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comm music quiz 1
| Question | Answer |
|---|---|
| chart | Ranking of most popular recordings or artists |
| streaming | The delivery of digital content to an end user in a continuous flow over a communications network. It provides digital access to content, as opposed to digital ownership which typically involves the permanent downloading of a file |
| record label | a publisher which invests its resources in the creation, promotion, acquisition, distribution, and/or licensing of sound recording and music video assets and receives revenue when these assets are commercially exploited |
| market | A particular group of buyers (or a type of audience) that can be identified by demographic research and/or analyses of preferences |
| licensing | The granting of rights to do something (e.g., perform, reproduce, distribute) with intellectual property |
| catalog | A list of songs (or other goods) available for sale or licensing |
| diy | It is an artist who has released and marketed their music without the help of a record label or label distributor |
| publishing | In the music business, publishing is the exploitation of rights in musical works |
| copyright | The legal right to reproduce, adapt, distribute, perform publicly, and display a protectable original work of authorship |
| synchronization rights (license) | The right to use music in such a way that it is timed to synchronize with, or relate to, moving images in video content, such as a film |
| mechanical license | Permission to reproduce and distribute a musical work in the form of an audio physical product or digital on-demand stream or download. A mechanical right is the right to grant this type of license |
| intellectual property | Ideas translated from creators’ minds to tangible expressions such as copyrightable works of original authorship, trademarks and service marks, patentable inventions, and trade secrets |
| collective work | in copyright law, a work, such as a periodical issue, anthology, or encyclopedia, in which a number of contributions, constituting separate and independent works in themselves, are assembled into a collective whole |
| compilation | a work formed by the collection and assembling of preexisting elements that are selected, coordinated, or arranged in such a way that the resulting work as a whole constitutes an original work of authorship. Compilations include collective works |
| copies | material objects in which a work is fixed and from which the work can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device (ie: sheet music and songbooks.) |
| phonorecord | a physical object serving as a delivery medium for recorded music, such as a vinyl record or CD. The digital version is called a digital phonorecord delivery (DPD) and includes permanent and limited downloads |
| derivative work | A work based on one or more preexisting works, resulting in a new musical arrangement, dramatization, fictionalization, motion picture version, sound recording, or any other form in which a work may be recast, transformed, or adapted (film based on book) |
| registration | a registration of a claim in the original or the renewed and extended term of copyright |
| sound recordings | works that result from fixation of a series of musical, spoken, or other sounds but not including sounds accompanying a motion picture or other audiovisual work. the copyright owner of a sound recording is generally the record label |
| assignment | turning over of a contract or copyright or other asset to another person’s control or ownership |
| transmitting a performance or display | communicating it by any device or process whereby images or sounds are received beyond the place from which they are sent ie: a stream of a sound recording on digital radio). |
| fair use doctrine factors | purpose/character, nature of copyrighted work, amount & substantiality, effect on market |
| joint works | creators split the copyright evenly. The most common arrangement is composer and lyricist, who split royalties 50%-50% |
| work made for hire | Any work done for an employer, or commissioned as part of a collective work (ie: movie and game soundtracks) gives full copyright rights to the company making the work |
| public domain | intellectual property which is not now protected by copyright, trademark, or patent law, and therefore available for use without the need to obtain permission |
| public domain duration | Life of the author +70 years or 95 years after publication for Works Made for Hire |
| copyright infringement | occurs when someone uses a protected work, without the owner’s permission and without a legal exception to the permission requirement |
| cease and desist letters | A written notice sent by an aggrieved party to a party carrying out the offensive activity to immediately stop the activity or else be sued. Typically written by attorneys |
| takedown notice | a formal request by a copyright holder to an Online Service Provider (OSP) to remove material that infringes their copyright, like a photo, song, or text |
| p2p | peer to peer file sharing, tech that allows users to share digital music files & other media directly with each other over internet, without need for central server |
| digital rights mgt | use of tech to control & manage access to copyrighted material. aims to protect copyright holders rights & prevents content from unauthorized distribution & modification |
| copyright owner | individual holding exclusive rights to a musical work or sound recording, usually composer or lyricist |
| compulsory license | under certain circumstances, once you write a song & record it, you're required to allow someone else to record or use that song. they still must pay statutory rate, no negotiation |
| mechanical license (rights) | grants right to reproduce & distribute a copyrighted music composition (lyrics/melody) |
| music publishing | business of monetizing songs |
| song casting | involves matching a song to a performing artist whose aesthetic it is a good match for |
| joint ventures | allow independent publishers to find funding by entering into agreement with major publisher |
| split ownership | occurs when there are multiple songwriters, often with different publishers |
| fractional licensing | each publisher only handling their writer’s portion of the song (ie: the bassline, the lyrics, etc.) |
| personal services term | the length of time a songwriter is contracted to write exclusively for a publisher. Usually starts at a year with possible extensions |
| minimum delivery | Minimum number of songs the songwriter must write per contracted year. If there is a co-writer, it only counts as half a song |
| right to change | publisher often works into contract rights to change a song, at the very least translating into other languages, while at the most adding full instrumental tracks (see Simon and Garfunkel) |
| advance | up-front payment to songwriter from publisher of some of the expected royalties. May be recouped |
| warrant | a promise to complete a task during the term of a contract based on truths at time of signing |
| indemnification | a promise to cover financial losses or damages from any plagiarism or copyright infringement lawsuits that may occur |
| music licensing | a system of permissions and payments |
| performance license/rights | Permission granted by a copyright owner/administrator to perform the copyrighted work in exchange for fee. Permissions are generally granted in the form of blanket licenses, offering access to a large catalog of songs and/or recordings. Can be compulsory |
| performing rights org (PRO) | An intermediary that collects royalties from digital services, venues, and broadcasters on the behalf of composers, songwriters, and publishers |
| creative commons licenses | may be applied to any work a creator sees fit, allowing anyone to use their creative work freely, but BE WARNED that once applied it can never be revoked or taken back |
| at-source | calculating royalties on gross earnings in a foreign territory without deducting any amounts related to local expenses such as commissions or costs |
| blanket license | permission to exploit a large collection of copyrights |
| harry fox agency | a leading US agency that licenses mechanical rights & collects/distributes royalties for music publishers, representing songwriters for their musical comps used in physical products, downloads, ringtones, & lyrics/tabs |
| master use license | grants the right to use a master (recording). doesn't typically include right to use any works embodied in the master that are owned by a separate party, such as the song |
| sampling | in data analysis, a method where small sample (a few secs of a recording) of the large pop. being measured (radio airplay). the inclusion of a preexisting recording (musical work) in a newly created recording |
| transcription license | permission to make copy of recorded music for purposes other than direct sale to consumers (such as bg music in retail setting, in-flight entertainment, radio syndication) |
| muzak | brand of bg music played in retail stores. easy listening, non-intrusive instrumental music played in public spaces. owned by mood media |
| standards | Songs that have stood the test of time and are always there to be mined |
| demo | Demonstration recording; can be given to prospective labels and clients via CD or link to a streaming platform like Soundcloud. |
| genre | A category of musical composition characterized by a particular style, form, or content (e.g., blues, jazz, country, hip-hop, classical, EDM. |
| hook | Memorable melodic and/or lyrical phrase |
| chorus | The refrain section of a song that includes a phrase repeated at intervals |
| bridge | Musical phrase in a song following the hook, sometimes called “release” or “B phrase.” |
| promoter | (1) In the concert sector, promoters take the risks, pay the acts, promote the shows, and sell the tickets. (2) In the recorded music sector, promoters attempt to persuade radio stations and playlist curators to add recordings to their programming |
| lead sheet | Music manuscript containing a song’s melody, text, and chord symbols |
| 32 bar form | AABA jazz standard |
| simple verse | form is usually a 32-bar form repeated with different words, as with My Favorite Things by Rodgers and Hammerstein |
| verse refrain | form refers to a slow verse, followed by the usually faster refrain that most people associate with the song, as with I Got Rhythm by George Gershwin (also performed here by Ella) |
| print royalties | The royalties generated by the sale of printed sheet music are crucial for composers, although the use of lyrics makes them also important to songwriters and lyricists |
| business manager | In the entertainment industry, someone who manages the finances of an entertainer. They are usually an accountant |
| working capital | The assets of a business that can be applied to its operation; the amount of current assets that exceeds current liabilities |
| controlled composition clause | Language in a contract between a record label and a recording artist, granting the label a license to use songs written by the artist in audio and video recordings. It typically also specifies the royalty rate the label will pay for the use of the song |
| guild | An association of professional persons with similar interests (sometimes used synonymously with union.) |
| a&r | Short for artist and repertoire; the role of scouting and nurturing talent as well as matching songs to performers, historically a function performed primarily on behalf of record labels |
| musical hard goods | Included acoustic and electronic guitar and keyboard equipment; wind, brass, percussion, and string instruments; and amplification and recording gear and music production hardware |
| Music published and sold in printed form or in digital form capable of being printed by the user | |
| additive manufacturing | Ways to use additive manufacturing (AM, commonly referred to as 3D printing) have been explored. Top-of-the-line instruments like a Steinway piano are still made by hand |
| boutique operations | The largest companies have offices and factories in more than one country, and the smallest might even be called boutique operations |
| distributor | A business in an intermediate position in the supply chain, such as a wholesaler between a manufacturer and a retailer or satellite operator between a program network and a consumer |
| supply chain | activities involved in turning raw materials into products consumed by consumers. involves composing a song, recording a song, distributing the recording to retailers and digital services, and making the recording available to consumers |
| luthier | Person or company who builds string instruments (guitars, violins, ukeleles, etc.) |
| acoustic instrument | An instrument that is not electronic and is not amplified. Acoustic instrument suppliers have benefited from improvements in manufacturing and computer aided design (CAD.) |
| electronic instruments | Came with invention of the triode vacuum tube that enabled creation of repetitive waveforms. The electronics that power electronic instruments & equipment have gotten smaller, cheaper, & capable of more processing power. Synthesizers, electric guitars |
| analog | An electrical signal or wave form in which the amplitude and/or frequency vary continuously |
| digital | Software chops the wave up into thousands of discrete parts, technically lower fidelity than analog |
| rent to own | A transaction in which the customer rents a product such as a musical instrument with an option to own the product after a certain number of payments are made |
| accessory (musical) | A type of music product, usually relatively inexpensive, used to enhance or support musical instruments, such as a case, stand, strap, guitar pick, cleaning tool, and so on |
| full line music stores | carry a wide variety of inventory and have some combination of physical and online stores, including Guitar Center, Sweetwater, Sam Ash Music, and Music & Arts |
| combo stores | narrower in scope than full-line stores. deal with instruments like drums & guitars (& amps), & equipment such as recording gear, microphones, speakers, & lighting equipment & accessories that go with them all like stands, cables, drumsticks, snares |
| b&o (band & orchestra) retailers | The market for b&o instruments & equipment is made up of 3 groups of customers: professional musicians, amateurs who are music hobbyists; and schools and colleges that host multiple musical ensembles (these make up more than 75% of the market.) |
| specialty shops | Some of the high-end professional instruments & accessories are geared toward such a specialized target customer that most retailers can’t afford to carry them. they're available only in stores that specialize in this very niche market or by special order |
| audio & visual equipment | The equipment spans a broad group of uses: home use by consumers; use by professional and semiprofessional musicians and engineers in their home studios or on the road; and use by professional recording studios and performance venues |
| keyboards & organs | It offers a full line of upright and grand acoustic pianos to accommodate the full gamut of musicians, from the professional who needs a 9-foot concert grand to the student first learning to play. |
| online retailers | Sweetwater, Musician’s Friend, Woodwind & Brasswind, and even Amazon itself are juggernauts in the online music products field |
| lacey act | conservation law to protect wildlife. combats trafficking of illegally taken wildlife, fish, & plants. prohibits import, export, transport, scale, or purchase of these items in violation of US or foreign laws, aiming to curb poaching & illegal logging |
Created by:
rachelrobinson