Music 1
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The document discusses copyright laws around using music in advertisements. It explains that nearly all music is copyrighted, so permission is required to use it legally. Companies can buy licenses from organizations like PRS to access their music libraries for ads. Some options are to use instrumental versions of songs, reference songs without playing the full music, or adapt lyrics to match the product. Radio stations also have rules like only playing 7 seconds of a song to avoid infringement. The document then describes the student radio station's licensed music library that can be used without breaking copyright laws.
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Music
Music plays an important role in advertisements by helping the ad stand out and be memorable. There are copyright laws around using music, requiring permission from the artist or record company. Companies can purchase licenses that allow unlimited use of music from certain catalogs. For example, a PRS license gives access to their members' production music. Songs may need to be altered for commercial use, such as changing lyrics to reference a product. A short clip of a song may be used without full permission if it's not entirely recognizable. College radio stations have licensed music libraries that allow broadcasts without infringing copyright.
Pr 11 music
The document discusses considerations for music in commercial production. Producers must choose music styles and functions to match the tone and purpose of their ads. They must also seek permission to use copyrighted music through organizations like PRS, who distribute royalties to artists. While fair use allows limited use of excerpts, using full songs requires licensing. There is no "7-second rule" allowing unlicensed use of short excerpts. Producers may find it easiest to use original music they composed to avoid licensing fees. E6 radio has a library of copyrighted music their producers can use for their shows.
Copyright Tasksheet
Music copyright protects musicians, composers, artists and others involved in creating music. It ensures they are paid when their work is used. PRS and PPL are non-profit organizations that collect royalties on behalf of musicians and composers when their music is broadcast or otherwise used. Clearance must be obtained to use copyrighted music, usually through PRS or PPL, or by contacting the composer or record label directly. Larger companies may have blanket licensing agreements that allow use of any music managed by PRS without obtaining individual clearances, but all uses still must be reported. Failure to obtain proper clearance or report uses can result in legal action and substantial financial penalties.
Pr11 the commercial production process music
1. Radio producers must obtain permission to use copyrighted music in advertisements to avoid legal issues.
2. The PRS for Music handles copyright clearances and collects royalties when music is used, allowing radio stations to access music from their members under license.
3. These licenses cover radio stations that produce their own ads or commission other producers to create ads for them.
Music
The document discusses several important considerations for music use in radio advertisements. Producers must carefully select music that matches the style and tone of the ad. They also need to comply with legal requirements and obtain proper permissions or licenses to use copyrighted music. There are some exceptions like using short music clips under 7 seconds or fair use rules, but generally producers should obtain licenses to use music. The document also notes that the radio station the author's class uses provides a library of songs and jingles that students can freely use for their radio ads without incurring music royalty costs.
Music
A radio producer must consider many factors when creating advertisements, including choosing music that fits the theme and target audience. They need to get permission from music owners to use copyrighted music. There are legal requirements and processes to obtain licenses and clearances from organizations like PRS and PPL to legally use outside music. Alternatively, producers can lower costs by creating and using their own original music instead of licensed songs.
The commercial production process
The document discusses various aspects of radio commercial production including necessary facilities and equipment, audio editing software, production roles, use of music, and financial considerations. It describes soundproofed studios and high-quality microphones as important for production quality. It also outlines roles like creative producers, recording engineers, copy writers, and voice over artists. Music use guidelines around copyright and licensing are explained, as well as how rate cards determine advertising costs based on time slots and audience size.
Copyright tasksheet to complete
Music copyright protects artists' work, and they must grant permission to others to publicly use their songs. Royalties are paid to musicians when their music is used, and collecting societies like PRS and PPL manage royalty payments. PRS represents songwriters while PPL represents recording artists and labels. Public venues need licenses from both to play music. Clearance is required from PRS and PPL to use their repertoire in productions, while direct permission is needed for songs not represented by them. Larger companies may have blanket licenses to use music without individual clearances, but all use still must be reported.
Recommended
Music
Music plays an important role in advertisements by helping the ad stand out and be memorable. There are copyright laws around using music, requiring permission from the artist or record company. Companies can purchase licenses that allow unlimited use of music from certain catalogs. For example, a PRS license gives access to their members' production music. Songs may need to be altered for commercial use, such as changing lyrics to reference a product. A short clip of a song may be used without full permission if it's not entirely recognizable. College radio stations have licensed music libraries that allow broadcasts without infringing copyright.
Pr 11 music
The document discusses considerations for music in commercial production. Producers must choose music styles and functions to match the tone and purpose of their ads. They must also seek permission to use copyrighted music through organizations like PRS, who distribute royalties to artists. While fair use allows limited use of excerpts, using full songs requires licensing. There is no "7-second rule" allowing unlicensed use of short excerpts. Producers may find it easiest to use original music they composed to avoid licensing fees. E6 radio has a library of copyrighted music their producers can use for their shows.
Copyright Tasksheet
Music copyright protects musicians, composers, artists and others involved in creating music. It ensures they are paid when their work is used. PRS and PPL are non-profit organizations that collect royalties on behalf of musicians and composers when their music is broadcast or otherwise used. Clearance must be obtained to use copyrighted music, usually through PRS or PPL, or by contacting the composer or record label directly. Larger companies may have blanket licensing agreements that allow use of any music managed by PRS without obtaining individual clearances, but all uses still must be reported. Failure to obtain proper clearance or report uses can result in legal action and substantial financial penalties.
Pr11 the commercial production process music
1. Radio producers must obtain permission to use copyrighted music in advertisements to avoid legal issues.
2. The PRS for Music handles copyright clearances and collects royalties when music is used, allowing radio stations to access music from their members under license.
3. These licenses cover radio stations that produce their own ads or commission other producers to create ads for them.
Music
The document discusses several important considerations for music use in radio advertisements. Producers must carefully select music that matches the style and tone of the ad. They also need to comply with legal requirements and obtain proper permissions or licenses to use copyrighted music. There are some exceptions like using short music clips under 7 seconds or fair use rules, but generally producers should obtain licenses to use music. The document also notes that the radio station the author's class uses provides a library of songs and jingles that students can freely use for their radio ads without incurring music royalty costs.
Music
A radio producer must consider many factors when creating advertisements, including choosing music that fits the theme and target audience. They need to get permission from music owners to use copyrighted music. There are legal requirements and processes to obtain licenses and clearances from organizations like PRS and PPL to legally use outside music. Alternatively, producers can lower costs by creating and using their own original music instead of licensed songs.
The commercial production process
The document discusses various aspects of radio commercial production including necessary facilities and equipment, audio editing software, production roles, use of music, and financial considerations. It describes soundproofed studios and high-quality microphones as important for production quality. It also outlines roles like creative producers, recording engineers, copy writers, and voice over artists. Music use guidelines around copyright and licensing are explained, as well as how rate cards determine advertising costs based on time slots and audience size.
Copyright tasksheet to complete
Music copyright protects artists' work, and they must grant permission to others to publicly use their songs. Royalties are paid to musicians when their music is used, and collecting societies like PRS and PPL manage royalty payments. PRS represents songwriters while PPL represents recording artists and labels. Public venues need licenses from both to play music. Clearance is required from PRS and PPL to use their repertoire in productions, while direct permission is needed for songs not represented by them. Larger companies may have blanket licenses to use music without individual clearances, but all use still must be reported.
Evaluation
The document provides details about a student's process for creating a radio advertisement for Sprite. The student did research on commercial radio styles, listened to ads from different companies to understand their approaches. They learned ads should be tailored to their target audiences. For Sprite, they chose upbeat music and a funny voice based on the young adult demographic. The student wrote a 15 second script with two actors, edited the audio recording, and added music and sound effects to produce a final ad. They were happy with the comedic effect and professional quality of the ad overall.
Music Considerations
The document summarizes the process a radio commercial producer must follow when sourcing music for advertisements. They must consider the style and function of the music, and seek permission from copyright holders unless it is royalty-free. Producers can obtain licenses that allow unlimited use of production music in radio ads for an annual fee based on the radio station's audience size. Failing to follow copyright law or exceeding fair use could result in legal issues.
Remix of music impact on copyright in india
The document discusses remixes of music under Indian copyright law. It defines what a remix is and outlines the stages of growth of remix albums in India. Current copyright law allows remixes under Section 52(1)(j) if the remixer provides notice and pays royalties to the original copyright holder. However, this dilutes the copyright holder's rights and royalty amounts are often low. Proposed amendments aim to strengthen protections for copyright holders by extending protection to 5 years and requiring higher minimum royalties for remixes. The amendments also propose statutory licensing schemes and protecting author rights to royalties.
Importance Of Radio
Radio stations and record labels have a symbiotic relationship where they both rely on each other to succeed. Record labels need radio stations to play their artists' music to promote album sales, while radio stations need a steady stream of new music to keep listeners tuned in and attract advertisers. There is an involved process of record labels promoting upcoming albums to radio stations in hopes of securing airplay that will expose artists to wider audiences. When record labels and radio stations work together effectively through concerts, interviews and keeping up with music trends, it can mean financial success for both parties and the artist.
Facts about film composer services
Film Music Society is a non-profit organization established by professionals in the film composer and music communities.that promotes the preservation of film and television music in all of its manifestations, including published and unpublished film scores, recordings and all related materials.
Radio programme review
The document provides a review of radio programme assignments where the author created three different radio shows: an in-store show for a clothing shop called Carharrt, an internet show, and a broadcast show. For the in-store show, the author selected music styles like deep house and drum & bass that would appeal to the shop's target audience of 16-21 year old males. Songs were chosen that the author was familiar with to provide more information to listeners. Software was used to create schedules, record the shows, and make jingles identifying each show. Feedback indicated the in-store show needed more promotions for the shop, but the author successfully introduced each song before playing it.
Media evaluation
This document summarizes the planning, production, and evaluation process of a music video for the artist Icon843. It discusses finding an artist, pre-production research on conventions, shooting the video and photos, creating ancillary materials like the CD cover and advert, marketing plans, and technologies used. Evaluation was done through audience feedback on YouTube and Facebook.
South african copyright law
1. The document discusses copyright law and summarizes a case study involving television producer Sandile Khumalo, scriptwriter Lucy Banda, and movie director Paul Dube.
2. Lucy created characters and a script that Sandile turned into a successful TV series, but later sold the rights to Paul who made movies based on the characters.
3. Sandile is now suing Lucy and Paul for royalties from the movies' success, but it is unclear if copyright law entitles Sandile to any payment or if Lucy or Paul violated copyright.
Proposal
The group proposes creating a music video for the song "How to Save a Life" by The Fray. They believe the song has potential for a strong narrative and many performance shots. They want to interpret the different meanings of the song and potentially address social issues like drugs. The artist will appear as a poor teen who has struggled to evoke sympathy and be a role model. Locations will include indoor studio space for choreography and outdoor parks for a sense of reality. Costumes will use black and white to convey seriousness and hope.
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The document discusses the importance and effectiveness of email marketing. Some key points made include:
- Email has the lowest barrier to access and people regularly check their inboxes for both personal and work communications.
- Email marketing generates significantly more clicks and conversions than social media marketing, with email clicks being around 24 times higher.
- Following best practices like regular content, varied styles, including fun, and testing subject lines can help improve open and click-through rates.
- Well crafted email campaigns can drive product launches and engage customers to take desired actions. In the long run, email is the foundation of internet marketing.
Music
Music plays an important role in setting the tone for commercials. While copyright laws must be followed, there are some exceptions like the "7-second rule" that allow short usages of songs without permission. Producers must consider licensing, fair use, and strategy to legally utilize music. Live music is rarely used due to editing difficulties. Radio stations and production companies maintain music libraries but still require new licenses each time a song is used in an advertisement. Choosing the right song can both set the mood and engage listeners by appealing to the target audience and product.
Music
Music used in radio advertisements must follow certain rules and copyright laws. Producers typically select music that fits the theme of the ad and is popular enough to attract listeners' attention without being too expensive due to licensing fees. While the "7 second rule" allows using short music clips without permission, full licensing from the music owner and copyright holder is legally required to safely include a song in an ad. Alternative strategies like creating original music or rerecording copyrighted songs with new artists can avoid high licensing costs. The document stresses the importance of adhering to copyright law when selecting music for radio ads.
Copyright tasksheet
Music copyright protects artists' work, and they must grant permission to others to publicly use their songs. Royalties are paid to musicians when their music is used, and collecting societies like PRS and PPL manage royalty payments. PRS represents songwriters while PPL represents recording artists and labels. Public venues need licenses from both to play music. Clearance is required from PRS and PPL to use their repertoire in productions, while direct permission is needed for songs not represented by them. Larger companies may have blanket licenses to use music without individual clearances, but all use still must be reported.
Copyright tasksheet
Music copyright protects musicians, artists, songwriters, and composers by ensuring they receive recognition and payment for their work. The PRS for Music and PPL collect royalty payments when others use musical works and distribute this money to the correct copyright holders. To obtain permission to use a copyrighted work, one must contact the PRS if they represent the artist, or go directly through the composer or record label. Proper reporting of used music through cue sheets is also required, as failure to do so could result in legal action for copyright infringement.
Copyright Basics: Understanding the Difference Between a Sound Recording and ...
The document summarizes key information about song composition copyrights (PA) and sound recording copyrights (SR). It explains that a PA copyright covers the song itself and is usually owned by the songwriter. It also describes royalty streams for songwriters. An SR copyright covers the actual recording and is typically owned by record labels. It notes the differences between PA and SR copyrights and registration processes.
Week 2 Copyright
Copyright owners have exclusive rights over reproducing, publishing, and publicly distributing their musical works, which allows them to earn royalties. Exceptions include works created as part of employment, where the employer owns the copyright, and commissioned works, where the commissioner may own or have rights to the work. After 70 years, works enter the public domain and can be used without permission. Students can copy songs for educational purposes, and cover songs can be recorded with royalty payment to the original creator. Band names are protected by trademark law rather than copyright. Since 2006, personal copying of music for non-commercial use has been legal under copyright law.
Week 2 Copyright
Copyright owners have exclusive rights over reproducing, publishing, and publicly distributing their musical works, which allows them to earn royalties. Exceptions include works created as part of employment, where the employer owns the copyright, and commissioned works, where the commissioner may own or have rights to the work. After 70 years, works enter the public domain and can be used without permission. Students can copy songs for educational purposes, and cover songs can be recorded with royalty payment to the original creator. Band names are protected by trademark law rather than copyright. Copying music for personal use became legal in 2006 with certain restrictions around lending and commercial use. DJs must be aware of copyright in music, lyrics, and sound recordings when mixing or recording
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Evaluation
The document provides details about a student's process for creating a radio advertisement for Sprite. The student did research on commercial radio styles, listened to ads from different companies to understand their approaches. They learned ads should be tailored to their target audiences. For Sprite, they chose upbeat music and a funny voice based on the young adult demographic. The student wrote a 15 second script with two actors, edited the audio recording, and added music and sound effects to produce a final ad. They were happy with the comedic effect and professional quality of the ad overall.
Music Considerations
The document summarizes the process a radio commercial producer must follow when sourcing music for advertisements. They must consider the style and function of the music, and seek permission from copyright holders unless it is royalty-free. Producers can obtain licenses that allow unlimited use of production music in radio ads for an annual fee based on the radio station's audience size. Failing to follow copyright law or exceeding fair use could result in legal issues.
Remix of music impact on copyright in india
The document discusses remixes of music under Indian copyright law. It defines what a remix is and outlines the stages of growth of remix albums in India. Current copyright law allows remixes under Section 52(1)(j) if the remixer provides notice and pays royalties to the original copyright holder. However, this dilutes the copyright holder's rights and royalty amounts are often low. Proposed amendments aim to strengthen protections for copyright holders by extending protection to 5 years and requiring higher minimum royalties for remixes. The amendments also propose statutory licensing schemes and protecting author rights to royalties.
Importance Of Radio
Radio stations and record labels have a symbiotic relationship where they both rely on each other to succeed. Record labels need radio stations to play their artists' music to promote album sales, while radio stations need a steady stream of new music to keep listeners tuned in and attract advertisers. There is an involved process of record labels promoting upcoming albums to radio stations in hopes of securing airplay that will expose artists to wider audiences. When record labels and radio stations work together effectively through concerts, interviews and keeping up with music trends, it can mean financial success for both parties and the artist.
Facts about film composer services
Film Music Society is a non-profit organization established by professionals in the film composer and music communities.that promotes the preservation of film and television music in all of its manifestations, including published and unpublished film scores, recordings and all related materials.
Radio programme review
The document provides a review of radio programme assignments where the author created three different radio shows: an in-store show for a clothing shop called Carharrt, an internet show, and a broadcast show. For the in-store show, the author selected music styles like deep house and drum & bass that would appeal to the shop's target audience of 16-21 year old males. Songs were chosen that the author was familiar with to provide more information to listeners. Software was used to create schedules, record the shows, and make jingles identifying each show. Feedback indicated the in-store show needed more promotions for the shop, but the author successfully introduced each song before playing it.
Media evaluation
This document summarizes the planning, production, and evaluation process of a music video for the artist Icon843. It discusses finding an artist, pre-production research on conventions, shooting the video and photos, creating ancillary materials like the CD cover and advert, marketing plans, and technologies used. Evaluation was done through audience feedback on YouTube and Facebook.
South african copyright law
1. The document discusses copyright law and summarizes a case study involving television producer Sandile Khumalo, scriptwriter Lucy Banda, and movie director Paul Dube.
2. Lucy created characters and a script that Sandile turned into a successful TV series, but later sold the rights to Paul who made movies based on the characters.
3. Sandile is now suing Lucy and Paul for royalties from the movies' success, but it is unclear if copyright law entitles Sandile to any payment or if Lucy or Paul violated copyright.
Proposal
The group proposes creating a music video for the song "How to Save a Life" by The Fray. They believe the song has potential for a strong narrative and many performance shots. They want to interpret the different meanings of the song and potentially address social issues like drugs. The artist will appear as a poor teen who has struggled to evoke sympathy and be a role model. Locations will include indoor studio space for choreography and outdoor parks for a sense of reality. Costumes will use black and white to convey seriousness and hope.
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The Primacy of Email in Marketing
The document discusses the importance and effectiveness of email marketing. Some key points made include:
- Email has the lowest barrier to access and people regularly check their inboxes for both personal and work communications.
- Email marketing generates significantly more clicks and conversions than social media marketing, with email clicks being around 24 times higher.
- Following best practices like regular content, varied styles, including fun, and testing subject lines can help improve open and click-through rates.
- Well crafted email campaigns can drive product launches and engage customers to take desired actions. In the long run, email is the foundation of internet marketing.
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Similar to Music 1
Music
Music plays an important role in setting the tone for commercials. While copyright laws must be followed, there are some exceptions like the "7-second rule" that allow short usages of songs without permission. Producers must consider licensing, fair use, and strategy to legally utilize music. Live music is rarely used due to editing difficulties. Radio stations and production companies maintain music libraries but still require new licenses each time a song is used in an advertisement. Choosing the right song can both set the mood and engage listeners by appealing to the target audience and product.
Music
Music used in radio advertisements must follow certain rules and copyright laws. Producers typically select music that fits the theme of the ad and is popular enough to attract listeners' attention without being too expensive due to licensing fees. While the "7 second rule" allows using short music clips without permission, full licensing from the music owner and copyright holder is legally required to safely include a song in an ad. Alternative strategies like creating original music or rerecording copyrighted songs with new artists can avoid high licensing costs. The document stresses the importance of adhering to copyright law when selecting music for radio ads.
Copyright tasksheet
Music copyright protects artists' work, and they must grant permission to others to publicly use their songs. Royalties are paid to musicians when their music is used, and collecting societies like PRS and PPL manage royalty payments. PRS represents songwriters while PPL represents recording artists and labels. Public venues need licenses from both to play music. Clearance is required from PRS and PPL to use their repertoire in productions, while direct permission is needed for songs not represented by them. Larger companies may have blanket licenses to use music without individual clearances, but all use still must be reported.
Copyright tasksheet
Music copyright protects musicians, artists, songwriters, and composers by ensuring they receive recognition and payment for their work. The PRS for Music and PPL collect royalty payments when others use musical works and distribute this money to the correct copyright holders. To obtain permission to use a copyrighted work, one must contact the PRS if they represent the artist, or go directly through the composer or record label. Proper reporting of used music through cue sheets is also required, as failure to do so could result in legal action for copyright infringement.
Copyright Basics: Understanding the Difference Between a Sound Recording and ...
The document summarizes key information about song composition copyrights (PA) and sound recording copyrights (SR). It explains that a PA copyright covers the song itself and is usually owned by the songwriter. It also describes royalty streams for songwriters. An SR copyright covers the actual recording and is typically owned by record labels. It notes the differences between PA and SR copyrights and registration processes.
Week 2 Copyright
Copyright owners have exclusive rights over reproducing, publishing, and publicly distributing their musical works, which allows them to earn royalties. Exceptions include works created as part of employment, where the employer owns the copyright, and commissioned works, where the commissioner may own or have rights to the work. After 70 years, works enter the public domain and can be used without permission. Students can copy songs for educational purposes, and cover songs can be recorded with royalty payment to the original creator. Band names are protected by trademark law rather than copyright. Since 2006, personal copying of music for non-commercial use has been legal under copyright law.
Week 2 Copyright
Copyright owners have exclusive rights over reproducing, publishing, and publicly distributing their musical works, which allows them to earn royalties. Exceptions include works created as part of employment, where the employer owns the copyright, and commissioned works, where the commissioner may own or have rights to the work. After 70 years, works enter the public domain and can be used without permission. Students can copy songs for educational purposes, and cover songs can be recorded with royalty payment to the original creator. Band names are protected by trademark law rather than copyright. Copying music for personal use became legal in 2006 with certain restrictions around lending and commercial use. DJs must be aware of copyright in music, lyrics, and sound recordings when mixing or recording
Copyright Tasksheet
The document discusses copyright and music regulation. It explains that PRS for Music and PPL are non-profit organizations that manage music copyrights and ensure artists are paid royalties when their music is used. Downloading music illegally denies artists payment for their work. Companies need licenses from PRS for Music to legally use copyrighted music in their productions and must submit cue sheets reporting what music was used to ensure artists are compensated. Failing to obtain proper copyright clearance for used music could result in legal action for infringement.
How the traditional record industry works Part 1
The document provides an overview of how copyright and contracts work in the traditional music industry. It discusses that copyright automatically exists as soon as a work is created in a fixed form. There are several restricted acts like copying, distributing, and broadcasting that copyright owners can prevent without permission. Record contracts are usually exclusive, requiring artists to only record for that label. Advances are paid upfront but must be recouped from royalties, which are a percentage of sales after deductions. Overall the document gives a high-level introduction to key copyright and contractual aspects of the music industry.
Task 5 Ownership And Distribution
The document discusses the distribution channels and ownership of music for two recording artists from rival record labels Sony and Time Warner. It instructs the reader to produce flow charts comparing how each artist is distributed and conclude their findings. Information is provided about record labels, how artists earn revenue, songwriting royalties, and mechanical royalties paid to recording artists. Key details include that record labels manage branding and copyrights, coordinate production and promotion, and maintain contracts with artists. Revenue comes from sales, performances, sheet music, and sync licenses. Ownership of songs is split between songwriters, publishers, recording artists, and record labels.
Regulation and its impact on content
Music copyright enables musicians and artists to receive payment when their music is used publicly. Two organizations, PRS for Music and PPL, manage royalty payments to songwriters, composers, publishers, and recording artists. Both organizations require licenses to play music publicly. Illegal downloading hurts artists' royalties. PRS for Music represents over 125,000 members and licenses organizations to play copyrighted music, distributing royalties fairly. PRS and PPL provide clearance to use certain pieces of music but permission from the composer or label is needed for non-represented works. Larger companies pay yearly blanket license fees to PRS to legally use its music.
Commercial Production Process (Sourcing Music)
The producer of a radio commercial has several options for sourcing the music used in advertisements. They can select music from a copyright cleared library provided by their company, hire a musician to record an original song, or license a track from a production music library like PPL or PRS. Producers must consider factors like style, function, and intended audience when choosing music. They also need permissions and licenses to avoid fines for using copyrighted music without approval. Using short clips under seven seconds is not legally considered fair use. E6 radio is allowed to use commercial music for educational purposes within sixth form centers.
LEGAL COMPANIES WITHIN THE MUSIC INDUSTRY
Legal and ethical considerations that may affect the print product include copyright, slander/libel, royalties, violence, offensive material, and public interest. Several organizations regulate the music industry to protect creators and promote music, including BASCA, MPA, PRS, OFCOM, PPL, BPI, and Songrite UK. These organizations handle copyrights, royalties, licensing, and promote the interests of music creators and rights holders. Credit or logos from supporting organizations like PRS, MPA, or BPI would need to be included on the print product.
How Does The Music Industry Work.pdf
Music has become an integral part of people’s lives, with streaming services like Spotify and Apple Music making it easier than ever to access all sorts of music. Have you ever wondered, though, how the music industry works? In this blog post
Music
When choosing music for radio commercials, production teams must consider copyright laws and obtain proper permissions to avoid legal issues. There are different types of licenses required depending on whether the music is being used for entertainment or advertisement purposes. While fair use allows for limited use of copyrighted material, any use of recognizable music exceeds fair use without permissions. Some strategies like composing original music or using royalty-free music can minimize licensing costs, but the safest approach is to obtain all necessary licenses.
Legal and ethical considerations
This document discusses several legal and ethical considerations for creating a print product to promote a band, including:
- Copyright and intellectual property, which means imagery and content from others cannot be used without permission.
- Slander and libel laws, so the product cannot damage anyone's reputation.
- Royalty payments if using other creators' works.
- Avoiding violence, offensive/inappropriate content, and material unsuitable for general audiences.
It also outlines several regulatory bodies in the music industry that can help with legal issues, contracts, determining what content is acceptable, ensuring proper representation of the artist, licensing music, collecting royalties and revenue, and marketing/promotion.
music busines.pptx
This document discusses various aspects of the music business, including intellectual property rights, types of music businesses, and protecting musical works. It covers topics such as how music is marketed and sold, the roles of record labels, publishers, and performing rights organizations. Specific points covered include how songwriting copyright is divided between melody and lyrics, different types of royalties like mechanical and performance royalties, what sync licensing and sampling entail, and how to legally operate as a music label.
The Business of Music.pdf
All businesses should consider their legal obligations when using music in any form – from public performances (such as at weddings) to background sounds during work meetings! Taking proper precautions can protect your business interests and ensure that you’re getting the most out of your music library.
Legal issues in_the_music_industry
1. The document provides an overview of legal issues related to the music industry, including copyrights, sampling, music publishing, and record labels. It explains that copyright protects original creative works and provides owners certain exclusive rights. There are separate copyrights for musical works and sound recordings.
2. Sampling another artist's song without permission is illegal copyright infringement. Permission is needed from both the sound recording and musical work copyright owners. Penalties for unauthorized sampling include destroying records and paying damages.
3. Music publishing involves exploiting songs through licenses and collecting fees, usually administered by a publishing company. Sources of publishing income are performance royalties, mechanical royalties, synchronization licenses, and print licenses.
4.
BBCC Music Licensing slides
The talking points on Music Licensing from the Band Business Crash Course held at the Plea for Peace Center on Nov. 3, 2012. Presented by the Pacific Music Management Club, faculty and alumni.
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The document summarizes the process of designing a magazine cover and double page spread for a horror film magazine. It discusses using Adobe Photoshop and Microsoft Word to design the layout. Reference magazines like Empire and Scream were used for research on conventions like prominently featuring a model on the cover. The cover image features a model in a hockey mask holding a knife. Color schemes of red, purple and green were chosen to evoke the horror genre. Fonts and visual elements like images, gutters and drop caps were used following magazine design conventions. The target audience is identified as males aged 18-35 of social classes C1/C2 who enjoy conventional horror film narratives.
Magazine cover analysis
The document analyzes two magazine covers:
1) NME (New Musical Express) January 2006 issue with a special feature on the 100 greatest British albums. The cover targets males ages 18-35 interested in genres like indie and punk.
2) Empire magazine 2010 issue featuring the film Inception. The cover uses dark colors and striking images to showcase films for both male and female audiences ages 13 and up interested in popular cinema.
Pr11 production commentary
The document provides guidance for four slides to include in a PowerPoint presentation on a magazine design project. Slide 1 asks to list the design and word processing programs used. Slide 2 asks to describe the media format used and include examples of analyzed existing texts. Slide 3 asks to explain the genre conventions used, demonstrate the Gutenberg Principle, and discuss color and font connotations. Slide 4 asks to define the target audience and describe how the magazine meets their needs. The presentation and design work should be submitted together as PR 11.
Fair usage
Daniel Hopkins intends to use songs like "Jaws Theme", "More Than a Feeling", "I'm Coming Out", and "Let's Get It On" along with various sound effects for a college project. He will use the content fairly without commercial gain, which falls under UK copyright fair usage laws for educational purposes. Fair dealing allows limited copying of copyrighted works for research and private study as long as it is non-commercial and credits the source.
Contingency plans
Daniel Hopkins outlines several contingency plans for potential issues that may arise during filming and editing. These include re-recording unsuitable footage, postponing shoots due to weather, finding replacement cast or crew, regularly saving work to avoid losing edits, using alternative equipment if batteries die, and lowering quality or getting help to meet deadlines.
Closest emergency services
The document provides contact information for emergency services near Daniel Hopkins, including the Swinton Police Station phone number 0161 856 5229, the Greater Manchester Fire and Rescue Service location and phone number 0161 736 5866 on Bolton Road in Swinton, and the Salford Royal Hospital location, phone number 0161 789 7373, and address on Stott Lane in Salford.
Fmp risk assessment form
This document provides a template for conducting a risk assessment for a film production. It instructs the user to consider all potential hazards, who or what may be harmed, existing controls, and assigns a risk level. For each hazard identified in the specific production, such as electrical, trip, or slip hazards, the template lists the risk level and recommends further actions to reduce the risk. It also includes a risk assessment chart to define the risk levels.
Location reconnaissance
This document provides location details for Daniel Hopkins' short film. Most of the filming will take place at Daniel's home address as the script scenes are set in a house or room. The only exception is a phone call scene which will be recorded by an actress at the radio studio of Eccles Sixth Form Centre located in Eccles, Manchester. Contact details are provided for both locations.
More than a feeling second draft (1)
1) Daniel receives a call from a girl asking him out on a date.
2) Inside Daniel's mind, his emotions have a debate over whether he should accept the date. Common Sense breaks a tie vote by Intelligence who votes yes.
3) Daniel tells the girl he would like to go out with her on Saturday for their meal date. He winks at the camera, feeling confident about the potential new relationship.
More than a feeling first draft (1)
The document is a script that summarizes the internal dialogue of emotions in a teenage boy's brain as he considers whether to go on a date. It depicts Common Sense leading a debate between emotions like Happiness, Sadness, Anger, Libido, and Intelligence on whether the boy should accept the date. After a tied vote, Intelligence casts the deciding vote in favor of the date. Common Sense then relays the decision back to the boy, who accepts the date.
Daniel hopkins final major project treatment (2)
The short film "More Than A Feeling" will be approximately 3-6 minutes and target 15-25 year olds. It follows a teenage boy deciding whether to go on a date with a girl. His emotions like Common Sense, Sadness, Anger, and Libido debate the decision in his mind. The emotions argue and bully each other. Ultimately, Common Sense rallies a vote where they decide the boy should accept the date. He relays the message to the girl, who is excited. The boy then references the film title while breaking the fourth wall. The film will be made with no budget using cloning editing to depict the emotions arguing.
Equipment and technology
The document lists the equipment and software Daniel Hopkins plans to use for his final major project, including a Nikon D3100 camera with 18-55mm lens, the possibility of a Canon DSLR, a tripod, a Canon audio recording pack with Zoom H4n, Microsoft Office, MindGenius Education, Adobe Premiere Pro CS5.5, Adobe After Effects CS5.5, and Celtx.
Audience 1
The audience for the filmmaker's comedy short film is intended to be broad, including both young people and older audiences. Young people may associate more closely with the main character and situation of being asked to go out. While the film focuses on the internal emotions and feelings of the young male main character, the filmmaker hopes both genders can enjoy the comedy, which is intended to overshadow the narrative. The humor and themes are influenced by 1970s and 1980s comedy, and it is hoped this style will also appeal to older audiences in addition to teenagers.
Audience 1
The audience for the comedy short film is intended primarily for young people who can relate to the main character's situation of being asked to go out. While the film has mostly male characters, the filmmaker hopes both genders can enjoy the comedy, which is intended to overshadow the narrative. The goal is for the teenage audience and older audiences to both find humor in the film's themes and style, which take influence from 1970s and 1980s comedy.
Analysis of comedy shorts
Comedy sketches are typically very short, usually under a few minutes, in order to quickly grab the viewer's attention and hold it. While brief, sketches still aim to have a clear beginning, middle, and end structure and can develop characters further in a series. The characters are often zany or eccentric to provide more opportunities for jokes and humor. Situations in sketches tend to be funny and centered around jokes about whatever scenario is depicted, such as a person at a party. Many successful sketches studied by the author used wild and unusual characters like a "Green Clarinet Man" who reveals embarrassing truths. A variety of humor styles can be employed including rapid-fire jokes, observational humor, witty one-liners,
Books
The document summarizes Daniel Hopkins' secondary research for how to write a sitcom. It includes researching a book by Marc Blake titled "How not to write a sitcom" focusing on pages 120-140 about jokes and dialogue. It also lists research from comedy video websites CollegeHumor and BBC sketch shows, as well as an article by comedians Richard Herring, David Mitchell and Robert Webb on writing comedy sketches.
Project research survey results
Daniel Hopkins conducted a survey to inform his short comedy film project about cloning. Of the 9 respondents, 6 were male and 3 female. All respondents were between 18-24 years old. When asked about favorite genres, 4 selected comedy, while 2 selected fantasy, and 1 each selected action, science fiction, and horror. Respondents rated their enjoyment of comedy highly, with an average score of over 8 out of 10. Most respondents viewed sketch comedy shows positively. They also generally had a positive view of the concept of a cloning comedy short. The survey provided Hopkins with useful information on what respondents thought made comedy funny and what could make his cloning comedy short funny. He plans to incorporate various comedic elements and styles suggested by respondents
Pitch script
This document is a pitch for a short comedy film by Daniel Hopkins. The film will follow a teenager deliberating whether to give his number to a girl who approached him at a bus stop. His thoughts will be visualized through an argument between anthropomorphic emotions in his mind, each resembling the teenager. The emotions will debate what decision he should make, creating conflict, drama, and comedy. The film aims to appeal to teenagers and young adults through its cloning effects and humor, which will be reminiscent of British sketch shows and madcap comedies like Airplane.
Final major project proposal form
The student proposes creating a short comedy film as their final major project. The film will use cloning techniques to feature the actor appearing twice in the same shot as different characters. It will follow a boy dealing with a girl asking for his number by entering his mind where various emotions and traits debate each other. The target audience is males aged 15-25. Production techniques will include using Excel to track progress, writing a production diary, and editing in Adobe Premiere Pro.
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Music 1
- 1. Music Music can make an advert what it is, adding a certain amount of creative depth that can help it become memorable and help it to be retained in the minds of its listeners. Music can be chosen depending on the target audience, with the varying factors including age, gender, interests and location. There are laws in place that limit the extent to which music can be used. Nearly all music will be copyrighted, meaning someone cannot use it unless they obtain the necessary rights. This will mean buying the song for use from the artist/record company for a pre-determined length of time in which to use it. Some music may not be available for purchase, as the context in which it is being used or what product for may result in the artist/ record company refusing permission. Other music may be very old and therefore in the public domain, which means it would be free to use. Radio stations may already have a licence to play a certain song, but they would have to get a new license to be able to use if for commercial advertisement purposes. A company can buy a license fee from the PRS (performing rights society) which gives the holder unlimited access to their members production music. A license fee also enables the holder to appoint a third party producer for their radio adverts. By holding a license fee, the PRS or a production company will not be required to be contacted to clear its use. The music will then be sent by the PRS to the production company. In companies with enough credit, they may be able to hire singers (perhaps even the original singers) to sing their song live, maybe adapting its lyrics to match the product/service they are selling. An example of this is from one from the loan provider ‘Wonga’. They changed the lyrics of the song ‘Mr Sandman ’ to match their services. For example, the lyrics from the original song ‘Mr Sandman, bring me a dream’ were changed to ‘Mr Wonga, lend me some dough’ in the new one.’ A song may be used for an advert if it isn’t too obvious and isn’t entirely recognizab le. This may mean using something such as an instrumental or beat. The voice actors may even refer to the song or sing a part of it without the actual music being played. Some radio stations use the ‘7 second rule’, which means that a song can be used in an advert if it played for seven second or less. This is not strictly legal and therefore the radio station would be technically infringing copyright law. At our college, we have a student radio which has a library of licensed music. This enables us to be free to broadcast around the college without infringing any copyright laws. There is also a catalogue of sound effects, which were given to us by a community radio station. They are not protected by copyright laws, as they are almost always identical to others on the market. Here is our college radio station’s music library, stored in the computer’s network. We use this for ‘E6 Radio’ broadcasts and for college work such as the creation of adverts and other work related assignments.
- 2. Within our college system, we also have a folder of royalty-free production music. These are in the form of radio jingles, which as mentioned earlier were given to us by Salford City radio and as they are just sound effects, they do not infringe any copyright law. These sounds will be used to create jingles, adverts and to be used for different reasons in other work. For example, one may be comically used during the post-production phase of a film shoot.