This course taught the creative and business basics of music publishing. At the end of the course, a colleague and I presented how streaming has impacted artist & songwriter royalties in addition to songwriting itself (view the presentation here).
Course topics were as follows:
- improving an artist/band’s chances of getting seen, heard, and signed;
- how to ensure that an artist is not getting ripped off by learning United States copyright basics, copyright registration in Washington D.C., and co-writer and producer splits;
- the functions of a music publishing company: song-plugging, advances, and copyright administration;
- how to make sense of publishing deals and copyright assignment: exclusive songwriter agreements, co-publishing deals, and administration agreements;
- how to get paid for your music and master recordings: mechanical royalties, performance royalties, synch fees, master-use fees, print royalties, new electronic transmissions, and foreign sub-publishing monies;
- how and when to join important music organizations and societies: ASCAP, BMI, SESAC, Sound Exchange, and The Harry Fox Agency;
- how to start your own publishing company: self-publishing, music libraries, resource guides, and pitching your own music in film, TV, games, advertising, corporate videos, movie trailers, and DVD featurettes; and
- the importance of the Mechanical Licensing Collective (MLC), the Music Modernization Act (MMA), and more.