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TIPS FROM THE CHIEF LEVITE!
by Elder Kevin Bond

I've added this page for those you are seeking a deeper knowledge about the instruments you play. Read and Learn!


MUSIC PUBLISHING
The contractual relationship between a songwriter or music composer and a music publisher, whereby the writer assigns part or all of his or her music copyrights to the publisher in exchange for the publisher's commercial exploitation of the music.

Music publishing has been an important part of the U.S. entertainment industry since the early twentieth century. Songwriters contract with music publishing companies to exploit their songs, with both parties sharing the income generated from the songs. Before the introduction of musical recordings, songwriters and publishers earned their income primarily from the sale of sheet music. In the modern era, songs can be commercially exploited in many types of media, including recordings, radio, television, film, and video. Music publishing is governed by U.S. copyright law, but much of the law of music publishing is negotiated through private contractual agreements.

Music publishers are powerful intermediaries between songwriters and recording companies. Typically, a music publisher demands copyright ownership from the songwriter, along with half of the royalties. A publisher may make a large cash advance to a popular or promising songwriter, but often the advance is minimal. In return, the publisher seeks to place the songwriter's compositions with performers who will make a recording. In addition, a publisher will try to place songs in films, television shows, and advertisements. If the songwriter is also a performer, the publisher will assist the artist in obtaining a recording contract. The publisher also assumes the responsibility of collecting royalties and giving the songwriter his share.

Publishing income comes from various sources, but it is separate from income derived from retail sales of recordings. Income from recording sales flows to the owner of the recording (usually the record company), which then pays a contractually negotiated recording royalty to the performer. The owner of the recording separately pays the publisher of the recorded compositions a mechanical royalty for the right to record, copy, and distribute copies of the composition. These royalties are called mechanical royalties because the license is for mechanical recording and reproduction of the composition.

Under U.S. copyright law, a publisher is required to grant a mechanical license to anyone wishing to record a composition that has previously been recorded and released commercially. This is called a compulsory license, and the minimum rate that must be paid to the publisher for such a license is set by Congress at a few cents for each copy made of a recording of the composition. Normally, however, a record label that wishes to record a publisher's composition will negotiate a private license with the publisher rather than follow the strict accounting and reporting rules that accompany recording under a compulsory license. Because of this situation, the statutory compulsory license rate has become the effective ceiling rate for recording a composition, because no one need pay more than the rate set by law.

A lucrative part of music publishing involves performance royalties. Performance royalties are paid when a song is played on the radio or television, used by businesses for background music, or used by clubs for dance music or by bands performing at a club. A popular song can earn thousands and sometimes millions of dollars through the collection of performance royalties. However, it would be too demanding for a publisher to sign performance licenses with every club, radio station, and business office that might use a particular song. Instead publishers and songwriters register with a performing rights organization (PRO) to collect fees on their behalf.

The three PROs in the United States are the American Society of Composers, Authors, and Publishers (ASCAP), Broadcast Music, Inc. (BMI), and the Society of European State Authors and Composers (SESAC). The PROs negotiate blanket licenses with all who use music for profit. Such fees can range from less than one hundred dollars for a small business using music to enhance its business environment, to hundreds of thousands of dollars or millions of dollars for large-scale broadcasting entities. The PROs then monitor radio and television broadcasts and, using a complex statistical model, pay publishers and songwriters based on projected actual uses of a song. When a composition is registered with a PRO, the registrant informs the PRO what percentages of royalties are to be paid to the publisher and songwriter. The PRO issues separate payments to the publisher and to the songwriter (or songwriters). A particular songwriter may only be registered with one PRO at a given time to avoid confusion as to which PRO is responsible for collecting performance royalties on the songwriter's behalf. The use of blanket licenses allows an artist to perform compositions written by another songwriter without first requesting the songwriter's permission.

As opposed to mechanical licenses, there is no statutory rate for the use of a song in films and television advertisements (synchronization licenses), in radio advertisements (transcription licenses), or for sale as sheet music (print licenses). These fees are negotiated separately between the user and the music publisher. The licensee pays the entire fee to the publisher, who then pays the songwriter's share to the songwriter.

Since the 1960s, many popular musical performers have written their own musical compositions. Some of these artists choose to "self-publish," forgoing relationships with publishers and thus retaining full ownership and control of their copyrights. These artists are more often songwriters whose compositions are so unique that they are not likely to be recorded by other performers. Therefore, this type of artist will receive little benefit from an outside publisher's marketing efforts. However, because the music industry's royalty structure assumes that publishing income will be paid to a publisher, a self-published artist often will set up her own publishing company under an assumed name to receive publishing income. A self-published artist will frequently hire an accounting firm to handle specific admin2istrative functions such as royalty collection, for a much smaller fee than a full-service music publisher would demand.

 

 


BONDED TIPS

 


The Qualifications for a Worshipper
© Kevin Bond / Bonded Music 2007

(1) Vs2 He who walks uprightly…
A worshipper is to lead a blameless life, loving, and serving God, his neighbor not in word only, but in truth, constantly.

(2) Vs 2 He that works righteousness…..
A Worshipper is to do what’s right, Always doing the right thing, for the right reason.

(3) He that speaketh the truth in his heart. Psalms 15:2 (KJV)
A worshipper is to always speak the truth. Never lie to just to appease another, nor to lessen the effects of the truth.

(4) Vs 3 Someone that backbiteth not with his tongue… Psalms 15:3 (KJV)
A worshipper must refuse to slander other’s. Defaming someone else’s reputation also leaves a smudge on yours.

(5) Vs 3 Someone that doeth no evil to his neighbor… Psalms 15:3 (KJV)
A worshipper must never intentionally cause hurt nor harm to his neighbor. However timely truth spoken in love is permitted.

(6) Vs 3 Someone that doesn’t take up a reproach against his neighbor. Psalms 15:3 (KJV)
A worshipper must not strive with a neighbor for no cause at all. A life without purpose seeks to find it by meddling in the affairs of others.

(7)Vs 4 A person in whose eyes a vile person is contemned…. Psalms 15:4 (KJV)
A worshipper is to despise persistent sinners and the sin they’re willfully committing. Never applaud the sinner for his wrongdoing.

(8)Vs 4 One who honoureth them that fear the LORD. Psalms 15:4 (KJV)
A worshipper honors the Lords faithful followers. Always honor those who are living out their commitment to God; they are our examples of Christ in the earth.

(9) Vs 4 One that sweareth to his own hurt, and changeth not. Psalms 15:4 (KJV)
A worshipper is to keep his promises even if it hurts them to do so. Lying to ease one’s personal pain is no excuse.

(10) Vs 5 One that putteth not out his money to usury…. Psalms 15:5 (KJV)
A worshipper must not charge interest on money God has blessed them to lend. Imagine God charging interest on ALL of our unpaid debts.

(11) Vs 5 One that taketh not a reward against the innocent. Psalms 15:5 (KJV)
A worshipper must never take bribes against the innocent. He who takes bribes is nothing more than a paid liar.

(12) Vs 5 He that doeth these things shall never be moved. Psalms 15:5 (KJV)
A worshipper that follows Gods will for their life shall be established forever. There will always be room for them in the presence of God.





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