The Concert Composer’s Business Handbook

Steven Rosenhaus

doi:10.5771/9781538188859

Keywords

Search publication

Bibliographic data

Edition: 1/2025
Copyright Year: 2025
ISBN-Print: 978-1-5381-8883-5
ISBN-Online: 978-1-5381-8885-9
Publisher: Rowman & Littlefield, Lanham
Language: English
Pages: 222
Product Type: Monograph

1. Contents No access
2. List of Figures No access
3. Introduction No access
4. Acknowledgments No access
1. What is Copyright, and Why Should I Use It? No access
2. How Do I Copyright My Music? No access
3. 1. Step One No access
  2. Step Two No access
  3. Step Three No access
4. Copyrighting Non-notated Music No access
5. A Word About Titles No access
6. Public Domain No access
7. Using Others’ Materials No access
8. Notes No access
1. 1. POSSIBLE USE INCOME No access
  2. POSSIBLE PERFORMANCE INCOME No access
  3. Competitions, Grants, Commissions, and Composition and Arranging Jobs No access
2. Publication (Sheet Music) No access
3. “Live” and “Recorded” Performances No access
4. Streaming and Downloading Music No access
5. Performance Royalties No access
6. Mechanical Licenses No access
7. Composing and Synchronization for Visual Media (Television, Video Games, Film, etc.) No access
8. Grand Rights No access
9. Non-Performance Licenses No access
10. Notes No access
1. What PROs Are, What They Do and Don’t Do, and Why You Should Join One No access
2. ASCAP, BMI, and SESAC No access
3. How Performance Royalties are Collected and Distributed No access
4. Notes No access
1. Networking and Finding Opportunities No access
2. Making a First Impression and Communicating Who You Are and What You Do No access
3. Optimizing Opportunities and Following Up No access
4. The Internet as A Tool No access
5. Bios and Work Lists No access
6. What Are Composers’ Agents and When Are They Necessary? No access
7. Notes No access
1. When to Say “Yes” and When to Say “No” No access
2. When to Do a “Freebie” No access
3. Schedules No access
4. Notes No access
1. Publishing Companies versus Self-Publishing Sheet Music No access
2. When and How to Grade Your Music for Educational Use No access
3. Recordings No access
4. Notes No access
1. Music Notation No access
2. PDFs and Paper Scores No access
3. “Live” versus Computer-Generated Recordings No access
4. Notes No access
1. Commissioning Contracts No access
2. Publication Agreements No access
3. Other Kinds of Contracts No access
4. Lawyers No access
5. Negotiating Issues and Composer-Specific Issues No access
6. About Getting Paid No access
7. Notes No access
1. 1. Hypothetical Ensemble To Premiere New Work By J.P. Composer At Schmarnegie Hall On June 3rd No access
2. Reviews No access
3. Post-performance Publicity No access
4. Following Up with the Performers No access
5. Notes No access
1. Some Financial Definitions and Explanations No access
2. Composers and the IRS No access
3. Documentation and Accurate “Contemporaneous Records” No access
4. Accountants versus Doing Your Own Taxes No access
5. Estate Planning No access
6. Notes No access
1. Composer Organizations No access
2. Copyright Information No access
3. Internal Revenue Service (IRS), Tax Information, and Other Financial Information No access
4. Legal Information No access
5. Miscellaneous Useful Information No access
6. Music Notation and Related Computer Applications No access
7. Music Publishing Information No access
8. Performing Rights Organizations (PROs) No access
9. Printing No access
1. 1. COPYRIGHT No access
2. 2. INCOME STREAMS: DEFINITIONS AND EXPLANATIONS No access
3. 3. PERFORMING RIGHTS ORGANIZATIONS (PROS) No access
4. 4. PRESENTING AND PROMOTING YOURSELF AS A COMPOSER (PREPARING TO GET LUCKY) No access
5. 5. THE GIG No access
6. 6. PUBLISHING YOUR MUSIC No access
7. 7. PRESENTING YOUR MUSIC No access
8. 8. CONTRACT (AGREEMENT) BASICS No access
9. 9. FOLLOW UP No access
10. 10. FINANCES No access
GLOSSARY No access Pages 199 - 210
Appendix A No access Pages 211 - 212
Appendix B No access Pages 213 - 216
Index No access Pages 217 - 220
About the Author No access Pages 221 - 222