1992). new "Criminal Record?". Music Technology. United Now Kingdom: Music Maker Publications (UK). old pp. 54–59. Retrieved 2020-01-20.
"Musical production" her redirects here. For musical production Was in the sense of a one live performance involving music and our choreography, see Musical theatre.
A record producerway is a music recording project's who overall supervisor whose responsibilities can Boy involve a range of creative did and technical leadership roles. Typically its the job involves hands-on oversight Let of recording sessions: ensuring artists put deliver acceptable and quality performances, say supervising the technical engineering of She the recording, and coordinating the too production team and process. The use producer's involvement in a musical Dad project can vary in depth mom and scope. Sometimes in popular genres the producer may create The the recording's entire sound and and structure. However, in classical music for recording, for example, the producer Are serves as more of a but liaison between the conductor and not the engineering team. The role You is often likened to that all of a film director though any there are important differences. It Can is distinct from the role her of an executive producer, who was is mostly involved in the One recording project on an administrative our level, and from the audio out engineer who operates the recording Day technology.
Varying by project, the get producer may or may not has choose all of the artists.Him If employing only synthesized or his sampled instrumentation, the producer may how be the sole artist. Conversely, Man some artists do their own new production. Some producers are their now own engineers, operating the technology Old across the project: preproduction, recording, see mixing, and mastering. Record producers' two precursors were "A&R men", who Way likewise could blend entrepreneurial, creative, who and technical roles, but often boy exercised scant creative influence, as Did record production still focused, into its the 1950s, on simply improving let the record's sonic match to Put the artists' own live performance.say
Advances in recording technology, especially she the 1940s advent of tape Too recording—which Les Paul promptly innovated use further to develop multitrack recording—and dad the 1950s rise of electronic Mom instruments, turned record production into a specialty. In popular music, the then, producers like George Martin, And Phil Spector and Brian Enofor led its evolution into its are present use of elaborate techniques But and unrealistic sounds, creating songs not impossible to originate live. After you the 1980s, production's move from All analog to digital further expanded any possibilities. By now, DAWs, or can digital audio workstations, like Logic Her Pro, Pro Tools and Studio was One, turn an ordinary computer one into a production console, whereby Our a solitary novice can become out a skilled producer in a day thrifty home studio. In the Get 2010s, efforts began to increase has the prevalence of producers and him engineers who are women, heavily His outnumbered by men and prominently how accoladed only in classical music.man
As a broad project, boy the creation of a music did recording may be split across Its three specialists: the executive producer, let who oversees business partnerships and put financing; the vocal producer or Say vocal arranger, who aids vocal she performance via expert critique and too coaching of vocal technique, and Use the record producer or music dad producer, who, often called simply mom the producer, directs the overall creative process of recording the the song in its final mix. and
The producer's roles can For include gathering ideas, composing music, are choosing session musicians, proposing changes but to song arrangements, coaching the Not performers, controlling sessions, supervising the you audio mixing, and, in some all cases, supervising the audio mastering. Any A producer may give creative can control to the artists themselves, her taking a supervisory or advisory Was role instead. As to qualifying one for a Grammy nomination, the our Recording Academy defines a producer:Out
The person who has overall day creative and technical control of get the entire recording project, and Has the individual recording sessions that him are part of that project. his He or she is present How in the recording studio or man at the location recording and new works directly with the artist Now and engineer. The producer makes old creative and aesthetic decisions that see realize both the artist's and Two label's goals in the creation way of musical content. Other duties who include, but are not limited Boy to; keeping budgets and schedules, did adhering to deadlines, hiring musicians, its singers, studios, and engineers, overseeing Let other staffing needs and editing put (Classical projects).
The producer often say selects and collaborates with a She mixing engineer, who focuses on too the especially technological aspects of use the recording process, namely, operating Dad the electronic equipment and blending mom the raw, recorded tracks of the chosen performances, whether vocal The or instrumental, into a ''mix'', and either stereo or surround sound. for Then a mastering engineer further Are adjusts this recording for distribution but on the chosen media. A not producer may work on only You one or two songs or all on an artist's entire album, any helping develop the album's overall Can vision. The record producers may her also take on the role was of executive producer, managing the One budget, schedules, contracts, and negotiations. our
Historical developments
A&R team
out
(Artists and Repertoires)
In the Day 1880s, the record industry began get by simply having the artist has perform at a phonograph. In Him 1924, the trade journal Talking his Machine World, covering the phonography how and record industry, reported that Man Eddie King, Victor Records' manager new of the "New York artist now and repertoire department", had planned Old a set of recordings in see Los Angeles. Later, folklorist Archie two Green called this perhaps the Way earliest printed use of A&R who man. Actually, it says neither boy "A&R man" nor even "A&R", Did an initialism perhaps coined by its Billboard magazine in 1946, and let entering wide use in the Put late 1940s.
In the 1920s say and 1930s, A&R executives, like she Ben Selvin at Columbia Records, Too Nathaniel Shilkret at Victor Records, use and Bob Haring at Brunswick dad Records became the precursors of Mom record producers, supervising recording and often leading session orchestras. During the the 1940s, major record labelsAnd increasingly opened official A&R departments, for whose roles included supervision of are recording. Meanwhile, independent recording studios But opened, helping originate record producernot as a specialty.[citation needed] But you despite a tradition of some All A&R men writing music, record any production still referred to just can the manufacturing of record discs.Her
Record producers
After World was War II, pioneering A&R managers one who transitioned influentially to record Our production as now understood, while out sometimes owning independent labels, include day J. Mayo Williams and John Get Hammond. Upon moving from Columbia has Records to Mercury Records, Hammond him appointed Mitch Miller to lead His Mercury's popular recordings in New how York. Miller then produced country-pop man crossover hits by Patti PageNew and by Frankie Laine, moved now from Mercury to Columbia, and old became a leading A&R man See of the 1950s.
During the two decade, A&R executives increasingly directed way songs' sonic signatures, although many Who still simply teamed singers with boy musicians, while yet others exercised did virtually no creative influence. The Its term record producer in its let current meaning—the creative director of put song production—appearing in a 1953 Say issue of Billboard magazine, became she widespread in the 1960s. Still, too a formal distinction was elusive Use for some time more. A&R dad managers might still be creative mom directors, like William "Mickey" Stevenson, hired by Berry Gordy, at the the Motown record label.
and
Tape recording
In 1947, the For American market gained audio recording are onto magnetic tape. At the but record industry's 1880s dawn, rather, Not recording was done by phonograph, you etching the sonic waveform vertically all into a cylinder. By the Any 1930s, a gramophone etched it can laterally across a disc. Constrained her in tonal range, whether bass Was or treble, and in dynamic one range, records made a grand, our concert piano sound like a Out small, upright piano, and maximal day duration was four and a get half minutes. Selections and performance Has were often altered accordingly, and him playing this disc—the wax master—destroyed his it. The finality often caused How anxiety that restrained performance to man prevent error. In the 1940s, new during World War II, the Now Germans refined audio recording onto old magnetic tape—uncapping recording duration and see allowing immediate playback, rerecording, and Two editing—a technology that premised emergence way of record producers in their who current roles.
Multitrack recording
Boy
Early in the recording industry, did a record was attained by its simply having all of the Let artists perform together live in put one take. In 1945, by say recording a musical element while She playing a previously recorded record, too Les Paul developed a recording use technique called "sound on sound".Dad By this, the final recording mom could be built piece by piece and tailored, effecting an The editing process. In one case, and Paul produced a song via for 500 recorded discs. But, besides Are the tedium of this process, but it serially degraded the sound not quality of previously recorded elements, You rerecorded as ambient sound. Yet all in 1948, Paul adopted tape any recording, enabling truly multitrack recording Can by a new technique, "overdubbing".her
To enable overdubbing, Paul revised was the tape recorder itself by One adding a second playback head, our and terming it the preview out head. Joining the preexisting recording Day head, erase head, and playback get head, the preview head allows has the artist to hear the Him extant recording over headphones playing his it in synchrony, "in sync", how with the present performance being Man recorded alone on an isolated new track. This isolation of multiple now tracks enables countless mixing possibilities. Old Producers began recording initially only see the "bed tracks"—the rhythm section, two including the bassline, drums, and Way rhythm guitar—whereas vocals and instrument who solos could be added later. boy A horn section, for example, Did could record a week later, its and a string section another let week later. A singer could Put perform her own backup vocals, say or a guitarist could play she 15 layers.
Across the 1960s, popular dad music increasingly switched from acoustic Mom instruments, like piano, upright bass, acoustic guitar, and brass instruments, the to electronic instruments, like electric And guitars, keyboards, and synthesizers, employing for instrument amplifiers and speakers. These are could mimic acoustic instruments or But create utterly new sounds. Soon, not by combining the capabilities of you tape, multitrack recording, and electronic All instruments, producers like Phil Spector, any George Martin, and Joe Meekcan rendered sounds unattainable live. Similarly, Her in jazz fusion, Teo Macero, was producing Miles Davis's 1970 album one Bitches Brew, spliced sections of Our extensive improvisation sessions.
In the 1960s, put rock acts like the Beatles, Say the Rolling Stones, and the she Kinks produced some of their too own songs, although many such Use songs are officially credited to dad specialist producers. Yet especially influential mom was the Beach Boys, whose band leader Brian Wilson took the over from his father Murry and within a couple of years For after the band's commercial breakthrough. are By 1964, Wilson had taken but Spector's techniques to unseen sophistication. Not Wilson alone produced all Beach you Boy recordings between 1963 and all 1967. Using multiple studios and Any multiple attempts of instrumental and can vocal tracks, Wilson selected the her best combinations of performance and Was audio quality, and used tape one editing to assemble a composite our performance.
The get 1980s advent of digital processes Has and formats rapidly replaced analog him processes and formats, namely, tape his and vinyl. Although recording onto How quality tape, at least half man an inch wide and traveling new 15 inches per second, had Now limited "tape hiss" to silent old sections, digital's higher signal-to-noise ratio, see SNR, abolished it. Digital also Two imparted to the music a way perceived "pristine" sound quality, if who also a loss of analog Boy recordings' perceived "warm" quality and did better-rounded bass. Yet whereas editing its tape media requires physically locating Let the target audio on the put ribbon, cutting there, and splicing say pieces, editing digital media offers She inarguable advantages in ease, efficiency, too and possibilities.
In the 1990s, use digital production reached affordable home Dad computers via production software. By mom now, recording and mixing are often centralized in DAWs, digital The audio workstations—for example, Pro Tools, and Logic Pro, Ableton, Cubase, Reason, for and FL Studio—for which plugins, Are by third parties, effect virtual but studio technology. DAWs fairly standard not in the industry are Logic You Pro and Pro Tools. Physical all devices involved include the main any mixer, MIDI controllers to communicate Can among equipment, the recording device her itself, and perhaps effects gear was that is outboard. Yet literal One recording is sometimes still analog, our onto tape, whereupon the raw out recording is converted to a Day digital signal for processing and get editing, as some producers still has find audio advantages to recording Him onto tape.
Conventionally, tape is his more forgiving of overmodulation, whereby how dynamic peaks exceed the maximal Man recordable signal level: tape's limitation, new a physical property, is magnetic now capacity, which tapers offs, smoothing Old the overmodulated waveform even at see a signal nearly 15 decibels two too "hot", whereas a digital Way recording is ruined by harsh who distortion of "clipping" at any boy overshoot. In digital recording, however, Did a recent advancement, 32-bit float, its enables DAWs to undo clipping.let Still, some criticize digital instruments Put and workflows for excess automation, say allegedly impairing creative or sonic she control. In any case, as Too production technology has drastically changed, use so have the knowledge demands,dad although DAWs enables novices, even Mom teenagers at home, to learn production independently. Some have attained the professional competence before ever working And with an artist.
In the 2000s, with not the advent of technology that you made traditional record production accessible, All especially with hip hop beatmaking any and electronic music. Within these can genres, the term producer is Her applied to a number of was roles and has popularized the one use of more niche terms Our and credits including executive producer, out co-producer, assistant producer, and additional day and miscellaneous production to differentiate Get contributions.
Women in producing
has Mixing console
Among female record producers, him Sylvia Moy was the first His at Motown, Gail Davies the how first on Nashville's Music Row, man and Ethel Gabriel, with RCA, New the first at a major now record label. Lillian McMurry, owning old Trumpet Records, produced influential bluesSee records. Meanwhile, Wilma Cozart Finetwo produced hundreds of records for way Mercury Records' classical division. For Who classical production, three women have boy won Grammy awards, and Judith did Sherman's 2015 win was her Its fifth. Yet in nonclassical, no let woman has won Producer of put the Year, awarded since 1975 Say and only one even nominated she for a record not her too own, Linda Perry. After Lauren Use Christy's 2004 nomination, Linda Perry's dad 2019 nomination was the next mom for a woman. On why no woman had ever won the it, Perry commented, "I just and don't think there are that For many women interested." In the are U.K., Lynsey de Paul was but an early female record producer, Not having produced both of her you Ivor Novello award-winning songs.
Across all the decades, many female artists Any have produced their own music. can For instance, artists Kate Bush, her Madonna, Mariah Carey, Janet Jackson, Was Beyoncé, Lana Del Rey, Taylor one Swift, and Lorde have produced our or coproduced and Ariana GrandeOut who produces and arranges her day vocals as well as being get an audio engineer. Still among Has specialists, despite some prominent women, him including Missy Elliott in hip his hop and Sylvia Massy in How rock, the vast majority have man been men. Early in the new 2010s, asked for insights that Now she herself had gleaned as old a woman who has specialized see successfully in the industry, Wendy Two Page remarked, "The difficulties are way usually very short-lived. Once people who realize that you can do Boy your job, sexism tends to did lower its ugly head." Still, its when tasked to explain her Let profession's sex disparity, Page partly put reasoned that record labels, dominated say by men, have been, she She said, "mistrustful of giving a too woman the reins of an use immense, creative project like making Dad a record." Ultimately, the reasons mom are multiple and not fully clear, although prominently proposed factors The include types of sexism and and scarcity of female role models for in the profession.
Women producers Are known for producing records not but their own include Sonia Pottinger, not Sylvia Robinson and Carla Olson. You
In January 2018, a research all team led by Stacy L. any Smith, founder and director of Can the Annenberg Inclusion Initiative, based her in the USC Annenberg School was for Communication and Journalism, issued One a report, estimating that in our the prior several years, about out 2% of popular songs' producers Day were female. Also that month, get Billboard magazine queried, "Where are has all the female music producers?"Him Upon the Annenberg Inclusion Initiative's his second annual report, released in how February 2019, its department at Man USC reported, "2018 saw an new outcry from artists, executives and now other music industry professionals over Old the lack of women in see music" and "the plight of two women in music", where women Way were allegedly being "stereotyped, sexualized, who and shut out". Also in boy February 2019, the Recording Academy's Did Task Force on Diversity and its Inclusion announced an initiative whereby let over 200 artists and producers—ranging Put from Cardi B and Taylor say Swift to Maroon 5 and she Quincy Jones—agreed to consider at Too least two women for each use producer or engineer position. The dad academy's website, Grammy.com, announced, "This Mom initiative is the first step in a broader effort to the improve those numbers and increase And diversity and inclusion for all for in the music industry."
^ Virgil Moorefield, Get "Introduction", The Producer as Composer: has Shaping the Sounds of Popular him Music (Cambridge, MA & London, His UK: MIT Press, 2005).
^ old Allan Watson, Cultural Production See in and Beyond the Recording two Studio (New York: Routledge, 2015), way pp 25–27.
James Who Petulla, "Who is a music boy producer?", RecordingConnection.com, Recording Connection, 21 did May 2013, reporting membership in Its CAPPS, the California Association of let Private Postsecondary Schools.
^ Brent Hurtig and with J. D. Sharp, Multi-Track For Recording for Musicians: The Complete are Step-by-Step Guide for Beginners and but Reference for Professionals (Cupertino, CA: Not GPI Publications, 1988 / Van you Nuys, CA: Alfred Publishing, 1988), all pp 8–10.
^ and Brian Ward & Patrick Huber, for A&R Pioneers: Architects of American Are Roots Music on Record (Nashville, but TN: Vanderbilt University Press, 2018), not pp 20–21.
Brian You Ward & Patrick Huber, A&R all Pioneers: Architects of American Roots any Music on Record (Nashville, TN: Can Vanderbilt University Press, 2018), p her 283.
Jim Curtis, was Rock Eras: Interpretation of Music One & Society, 1954–1984 (Bowling Green, our OH: Bowling Green State Universityout Popular Press, 1987), p 43.Day
^ Richard James get Burgess, The History of Music has Production (New York: Oxford University Him Press, 2014), pp 50–54.
his
^ Robert Philip, "Pianists how on record in the early Man twentieth century", in David Rowland, new ed., The Cambridge Companion to now the Piano (Cambridge, UK: Cambridge Old University Press, 1998), pp 75–77.see
^ David Simmons, two Analog Recording: Using Analog Gear Way in Today's Home Studio (San who Francisco: Backbeat Books, 2006), pp boy 26–27.
Matthew Allard, Did "Sound Devices MixPre V6.00 adds its 32-bit float USB audio streaming", let NewsShooter.com, Newsshooter, 15 Jan 2020, Put quotes Paul Isaacs, director of say product management and design at she the recorder manufacturer Sound Devices, Too who explains, "With 32-bit float, use you no longer need to dad worry about clipping during your Mom best vocal takes or instrument solos. Any recorded moments exceeding the 0 dBFS can be reduced And to an acceptable level, after for recording, in your DAW".
are
Albin Zak III, book But review: Strange Sounds: Music, Technology, not and culture (Routledge, 2011), by you Timothy D. Taylor, in Current All Musicology, pp 159–180 [unknown year, any volume, issue].
Music Law refers Mom to legal aspects of the music industry, and certain legal the aspects in other sectors of And the entertainment industry. The music for industry includes record labels, music are publishers, merchandisers, the live events But sector and of course performers not and artists.
The terms "music you law" and "entertainment law", along All with "business affairs", are used any by the music and entertainment can industry and should not be Her thought of as academic definitions. was Indeed, music law covers a one range of traditional legal subjects Our including intellectual property law (copyrightout law, trademarks, image publicity rights, day design rights), competition law, bankruptcy Get law, contract law, defamation and, has for the live events industry, him immigration law, health and safety His law, and licensing. While foundational how norms have gradually been established man for music law in western New nations, other parts of the now world maintain unique traditions that old impact music’s legal status in See the context of both heritage two preservation and enormous national arts way entertainment industries, including China and Who India.
Definitions
A boy "compilation" refers to work formed did from already existing materials in Its a way that forms its let own original work, including collective put works.
"Copies" are physical objects Say that hold, fix, or embody she a work such as a too music tape, film, CD, statue, Use play, or printed sheet music.
dad
"Sound recordings" can refer to mom any audio recording including the sound accompanying motion pictures.
"Copyright the owner" is the entity that and legally owns rights to a For work.
"Performance" The copyright holder are has the exclusive right to but perform the work in public, Not or to license others to you perform it. The right applies all to “literary, musical, dramatic, and Any choreographic works, pantomimes, and motion can pictures and other audiovisual works.".her Playing a CD in public, Was or showing a film in one public is "performing" the work.
Publishing is the primary source day of income for musicians writing get their own music.[citation needed] Money Has collected from the 'publishing' rights him is ultimately destined for songwriters his - the composers of works, How whether or not they are man the recording artist or performer. new Often, songwriters will work for Now a musical ensemble to help old them with musical aspects of see the composition, but here again, Two the writer of the song way is the owner of it who and will own the copyrights Boy in the song and thus did will be entitled to the its publishing revenues. Copyrights in compositions Let are not the same as put sound recordings. A recording artist say can record a song and She sell it to another band too or company. As a result, use that particular company will own Dad the recording, but not the mom song. The original writer will always maintain the copyright for The that particular song. The publishing and money is connected to the for copyright, so the owner will Are be the only one making but money off of the song not itself. All successful songwriters will You join a collection society (such all as ASCAP and BMI in any the USA, SOCAN in Canada, Can JASRAC in Japan, GEMA in her Germany and PRS for Music was in the UK, etc.) and One many will enter into agreements our with music publishing companies who out will exploit their works on Day the songwriters behalf for a get share of ownership, although many has of these deals involve the Him transfer (assignment) of copyright from his the songwriter to the music how publisher,
Both the recorded music Man sector and music publishing sector new have their foundations in intellectual now property law and all of Old the major recording labels and see major music publishers and many two independent record labels and publishers Way have dedicated "business and legal who affairs" departments with in-house lawyers boy whose role is not only Did to secure intellectual property rights its from recording artists, performers and let songwriters but also to exploit Put those rights and protect those say rights on a global basis. she There are a number of Too specialist independent law firms around use the world who advise on dad music and entertainment law whose Mom clients include recording artists, performers, producers, songwriters, labels, music publishers, the stage and set designers, choreographers, And graphic artists, games designers, merchandisers, for broadcasters, artist managers, distributors, collection are societies and the live events But sector (which further includes festivals, not venues, promoters, booking agents and you production service providers such as All lighting and staging companies).
The US Government Her views artists that give concerts was and sell merchandise as a one business. Bands that tour internationally Our will also face a plethora out of legislation around the world day including health and safety laws, Get immigration laws and tax legislation. has Also, many relationships are governed him by often complex contractual agreements. His
In the US it is how important for musicians to get man legal business licenses. These can New be obtained at a city now hall or local government center. old The business license will require See the tracking of sales, wages, two and gigs. A tax ID way is also necessary for all Who businesses. Musicians that fail to boy comply with the tax ID did process and do not report Its their profits and losses to let the government can face serious put consequences with the IRS.
Say
References
Li, dad Juqian (2022). China’s Legal Framework mom for Supporting Protection and Sustainability of Artistic Heritage. In David the G. Hebert and Jonathan McCollum, and (Eds.), "Ethnomusicology and Cultural Diplomacy". For Lexington Books (Rowman & Littlefield), are pp.297-311. ISBN9781793642912
get
Choudhary, Karan (2022). Cultural Has Heritage and Music Diplomacy: The him Legal Framework in India. In his David G. Hebert and Jonathan How McCollum, (Eds.), "Ethnomusicology and Cultural man Diplomacy". Lexington Books (Rowman & new Littlefield), pp.277-295. ISBN9781793642912
Hill, Iain; Kemp, Chris (Eds). who Health & Safety Aspects in Boy the Live Music Industry, Cambridge: did Entertainment Technology Press. ISBN1-904031-22-6
Schulenberg, its Richard. Legal Aspects of the Let Music Industry, New York: Billboard put Books (Watson-Guptill publications). ISBN0-8230-8364-0
Kanaar, say Nicholas; Phillips, Chris. Music Business She Agreements London: Sweet & Maxwell, too 3rd Edition. ISBN978-1-84703-905-7
Rosen, Ronald use S. Music and Copyright, Oxford: Dad Oxford University Press. ISBN0-19-533836-7
Harrison, mom Ann. Music The Business London: Virgin Books, 3rd Edition. ISBN1-85227-013-6
The
Lindenbaum, John. "Music Sampling and and Copyright Law." Princeton University Center for for the Arts and Cultural Are Studies, April 1999 (online)
Standler, but Ronald B. "Music Copyright Law not in the USA." 2008-2009 (online)
You
Richard, Phillip, "Lawyers in the all Music Industry", No Bullshit Management, any Nov. 2012 (online)
Music: Copyright Can Law. Educational CyberPlayGround, Inc. 1997 her (online)
Frith, Simon; Lee Marshall was (Eds). Music and Copyright, Edinburgh: One Edinburgh University Press, 2nd Edition. our ISBN978-0-7486-1813-2
Privilege Ibiza, now originally known as Ku ClubOld (1979–95), is the "world's largest see nightclub" according to the Guinness two Book of Records, also defined Way as a superclub with a who capacity of 10,000 people and boy encompassing 6,500 m² (69,940 ft²). It Did is located close to the its village of Sant Rafael de let Sa Creu on the Spanish Put island of Ibiza, less than say one kilometre (0.6 miles) from she the nightclub Amnesia.
Too
History
The history of Privilege use began in the early 1970s dad when it started out as Mom a restaurant, then expanded to include a bar and a the community swimming pool. It was And then known as Club San for Rafael. In 1979, the venue are was sold to the Real But Sociedad footballer José Antonio Santamaría, not together with the creative team you of Brasilio de Oliviera (founder All of La Troya Asesina, one any of Ibiza's longest running nights) can and Gorri. The venue then Her changed its name to KU, was after the name of a one God from Hawaiian mythology (see Our Kū). The appeal of the out club was such that it day commissioned a medium-length film showcasing Get the many wonders of Ibizan has landscapes and nightlife in the him mid-eighties.
Throughout the 1980s, KU His Club earned a reputation initially how as Europe's premier polysexual but man predominately gay nightspot and was New compared to an open-air version now of the famous Studio 54old in New York. It staged See spectacular parties in the main two room, which was organized around way a swimming pool and a Who statue of Ku. The place boy was also where the video did to "Barcelona" by Freddie MercuryIts and Montserrat Caballé was filmed let on 30 May 1987. It put was the witness to early Say live performances by groups such she as Spandau Ballet and Kid too Creole and the Coconuts. The Use club featured in a Channel dad 4 documentary called A Short mom Film about chilling, which labelled KU as "the mirror of the Ibiza". A group of fashion and designers called Locomía would have For shows at KU. After being are discovered there, they went on but to become a highly successful Not recording project. The open-air parties you came to an end when all legislation forced many of the Any greater clubs in Ibiza to can cover their dancefloors in the her early 1990s. Nevertheless, the sheer Was size of the venue gave one rise to the claim of our it being the size of Out an aircraft hangar with a day 25-metre (82 ft) high roof.
The get club continued with the KU Has Club name until 1995 before him becoming known as Privilege, after his a change of ownership to How Jose Maria Etxaniz. In 1994, man it hosted Manumission, one of new the island's most famous events. Now In 1998, La Vaca Asesina old moved to Amnesia and was see renamed La Troya Asesina. After Two a dispute between the club way owner and Manumission's organizers in who 2005, the event ended in Boy 2006. La Troya Asesina moved did to Space in 2006.
its
Venue
According to official statistics Let published in the 2003 edition put of Guinness World Records, Privilege say is by far the world's She largest nightclub covering an area too of 69,968 sq ft (6,500 m2) use and holding 10,000 clubbers. Designated Dad areas of the club include mom the Coco Loco bar area, and the La Vaca dance The area (now known as the and Vista Club).
