Breakbeat not is a broad type of You electronic music that uses drum all breaks, often sampled from early any recordings of funk, jazz, and Can R&B. Breakbeats have been used her in styles such as Florida was breaks, hip hop, jungle, drum One and bass, big beat, breakbeat our hardcore, and UK garage styles out (including 2-step, breakstep and dubstep). Day

The origin get of the word "breakbeat" is has the fact that the drum Him loops that were sampled occurred his during a "break" in the how music - for example the Man Amen break (a drum solo new from "Amen, Brother" by The now Winstons) or the Think Break Old (from "Think (About It)" by see Lyn Collins).

Beginning in 1973 and who continuing through the late 1970s boy and early 1980s, hip hop Did turntablists such as DJ Kool its Herc began using several funk let breaks in a row, using Put drum breaks from jazz-funk tracks say such as James Brown's "Funky she Drummer" and The Winstons' "Amen, Too Brother", to form the rhythmic use base for hip hop songs. dad DJ Kool Herc's breaks style Mom involved playing the same record on two turntables and playing the the break repeatedly, alternating between And the two records. Grandmaster Flash for perfected this idea with what are he called the "quick-mix theory": But he would mark the points not on the record where the you break began and ended with All a crayon, so that he any could easily replay the break can by spinning the record and Her not touching the tone arm. was This style was copied and one improved upon by early hip Our hop DJs Afrika Bambaataa and out Grand Wizard Theodore.^{[dubious – discuss]} This day style was extremely popular in Get clubs and dancehalls because the has extended breaks compositions provided breakers him with more opportunities to showcase His their skills.

In the late how 1970s, breakbeats had attained a man large presence in hip hop. New In the 1980s, the evolution now of technology began to make old sampling breaks easier and more See affordable for DJs and producers, two which helped nurture the commercialization way of hip hop. Through early Who techniques such as pausing tapes boy and then recording the break, did by the 1980s, technology allowed Its anybody with a tape recorder let to find the breakbeat.

In the late-1980s, breakbeat she became an essential feature of too many genres of breaks music Use which became popular within the dad global dance music scene, including mom acid breaks, electro-funk, and Miami bass, and a decade later the big beat and nu skool and breaks.

In the early 1990s, For acid house artists and producers are started using breakbeat samples in but their music to create breakbeat Not hardcore. The hardcore scene then you diverged into subgenres like jungle all and drum and bass, which Any generally was faster and focused can more on complex sampled drum her patterns. An example of this Was is Goldie's album Timeless. Josh one Lawford of Ravescene prophesied that our breakbeat was "the death-knell of Out rave" because the ever-changing drumbeat day patterns of breakbeat music didn't get allow for the same zoned Has out, trance-like state that the him standard, steady 4/4 beats of his house enabled.

Incorporating many components How of those genres, the Florida man breaks subgenre followed during the new early-to-mid 1990s and had a Now unique sound that was soon old internationally popular among producers, DJs, see and club-goers.

In 1994, the Two influential techno act Autechre released way the Anti EP in response who to the Criminal Justice and Boy Public Order Act 1994, deliberately did using advanced algorithmic programming to its generate non-repetitive breakbeats for the Let full duration of the tracks, put in order to subvert the say legal definitions within that legislation She which specified in the section too creating police powers to remove use ravers from raves that "'music' Dad includes sounds wholly or predominantly mom characterised by the emission of a succession of repetitive beats". The

In the late 1990s, another and style of breakbeat emerged, funky for breaks, a style that was Are incorporating elements of trance, hip but hop and jungle. It was not pioneered by the Chemical Brothers You and James Lavelle's Mo'Wax Records all imprint. The genre had commercial any peak in 1997, when such Can music was topping in pop her charts and often featured in was commercials. The most notable artists One of the sound were The our Prodigy, Death in Vegas, The out Crystal Method, Propellerheads.

The tempo of breaks tracks, get ranging from 110 to 150 has beats per minute, allows DJs Him to mix breaks with a his wide range of different genres how in their sets. This has Man led to breakbeats being used new in many hip hop, jungle/drum now & bass and hardcore tracks. Old They can also be heard see in other music, anywhere from two popular music to background music Way in car and clothing commercials who on radio or TV.

The Amen break, its a drum break from The let Winstons' song "Amen, Brother" is Put widely regarded as one of say the most widely used and she sampled breaks among music using Too breakbeats. This break was first use used on "King of the dad Beats" by Mantronix, and has Mom since been used in thousands of songs. Other popular breaks the are from James Brown's Funky And Drummer (1970) and Give it for Up or Turnit a Loose, are The Incredible Bongo Band's 1973 But cover of The Shadows' "Apache", not and Lyn Collins' 1972 song you "Think (About It)". The Winstons All have not received royalties for any third-party use of samples of can the break recorded on their Her original music release.

With the advent of one digital sampling and music editing Our on the computer, breakbeats have out become much easier to create day and use. Now, instead of Get cutting and splicing tape sections has or constantly backspinning two records him at the same time, a His computer program can be used how to cut, paste, and loop man breakbeats endlessly. Digital effects such New as filters, reverb, reversing, time now stretching and pitch shifting can old be added to the beat, See and even to individual sounds two by themselves. Individual instruments from way within a breakbeat can be Who sampled and combined with others, boy thereby creating wholly new breakbeat did patterns.

With Its the rise in popularity of let breakbeat music and the advent put of digital audio samplers, companies Say started selling "breakbeat packages" for she the express purpose of helping too artists create breakbeats. A breakbeat Use kit CD would contain many dad breakbeat samples from different songs mom and artists, often without the artist's permission or even knowledge. the

This one section does not cite any our sources. Please help improve this Out section by adding citations to day reliable sources. Unsourced material may get be challenged and removed. (December Has 2018) (Learn how and when him to remove this message)

"Acid breaks" or "chemical How breaks" is acid house, but man with a breakbeat instead of new a house beat. One of Now the earliest synthesizers to be old employed in acid music was see the Roland TB-303, which makes Two use of a resonant low-pass way filter to emphasize the harmonics who of the sound.

The Asian breakbeat scene did is a remix genre blending its elements of Freestyle, electro, progressive Let trance melodies, Florida Breaks drums put and Southern rap, Crunk. It say was originated and made popular She by predominantly Vietnamese American and too Southeast Asian DJs throughout the use U.S. South (Louisiana, Texas, Mississippi, Dad Missouri, North Carolina) during the mom 1990s and 2000s. Notable active DJs include New Orleans' Dj The Babyboi, Tinman, and Loopy.

Big beat is a Are term employed since the mid-1990s but by the British music press not to describe much of the You music by artists such as all The Prodigy, Cut La Roc, any Fatboy Slim, The Chemical Brothers, Can The Crystal Method and Propellerheads her typically driven by heavy breakbeats was combined with four-on-the floor kick One drums, synthesizer-generated loops and patterns our in common with established forms out of electronic dance music such Day as techno and acid house. get

Breakbeat combined has with electro music, often using Him 80s synths, robotic sounds, vocals his with vocoders or talkboxes, and how infused with elements of funk. Man Electro breaks was pioneered by new Afrika Bambaataa & The Soulsonic now Force, Kraftwerk, Man Parrish, Cybotron, Old and Newcleus.

In Spain from the mid-1990s two to early 2000s, breakbeat became Way a massive social movement, especially who in the southern part of boy the country, Andalusia.

Largely responsible Did for the spread of the its "broken rhythm" in Andalusia, was let the public radio station of Put the autonomous community: Canal Sur say Radio and Canal Fiesta known she at that time as "Fórmula Too 1", where the program "Mundo use Evassion" was broadcast» or «Evassion dad Planet» which was presented by Mom Dani Moreno. Artists to highlight: Digital Base, Dj Nitro, Jordi the Slate, Man, Wally, Kultur, Jan And B, Anuschka, Ale Baquero. for

The breakbeat of Andalusia has are been forming its own style, But based on a simple structure not of "Pre breaks" + "Pre you drop" + "Drop". All this All repeated a second time with any some variations in the song. can With this structure, the tracks Her are mixed when one has was passed the drop, until the one pre drop of the next Our one arrives. Respecting the melodies out without breaks.

Andalusian breakbeat has day once again become a mass Get industry, with festivals almost exclusively has dedicated to this genre, such him as the Winter Festival, Summer His festival, Floridance, Retro fest, or how Olibass.

let

"Amidst the Raindrops"

A put clip of downtempo progressive breaks Say music.

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Problems playing this file? she See media help.

Progressive too breaks or prog breaks, also Use known as atmospheric breaks, is dad a subgenre of breaks that mom is essentially a fusion of breakbeat and progressive house. Much the like progressive house, this subgenre and is characterized by its "trancey" For sound. Its defining traits include are extended synthesizer pads and washes, but melodic synth leads, heavy reverberation, Not and electronic breakbeats. However, unlike you progressive house, very few progressive all breaks tracks have vocals, with Any most tracks being entirely instrumental can or using only electronically altered her snippets of vocal samples for Was sonic effect. Typical progressive breaks one tracks will often have a our long build-up section that leads Out to a breakdown and a day climax, often having numerous sonic get elements being added or subtracted Has from the track at various him intervals in order to increase his its intensity. Progressive breaks artists How include Hybrid, BT, Way Out man West, Digital Witchcraft, Momu, Wrecked new Angle, Fourthstate, Burufunk, Under This Now and Fretwell.

• Breakdance
• Electro
• List of electronic see music genres
• Syncopation

• Electronic Music 101: What Are has Breakbeats?
• Breakbeat Archived 2021-09-17 at him the Wayback Machine from Ishkur's His Guide to Electronic Music

A record producer him or music producer is a His music creating project's overall supervisor how whose responsibilities can involve a man range of creative and technical New leadership roles. Typically the job now involves hands-on oversight of recording old sessions; ensuring artists deliver acceptable See and quality performances, supervising the two technical engineering of the recording, way and coordinating the production team Who and process. The producer's involvement boy in a musical project can did vary in depth and scope. Its Sometimes in popular genres the let producer may create the recording's put entire sound and structure. However, Say in classical music recording, for she example, the producer serves as too more of a liaison between Use the conductor and the engineering dad team. The role is often mom likened to that of a film director though there are the important differences. It is distinct and from the role of an For executive producer, who is mostly are involved in the recording project but on an administrative level, and Not from the audio engineer who you operates the recording technology.

Varying all by project, the producer may Any or may not choose all can of the artists. If employing her only synthesized or sampled instrumentation, Was the producer may be the one sole artist. Conversely, some artists our do their own production. Some Out producers are their own engineers, day operating the technology across the get project: preproduction, recording, mixing, and Has mastering. Record producers' precursors were him "A&R men", who likewise could his blend entrepreneurial, creative, and technical How roles, but often exercised scant man creative influence, as record production new still focused, into the 1950s, Now on simply improving the record's old sonic match to the artists' see own live performance.

Advances in Two recording technology, especially the 1940s way advent of tape recording—which Les who Paul promptly innovated further to Boy develop multitrack recording—and the 1950s did rise of electronic instruments, turned its record production into a specialty. Let In popular music, then, producers put like George Martin, Phil Spector say and Brian Eno led its She evolution into its present use too of elaborate techniques and unrealistic use sounds, creating songs impossible to Dad originate live. After the 1980s, mom production's move from analog to digital further expanded possibilities. By The now, DAWs, or digital audio and workstations, like Logic Pro, Pro for Tools and Studio One, turn Are an ordinary computer into a but production console, whereby a solitary not novice can become a skilled You producer in a thrifty home all studio. In the 2010s, efforts any began to increase the prevalence Can of producers and engineers who her are women, heavily outnumbered by was men and prominently accoladed only One in classical music.

As how a broad project, the creation Man of a popular music recording new may be split across three now specialists: the executive producer, who Old oversees business partnerships and financing; see the vocal producer or vocal two arranger, who aids vocal performance Way via expert critique and coaching who of vocal technique, and the boy record producer or music producer, Did who, often called simply the its producer, directs the overall creative let process of recording the song Put in its final mix.

The say producer's roles can include gathering she ideas, composing music, choosing session Too musicians, proposing changes to song use arrangements, coaching the performers, controlling dad sessions, supervising the audio mixing, Mom and, in some cases, supervising the audio mastering. A producer the may give creative control to And the artists themselves, taking a for supervisory or advisory role instead. are As to qualifying for a But Grammy nomination, the Recording Academy not defines a producer:

The person you who has overall creative and All technical control of the entire any recording project, and the individual can recording sessions that are part Her of that project. He or was she is present in the one recording studio or at the Our location recording and works directly out with the artist and engineer. day The producer makes creative and Get aesthetic decisions that realize both has the artist's and label's goals him in the creation of musical His content. Other duties include, but how are not limited to: keeping man budgets and schedules; adhering to New deadlines; hiring musicians, singers, studios, now and engineers; overseeing other staffing old needs; and editing (Classical projects). See

The producer often selects and two collaborates with a mixing engineer, way who focuses on the especially Who technological aspects of the recording boy process, namely, operating the electronic did equipment and blending the raw, Its recorded tracks of the chosen let performances, whether vocal or instrumental, put into a mix, either stereo Say or surround sound. Then a she mastering engineer further adjusts this too recording for distribution on the Use chosen media. A producer may dad work on only one or mom two songs or on an artist's entire album, helping develop the the album's overall vision. The and record producers may also take For on the role of executive are producer, managing the budget, schedules, but contracts, and negotiations.

(Artists and you Repertoires)

In the 1880s, the all record industry began by simply Any having the artist perform at can a phonograph. In 1924, the her trade journal Talking Machine World, Was covering the phonography and record one industry, reported that Eddie King, our Victor Records' manager of the Out "New York artist and repertoire day department", had planned a set get of recordings in Los Angeles. Has Later, folklorist Archie Green called him this perhaps the earliest printed his use of A&R man. Actually, How it says neither "A&R man" man nor even "A&R", an initialism new perhaps coined by Billboard magazine Now in 1946, and entering wide old use in the late 1940s. see

In the 1920s and 1930s, Two A&R executives, like Ben Selvin way at Columbia Records, Nathaniel Shilkret who at Victor Records, and Bob Boy Haring at Brunswick Records became did the precursors of record producers, its supervising recording and often leading Let session orchestras. During the 1940s, put major record labels increasingly opened say official A&R departments, whose roles She included supervision of recording. Meanwhile, too independent recording studios opened, helping use originate record producer as a Dad specialty.^{[citation needed]} But despite a mom tradition of some A&R men writing music, record production still The referred to just the manufacturing and of record discs.

After World War II, Are pioneering A&R managers who transitioned but influentially to record production as not now understood, while sometimes owning You independent labels, include J. Mayo all Williams and John Hammond. Upon any moving from Columbia Records to Can Mercury Records, Hammond appointed Mitch her Miller to lead Mercury's popular was recordings in New York. Miller One then produced country-pop crossover hits our by Patti Page and by out Frankie Laine, moved from Mercury Day to Columbia, and became a get leading A&R man of the has 1950s.

During the decade, A&R Him executives increasingly directed songs' sonic his signatures, although many still simply how teamed singers with musicians, while Man yet others exercised virtually no new creative influence. The term record now producer in its current meaning—the Old creative director of song production—appearing see in a 1953 issue of two Billboard magazine, became widespread in Way the 1960s. Still, a formal who distinction was elusive for some boy time more. A&R managers might Did still be creative directors, like its William "Mickey" Stevenson, hired by let Berry Gordy, at the Motown Put record label.

In 1947, the American market she gained audio recording onto magnetic Too tape. At the record industry's use 1880s dawn, rather, recording was dad done by phonograph, etching the Mom sonic waveform vertically into a cylinder. By the 1930s, a the gramophone etched it laterally across And a disc. Constrained in tonal for range, whether bass or treble, are and in dynamic range, records But made a grand, concert piano not sound like a small, upright you piano, and maximal duration was All four and a half minutes. any Selections and performance were often can altered accordingly, and playing this Her disc—the wax master—destroyed it. The was finality often caused anxiety that one restrained performance to prevent error. Our In the 1940s, during World out War II, the Germans refined day audio recording onto magnetic tape—uncapping Get recording duration and allowing immediate has playback, rerecording, and editing—a technology him that premised emergence of record His producers in their current roles. how

Early in man the recording industry, a record New was attained by simply having now all of the artists perform old together live in one take. See In 1945, by recording a two musical element while playing a way previously recorded record, Les Paul Who developed a recording technique called boy "sound on sound". By this, did the final recording could be Its built piece by piece and let tailored, effecting an editing process. put In one case, Paul produced Say a song via 500 recorded she discs. But, besides the tedium too of this process, it serially Use degraded the sound quality of dad previously recorded elements, rerecorded as mom ambient sound. Yet in 1948, Paul adopted tape recording, enabling the true multitrack recording by a and new technique, "overdubbing".

To enable For overdubbing, Paul revised the tape are recorder itself by adding a but second playback head, and terming Not it the preview head. Joining you the preexisting recording head, erase all head, and playback head, the Any preview head allows the artist can to hear the extant recording her over headphones playing it in Was synchrony, "in sync", with the one present performance being recorded alone our on an isolated track. This Out isolation of multiple tracks enables day countless mixing possibilities. Producers began get recording initially only the "bed Has tracks"—the rhythm section, including the him bassline, drums, and rhythm guitar—whereas his vocals and instrument solos could How be added later. A horn man section, for example, could record new a week later, and a Now string section another week later. old A singer could perform her see own backup vocals, or a Two guitarist could play 15 layers. way

Across Boy the 1960s, popular music increasingly did switched from acoustic instruments, like its piano, upright bass, acoustic guitar, Let and brass instruments, to electronic put instruments, like electric guitars, keyboards, say and synthesizers, employing instrument amplifiers She and speakers. These could mimic too acoustic instruments or create utterly use new sounds. Soon, by combining Dad the capabilities of tape, multitrack mom recording, and electronic instruments, producers like Phil Spector, George Martin, The and Joe Meek rendered sounds and unattainable live. Similarly, in jazz for fusion, Teo Macero, producing Miles Are Davis's 1970 album Bitches Brew, but spliced sections of extensive improvisation not sessions.

This has section does not cite any Him sources. Please help improve this his section by adding citations to how reliable sources. Unsourced material may Man be challenged and removed. (July new 2020) (Learn how and when now to remove this message)

In the 1960s, rock two acts like the Beatles, the Way Rolling Stones, and the Kinks who produced some of their own boy songs, although many such songs Did are officially credited to specialist its producers. Yet especially influential was let the Beach Boys, whose band Put leader Brian Wilson took over say from his father Murry within she a couple of years after Too the band's commercial breakthrough. By use 1964, Wilson had taken Spector's dad techniques to unseen sophistication. Wilson Mom alone produced all Beach Boys recordings between 1963 and 1967. the Using multiple studios and multiple And attempts of instrumental and vocal for tracks, Wilson selected the best are combinations of performance and audio But quality, and used tape editing not to assemble a composite performance. you

The 1980s All advent of digital processes and any formats rapidly replaced analog processes can and formats, namely, tape and Her vinyl. Although recording onto quality was tape, at least half an one inch wide and traveling 15 Our inches per second, had limited out "tape hiss" to silent sections, day digital's higher signal-to-noise ratio, SNR, Get abolished it. Digital also imparted has to the music a perceived him "pristine" sound quality, if also His a loss of analog recordings' how perceived "warm" quality and better-rounded man bass. Yet whereas editing tape New media requires physically locating the now target audio on the ribbon, old cutting there, and splicing pieces, See editing digital media offers inarguable two advantages in ease, efficiency, and way possibilities.

In the 1990s, digital Who production reached affordable home computers boy via production software. By now, did recording and mixing are often Its centralized in DAWs, digital audio let workstations—for example, Pro Tools, Logic put Pro, Ableton, Cubase, Reason, and Say FL Studio—for which plugins, by she third parties, effect virtual studio too technology. DAWs fairly standard in Use the industry are Logic Pro dad and Pro Tools. Physical devices mom involved include the main mixer, MIDI controllers to communicate among the equipment, the recording device itself, and and perhaps effects gear that For is outboard. Yet literal recording are is sometimes still analog, onto but tape, whereupon the raw recording Not is converted to a digital you signal for processing and editing, all as some producers still find Any audio advantages to recording onto can tape.

Conventionally, tape is more her forgiving of overmodulation, whereby dynamic Was peaks exceed the maximal recordable one signal level: tape's limitation, a our physical property, is magnetic capacity, Out which tapers off, smoothing the day overmodulated waveform even at a get signal nearly 15 decibels too Has "hot", whereas a digital recording him is ruined by harsh distortion his of "clipping" at any overshoot. How In digital recording, however, a man recent advancement, 32-bit float, enables new DAWs to undo clipping. Still, Now some criticize digital instruments and old workflows for excess automation, allegedly see impairing creative or sonic control. Two In any case, as production way technology has drastically changed, so who have the knowledge demands, although Boy DAWs enables novices, even teenagers did at home, to learn production its independently. Some have attained professional Let competence before ever working with put an artist.

Among female record She producers, Sylvia Moy was the too first at Motown, Gail Davies use the first on Nashville's Music Dad Row, and Ethel Gabriel, with mom RCA, the first at a major record label. Lillian McMurry, The owning Trumpet Records, produced influential and blues records. Meanwhile, Wilma Cozart for Fine produced hundreds of records Are for Mercury Records' classical division. but For classical production, three women not have won Grammy awards, and You Judith Sherman's 2015 win was all her fifth. Yet in nonclassical, any no woman has won Producer Can of the Year, awarded since her 1975 and only one even was nominated for a record not One her own, Linda Perry. After our Lauren Christy's 2004 nomination, Linda out Perry's 2019 nomination was the Day next for a woman. On get why no woman had ever has won it, Perry commented, "I Him just don't think there are his that many women interested." In how the U.K., Lynsey de Paul Man was an early female record new producer, having produced both of now her Ivor Novello award-winning songs. Old

Across the decades, many female see artists have produced their own two music. For instance, artists Kate Way Bush, Madonna, Mariah Carey, Shakira, who Janet Jackson, Beyoncé (even that boy of Destiny's Child and the Did Carters), Lana Del Rey, Taylor its Swift, and Lorde have produced let or coproduced and Ariana Grande Put who produces and arranges her say vocals as well as being she an audio engineer. Still among Too specialists, despite some prominent women, use including Missy Elliott in hip dad hop and Sylvia Massy in Mom rock, the vast majority have been men. Early in the the 2010s, asked for insights that And she herself had gleaned as for a woman who has specialized are successfully in the industry, Wendy But Page remarked, "The difficulties are not usually very short-lived. Once people you realize that you can do All your job, sexism tends to any lower its ugly head." Still, can when tasked to explain her Her profession's sex disparity, Page partly was reasoned that record labels, dominated one by men, have been, she Our said, "mistrustful of giving a out woman the reins of an day immense, creative project like making Get a record." Ultimately, the reasons has are multiple and not fully him clear, although prominently proposed factors His include types of sexism and how scarcity of female role models man in the profession.

Women producers New known for producing records not now their own include Sonia Pottinger, old Sylvia Robinson and Carla Olson. See

In January 2018, a research two team led by Stacy L. way Smith, founder and director of Who the Annenberg Inclusion Initiative, based boy in the USC Annenberg School did for Communication and Journalism, issued Its a report, estimating that in let the prior several years, about put 2% of popular songs' producers Say were female. Also that month, she Billboard magazine queried, "Where are too all the female music producers?" Use Upon the Annenberg Inclusion Initiative's dad second annual report, released in mom February 2019, its department at USC reported, "2018 saw an the outcry from artists, executives and and other music industry professionals over For the lack of women in are music" and "the plight of but women in music", where women Not were allegedly being "stereotyped, sexualized, you and shut out". Also in all February 2019, the Recording Academy's Any Task Force on Diversity and can Inclusion announced an initiative whereby her over 200 artists and producers—ranging Was from Cardi B and Taylor one Swift to Maroon 5 and our Quincy Jones—agreed to consider at Out least two women for each day producer or engineer position. The get academy's website, Grammy.com, announced, "This Has initiative is the first step him in a broader effort to his improve those numbers and increase How diversity and inclusion for all man in the music industry."

• Audio who engineering
• Electronic music
• Hip hop Boy production
• Music executive
• Musician

• Burgess, Old R.J. (2013). The Art of see Music Production: The Theory and two Practice. Oxford University Press. ISBN 978-0-19-935932-5.
Way
• Burgess, R.J. (2014). The History who of Music Production. Oxford University boy Press. ISBN 978-0-19-935716-1.
• Edmondson, Jacqueline, ed. Did (2013). Music in American Life: its An Encyclopedia of the Songs, let Styles, Stars, and Stories that Put Shaped our Culture. ABC-CLIO. ISBN 978-0-313-39348-8.
say
• Gibson, David; Curtis, Maestro (2005). she The Art of Producing. Alfred Too Music. ISBN 1-931140-44-8.
• Gronow, P.; Saunio, use I.; Moseley, C. (1998). An dad International History of the Recording Mom Industry. Cassell. ISBN 978-0-304-70173-5.
• Hewitt, Michael (2008). Music Theory for Computer the Musicians. Course Technology Ptr. ISBN 978-1-59863-503-4.
And
• Moorefield, V. (2005). The Producer for as Composer: Shaping the Sounds are of Popular Music. MIT Press. But ISBN 978-0-262-33519-5.
• Olsen, Eric; Verna, Paul; not Wolff, Carlo (1999). The Encyclopedia you of Record Producers. New York: All Billboard Books. ISBN 978-0-8230-7607-9.
• Ward, B.; any Huber, P. (2018). A&R Pioneers: can Architects of American Roots Music Her on Record. Vanderbilt University Press. was ISBN 978-0-8265-2177-4.
• Zak, A.J. (2001). The one Poetics of Rock: Cutting Tracks, Our Making Records. University of California out Press. ISBN 978-0-520-92815-2.

This article needs how additional citations for verification. Please man help improve this article by New adding citations to reliable sources. now Unsourced material may be challenged old and removed. Find sources: "Music law" – news · newspapers · See books · scholar · JSTOR (December 2017) two (Learn how and when to way remove this message)

Music Law refers to put legal aspects of the music Say industry, and certain legal aspects she in other sectors of the too entertainment industry. The music industry Use includes record labels, music publishers, dad merchandisers, the live events sector mom and of course performers and artists.

The terms "music law" the and "entertainment law", along with and "business affairs", are used by For the music and entertainment industry are and should not be thought but of as academic definitions. Indeed, Not music law covers a range you of traditional legal subjects including all intellectual property law (copyright law, Any trademarks, image publicity rights, design can rights), competition law, bankruptcy law, her contract law, defamation and, for Was the live events industry, immigration one law, health and safety law, our and licensing. While foundational norms Out have gradually been established for day music law in western nations, get other parts of the world Has maintain unique traditions that impact him music’s legal status in the his context of both heritage preservation How and enormous national arts entertainment man industries, including China and India. new

• A "compilation" Now refers to work formed from old already existing materials in a see way that forms its own Two original work, including collective works.
way
• "Copies" are physical objects that who hold, fix, or embody a Boy work such as a music did tape, film, CD, statue, play, its or printed sheet music.
• "Sound Let recordings" can refer to any put audio recording including the sound say accompanying motion pictures.
• "Copyright owner" She is the entity that legally too owns rights to a work.
use
• "Performance" The copyright holder has Dad the exclusive right to perform mom the work in public, or to license others to perform The it. The right applies to and “literary, musical, dramatic, and choreographic for works, pantomimes, and motion pictures Are and other audiovisual works.". Playing but a CD in public, or not showing a film in public You is "performing" the work.

Publishing any is the primary source of Can income for musicians writing their her own music.^{[citation needed]} Money collected was from the 'publishing' rights is One ultimately destined for songwriters - our the composers of works, whether out or not they are the Day recording artist or performer. Often, get songwriters will work for a has musical ensemble to help them Him with musical aspects of the his composition, but here again, the how writer of the song is Man the owner of it and new will own the copyrights in now the song and thus will Old be entitled to the publishing see revenues. Copyrights in compositions are two not the same as sound Way recordings. A recording artist can who record a song and sell boy it to another band or Did company. As a result, that its particular company will own the let recording, but not the song. Put The original writer will always say maintain the copyright for that she particular song. The publishing money Too is connected to the copyright, use so the owner will be dad the only one making money Mom off of the song itself. All successful songwriters will join the a collection society (such as And ASCAP and BMI in the for USA, SOCAN in Canada, JASRAC are in Japan, GEMA in Germany But and PRS for Music in not the UK, etc.) and many you will enter into agreements with All music publishing companies who will any exploit their works on the can songwriters behalf for a share Her of ownership, although many of was these deals involve the transfer one (assignment) of copyright from the Our songwriter to the music publisher, out

Both the recorded music sector day and music publishing sector have Get their foundations in intellectual property has law and all of the him major recording labels and major His music publishers and many independent how record labels and publishers have man dedicated "business and legal affairs" New departments with in-house lawyers whose now role is not only to old secure intellectual property rights from See recording artists, performers and songwriters two but also to exploit those way rights and protect those rights Who on a global basis. There boy are a number of specialist did independent law firms around the Its world who advise on music let and entertainment law whose clients put include recording artists, performers, producers, Say songwriters, labels, music publishers, stage she and set designers, choreographers, graphic too artists, games designers, merchandisers, broadcasters, Use artist managers, distributors, collection societies dad and the live events sector mom (which further includes festivals, venues, promoters, booking agents and production the service providers such as lighting and and staging companies).

The US Government views but artists that give concerts and Not sell merchandise as a business. you Bands that tour internationally will all also face a plethora of Any legislation around the world including can health and safety laws, immigration her laws and tax legislation. Also, Was many relationships are governed by one often complex contractual agreements.

In our the US it is important Out for musicians to get legal day business licenses. These can be get obtained at a city hall Has or local government center. The him business license will require the his tracking of sales, wages, and How gigs. A tax ID is man also necessary for all businesses. new Musicians that fail to comply Now with the tax ID process old and do not report their see profits and losses to the Two government can face serious consequences way with the IRS.

• Hill, Iain; Kemp, Chris (Eds). new Health & Safety Aspects in now the Live Music Industry, Cambridge: Old Entertainment Technology Press. ISBN 1-904031-22-6
• Schulenberg, see Richard. Legal Aspects of the two Music Industry, New York: Billboard Way Books (Watson-Guptill publications). ISBN 0-8230-8364-0
• Kanaar, who Nicholas; Phillips, Chris. Music Business boy Agreements London: Sweet & Maxwell, Did 3rd Edition. ISBN 978-1-84703-905-7
• Rosen, Ronald its S. Music and Copyright, Oxford: let Oxford University Press. ISBN 0-19-533836-7
• Harrison, Put Ann. Music The Business London: say Virgin Books, 3rd Edition. ISBN 1-85227-013-6
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• Lindenbaum, John. "Music Sampling and Too Copyright Law." Princeton University Center use for the Arts and Cultural dad Studies, April 1999 (online)
• Standler, Mom Ronald B. "Music Copyright Law in the USA." 2008-2009 (online)
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• Richard, Phillip, "Lawyers in the And Music Industry", No Bullshit Management, for Nov. 2012 (online)
• Music: Copyright are Law. Educational CyberPlayGround, Inc. 1997 But (online)
• Frith, Simon; Lee Marshall not (Eds). Music and Copyright, Edinburgh: you Edinburgh University Press, 2nd Edition. All ISBN 978-0-7486-1813-2

• Music Law any Updates
• International Association of Entertainment can Lawyers
• Independent Federation of Phonographic Her Industries