Awesome ilembe Workshop Program - deadline extended!

Awesome Ilembe WS 2015 2 LRAwesome Africa International Arts Festival has partnered with ILembe District Municipality and Onexus Music Business Solutions to offer musicians in the ILembe region a two- week music business programme. Primarily funded by National Lotteries Commission (NLC) under their Arts, Culture and Heritage. As a catalyst for social uplifting, the NLC is passionate about changing lives through the promotion of Arts.

The deadline for the Awesome Ilembe Music Business Education programme has been extended in order to accommodate more musicians! So, if you haven’t applied, you still have time but not too much so apply NOW!

And why should you apply? Well, because once you understand the business operation of the music industry, then only can you make better decisions and reach your dreams much quicker. Music is a multi-million rand industry, which is to say your talent is a business, but do you have the right business skills to operate it that way? Can you make business decisions on your talent? Or do you trust that other people will ‘’manage your career’’ and make the best decisions for your life, and can you truly trust someone to make critical decisions about your livelihood? If this interests you, then wouldn’t you want to know more about copyrights, music management, copyrights, royalties, digital revolution, recording contracts and all other information about the industry?

This information will be shared at the music business programme. What’s more, the programme will feature a number of guests who will share their experience and give practical advice about how to take ownership of your career.

The opportunity will be offered to 80 individuals who are already producing music, but are lacking business skills. All you have to do is submit a 150 -word motivation letter stating why you should be selected together with your contact and personal details. The deadline for this submission is the 05th September 2016. Successful applications will be notified by the 14th September 2016.

Sign up NOW, see the benefits by the end of the programme. The application form is obtainable and returnable at the Local Municipality Youth Office within the Ilembe District or through This e-mail address is being protected from spambots. You need JavaScript enabled to view it  

 

 

 
AWESOME ILEMBE & ONEXUS MUSIC BUSINESS PROGRAMME

CALL TO ARTISTS!

AWESOME ILEMBE & ONEXUS MUSIC BUSINESS PROGRAMME

It all seems so easy: you record a couple of songs, play some gigs, sell CD’s, get your face on TV and the bucks, groupies and fame come rolling in. But is it really that easy?

That’s what you see around you right? Well, yes – but what you don’t get to see is what happens behind the scenes: the years of hard work and all the people and business involved. Read on if you want to know the answers to questions about the business of the music industry.

Read more...
 
Music Business Education Program for Ilembe Region

It all seems so easy, right: you record a couple of songs, play some gigs, sell CD’s, get your face on TV, become famous and the bucks and groupies come rolling in? That’s what you see around you right? Well, yes – but what you don’t get to see is what goes on behind the scenes: the many years of hard work and all the people and business involved. Talent alone is not enough and fame doesn’t always get you rich. So how do you become a successful musician?

Read more...
 
Money Matters in the Music Business - PART 2

Performing Rights are the New Future of Record and Music Revenue
Contribution by Jonathan G Shaw
Now, speaking of things that have changed, you may have got your record on radio but this no longer means generating a significant amount of sales. In fact, this was foreseen the big record companies in South Africa around 14 years ago. Year on year since 2008 the South African recorded music sector has seen a steep drop in the amount of records song. Digital sales revenue has only recently started picking up, but is still far from replacing lost profits. In 2002, lobbying on the part of record companies by the Recording Industry of South Africa (RISA) led to the introduction of performing rights for the recording of the music.

Read more...
 
Money Matters in the Music Business - PART 1

Contribution by Jonathan Shaw
Things have changed an incredible amount in the music industries, but many perceptions of the industries have not. Being an artist that hit it big was how it was done, and by getting on to radio and television a deluge of record sales would result. It was also not easy to record music, so if you did have an album chances were that you would get some sort of feedback and airplay through media.

Read more...
 
A career as a musician in the Music Industry. Which Skills do you need? 3

contribution by Jonathan G. Shaw

indexA successful career for a musician in the music industries depends on many factors. These include how professional you are, how you deal with life and its challenges, the way you talk about and express your ideas, constantly educating yourself and forgetting about how famous you could get. Here are some things to consider in getting your career on track. Read Part 1 about Professionalism and Part 2 about Life Skills first

Read more...
 
A career as a musician in the Music Industry. Which Skills do you need? 2

contribution by Jonathan G. Shaw

A successful career for a musician in the music industries depends on many factors. These include how professional you are, how you deal with life and its challenges, the way you talk about and express your ideas, constantly educating yourself and forgetting about how famous you could get. Here are some things to consider in getting your career on track. Read Part 1 about Professionalism first.

Read more...
 
A career as a musician in the Music Industry. Which Skills do you need? 1

contribution by Jonathan G. Shaw

A successful career for a musician in the music industries depends on many factors. These include how professional you are, how you deal with life and its challenges, the way you talk about and express your ideas, constantly educaJG Shaw Hi Resting yourself and forgetting about how famous you could get. Here are some things to consider in getting your career on track.

 

Read more...
 
WHAT IS A MUSIC PUBLISHER AND WHY WOULD I NEED ONE? Part 3

Read part one HERE and part two HERE...

by Nick Matzukis
Advocate of the High Court
Lecturer in Music Law and Business
Academy of Sound Engineering
http://www.ase.co.za/

The publisher’s duty is to administer and exploit the copyrights on behalf of the writer to create as much royalty income as possible. In order to do this, he will require assignment of the Writer’s copyrights, to him.

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WHAT IS A MUSIC PUBLISHER AND WHY WOULD I NEED ONE? Part 2

READ PART 1 HERE

Nick Mby Nick Matzukis
Advocate of the High Court
Lecturer in Music Law and Business
Academy of Sound Engineering
http://www.ase.co.za/

Relatively speaking, it does not take much capital investment to open a publishing house (since, unlike record labels, publishers do not need to consider the need for distribution networks, warehouses, etc.) Therefore, there are hundreds of small players in publishing, and although there are huge, mammoth publishing companies as well, they do not dominate the industry quite as much as the major record labels do in the record industry.

After some recent restructuring, there are now three ‘major’ music publishers in South Africa. They are Sony/ATV Music Publishing (which now includes EMI Publishing), Gallo Music Publishers (which for many years represented Warner/Chappell in South Africa) and Universal Music Publishing (which now includes BMG’s publishing arm.) But several independent music publishers such as Sheer Music Publishing, Synchro Music and others, have also had great success in South Africa, and are in many cases quite large and influential.

Essentially, the better publishers will exercise three core functions for the composer: marketing the music for exploitation, ie opening doors for use of the compositions that the composer himself cannot open; administration (ie handling the tracking of royalties, both with the major royalty collection societies and others, and ensuring that the correct royalties are timeously paid; and creative input, ie guiding the composer, assisting him/her in creating exploitable works, creating songwriter partnerships where necessary and so on. Some publishers do not involve themselves in the third function, but it is my feeling that they should, depending on what their share of the royalty stream is. In most full publishing agreements, the split is 70/30, but 60/40 (in either party’s favour) is also quite common.

As a general rule, but not exclusively, the aim of most large publishing companies is to own copyrights outright, and to exploit those copyrights for as long as they can. Other smaller publishers might have different business models, namely to have a share in a particular writer’s copyrights for a particular time only, and perhaps thereafter to build a business partnership together with that writer. Publishers appear, today, to have more power in the industry than they have had since the sixties, because of the music world’s attempts to legitimize the internet download business. Publishers enjoy a new power, as the recording industry seeks to shift gears from selling songs on discs meant solely for traditional stereo systems to formats optimised for use on computers and computer peripherals - a change with profound implications for artists, consumers and everyone in between. Music publishers see this shift as an opportunity to recast contracts with record labels and providers.

Quite recently, an out-ofcourt settlement was reached to ensure that 8% of the sale price of every digital download by a major online retailer would be paid to the publisher handling that copyright, and the goal percentage has now been raised to 9%. This South African agreement was reached due to publisher pressure. Therefore, the fact that every internet download sold is a copy, and therefore requires a mechanical license, is giving the publishers a whole new opportunity to entrench themselves as the power-brokers of the industry. Furthermore, the recent boom in “synchronization royalties” (royalties paid for use of a musical composition on film or video) has made publishers more powerful, due to the recent film boom in South Africa, including the movies “Chappie”, “Spud”, “District 9”, “Tsotsi” and others. Television advertising is not to be forgotten in this scenario. This income stream is becoming increasingly important o composers, and should be well understood.)

In its most basic form, a publishing agreement is a copyright transfer contract. In the agreement, the publisher is assigned, for a particular area, certain designated copyrights, or categories of copyrights (perhaps everything written by the writer) for a particular period or in perpetuity (the life of the copyright.) These contracts can vary hugely – either the publisher “owns” the copyrights assigned to him in perpetuity, or he acquires, perhaps “rents” them, for a particular period only, as a licensing deal (the latter is, of course, preferable from the composer’s perspective since it keeps his/her future options open, but this is often not what publishers want.) The copyrights that are subject to the agreement also vary hugely. They can vary from a “single song assignment” to total transfer of everything the Writer will write (and perhaps has written.) Generally speaking, in the full publishing agreement, the Publisher will want exclusive control over all the Writer’s output.

Click HERE for part 3...

 

 
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