Enhanced descriptions from Syndetics:

(Berklee Press). With the free-form exchange of music files and musical ideas online, understanding copyright laws has become essential to career success in the new music marketplace. This cutting-edge, plain-language guide shows you how copyright law drives the contemporary music industry. By looking at the law and its recent history, you will understand the new issues introduced by the digital age, as well as continuing issues of traditional copyright law. Whether you are an artist, lawyer, entertainment Web site administrator, record label executive, student, or other participant in the music industry, this book will help you understand how copyright law affects you, helping you use the law to your benefit. * How do you get fair compensation for your work and avoid making costly mistakes? * Can you control who is selling your music on their website? * Is it legal to create mash-ups? * What qualifies as fair use? * How do you clear another artist's samples to use in your own recordings? * What is the Creative Commons/Copyleft movement? * How do you clear music for use in an online music service or store? * Who decides who gets paid how much and by whom? You will learn the answers to these questions as well as: * The basics of copyright law, looking at the Copyright Act while explaining it in plain language * How revenue streams for music are generated under copyright law * The reasoning behind high-profile court decisions related to copyright violations *What licenses are needed for the legal online delivery of music * The intricacies of using music on sites like YouTube, Pandora, and Spotify * Deficiencies in current copyright law and new business model ideas

Table of contents provided by Syndetics

• Author Note (p. viii)
• Acknowledgments (p. ix)
• Introduction (p. x)
• Chapter 1 History of the Music Industry and Copyright Law (p. 1)
• Music Formats (p. 1)
• Why Is Copyright Important to Music? (p. 13)
• Chapter 2 Copyright Law Basics (p. 16)
• Duration of Copyright (p. 23)
• Transferring Copyright (p. 24)
• Termination of Transfer (p. 26)
• Filing and Deposit Requirements (p. 28)
• Notice (p. 30)
• Enforcing Copyrights (p. 30)
• Defenses Available in Infringement Actions (p. 34)
• International Protection of Copyright (p. 40)
• Chapter 3 Copyright in Music (p. 42)
• Musical Works (p. 43)
• Music Modernization Act (p. 48)
• Sound Recordings (p. 51)
• Traditional Model for Television, Film, and Video Game Licensing (p. 56)
• Sampling, Mash-Ups, and Editable Tracks: Do You Need a License? (p. 57)
• Chapter 4 What Is a "Copy" and What Is a "Performance"? (p. 60)
• What Is a "Copy"? (p. 60)
• What Is a "Performance"? (p. 63)
• Chapter 5 Musical Works (p. 65)
• Writers and Publishers: Copyright in Music Publishing (p. 65)
• 2019 EU Directive on Copyright in the Digital Single Market (p. 72)
• Chapter 6 Sound Recordings (p. 73)
• Chapter 7 Touring and Artist Management (p. 80)
• Chapter 8 Copyright and the Changing Distribution of Music (p. 83)
• Who Is Making Money in the "Digital Music Industry"? (p. 87)
• Chapter 9 Digital Music Delivery Formats (p. 89)
• Permanent Downloads (p. 90)
• On-Demand Streams (p. 94)
• Tethered Downloads (p. 99)
• Internet Radio (p. 101)
• Ad-Supported (p. 104)
• Free/Promotional/Upsell Offerings (p. 105)
• Payouts (p. 106)
• Chapter 10 CRB Rate Decisions and Royalty Payments (p. 110)
• What Is the CRB? (p. 110)
• Who Are the Typical Parties in a CRB Hearing? (p. 110)
• Mechanical Royalty Rate Setting Under Section 115 (p. 111)
• 2009 Settlement (p. 112)
• 2012 Settlement (p. 112)
• Webcasting Royalty Rate Setting (p. 113)
• 2016 Settlement (p. 114)
• Chapter 11 Gaps in Copyright Law (p. 115)
• Significant Litigation (p. 117)
• Metro-Goldwyn-Mayer Studios Inc., et al. v. Grokster, Ltd., 545 U.S. 913 (2005) (p. 120)
• Viacom international Inc. v, YouTube, Inc. (p. 122)
• Lack of Copyright Registries (p. 123)
• Chapter 12 DMCA/Copyright Law Reform (p. 124)
• The DMCA and the Music Business (p. 126)
• EU Safe Harbor Reforms (p. 130)
• Creative Commons and the "Copyleft" Movement (p. 132)
• Transfer of Value (p. 134)
• Chapter 13 UGC, NFTs, Al, Livestreaming, and More (p. 136)
• Chapter 14 Overseas Licensing/Challenges of Operating in a Global Environment (p. 141)
• EU Directives for Standardization (p. 141)
• Chapter 15 How to Start an Online Music Service (p. 144)
• Appendix A Abbreviations (p. 147)
• Appendix B Performing Rights Organizations and Related Companies (p. 148)
• United States (p. 148)
• International Performing Rights Organizations (p. 150)
• International Trade Associations (p. 155)
• Appendix C A&M Records, Inc. v. Napster, 239 F.3d 1004 (9th Cir. 2001, excerpted) (p. 158)
• Appendix D Metro-Goldwyn-Mayer Studios Inc., et al. v. Grokster, Ltd., 545 U.S. 913 (2005, excerpted) (p. 168)
• Appendix E Payment Flows in Digital Music (p. 172)
• Revenue Streams for a Writer/Publisher (p. 172)
• Record Label/Revenue Streams for a Sound Recording Copyright Owner (p. 173)
• Appendix F Helpful Documents (p. 176)
• Artist Checklist (p. 176)
• Songwriter Checklist (p. 177)
• Sample DMCA Takedown Notice (p. 178)
• Index (p. 179)
• About the Author (p. 189)
• Online Sample Contracts
• Co-Publishing Agreement Sample
• Management Agreement Sample
• Master Recording License Agreement: Net Receipts Model Sample