SYLLABUS
MUM2700
Course Title: MUM 2700 – Music Business 1
Number: 810378 (Kendall), room 2148
807373 (Wolfson), room 7A79
Schedule: TR 8:25 AM – 9:40 AM (Kendall campus ref. # 810378, room 2148)
M 5:40 PM – 8:10 PM, room 7A79 (Wolfson campus ref. # 807373, room 7A79)
Term: 2014-1
Credits: 3
Instructor Information
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Dr. Eduardo J. Calle (EdD, DHEL), Professor of Music Business & Production
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Office: Kendall 8213-2, Wolfson TBA
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Telephone: 305-237-0593
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E-mail: ecalle@mdc.edu
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Website: http://www.drcalle.com
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Angel: https://mycourses.mdc.edu
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Office Hours: http://faculty.mymdc.net
Course Description
 The fundamentals, guidelines and the use of copyright law, contracts, agencies and management,
publishing, songwriting, recording production and marketing. Prerequisite: One year of college-level
music study or equivalent. Co-requisite: MUM2703. Special fee. (3hr. lecture).
 This course teaches students how to exercise the power of “p” - pen, produce, protect, promote,
perform, play, profit, and persevere.
Course Competencies
Competency 1: Upon completion of this course, the student will demonstrate a basic knowledge of the
US Copyright Law as it pertains to the Music Industry by:
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Explaining the concept of intellectual property.
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Identifying the fundamental rights afforded to copyright owners.
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Identifying attributes that qualify a work for copyright.
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Describing the financial benefits of copyright ownership.
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Identifying aspects that define a joint work.
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Explaining the implications, applications and requirements of a work for hire agreement.
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Identifying the duration of copyright protection afforded to works created under current and
previous copyright acts.
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Describing the exceptions to the exclusive rights of copyright.
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Identifying the criteria used to determine the Fair Use of copyright.
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Identifying examples of copyright infringement and typical remedies.
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Differentiating between the copyright of a song and the copyright of a sound recording.
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Identifying, accessing, and completing appropriate copyright forms.
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Identifying the advantages of copyright registration.
Competency 2: Upon completion of this course, the student will demonstrate a basic knowledge of the
music publishing industry by:
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Describing the transfer of ownership from author to publisher that is inherent in a publishing
contract.
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Identifying the circumstances under which the transfer of copyright ownership back to the author
could occur.
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Describing the concepts of “publisher’s share” and “writer’s share” of a copyright.
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Describing the concept of “exploitation” of musical compositions.
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Identifying common means of exploitation.
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Describing the responsibilities entailed in the administration of a copyright.
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Differentiating among different types of publishing companies.
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Differentiating among different types of publishing agreements.
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Describing the functions of the various departments of a publishing company.
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Describing the proper procedure for submitting material to publishing companies.
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Identifying the steps required to start a publishing company.
Competency 3: Upon completion of this course, the student will demonstrate a basic knowledge of music
licensing by:
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Correlating the relationship between the rights inherent in a copyright, and the exploitation of
those rights through the issuing of licenses.
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Differentiating among different types of licenses.
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Describing the value of various licenses according to circumstance, application and degree of
exclusivity.
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Describing the process by which mechanical licenses are issued, and mechanical royalties
collected.
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Calculating mechanical royalties based on unit sales.
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Identifying the Performing Rights Organizations in the United States of America.
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Describing the activities of the organizations that administrate music in the US and abroad.
Competency 4: Upon completion of this course, the student will demonstrate a basic knowledge of the
record industry by:
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Identifying the major record labels and their most well known subsidiaries.
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Describing functions of various departments of a record company.
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Differentiating between a major and an independent record company.
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Describing processes by which music is produced and brought to market.
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Explaining components of recording contracts.
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Comparing different types of recording contracts.
Competency 5: Upon completion of this course, the student will demonstrate a basic knowledge of music
marketing and promotion by:
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Describing the process of music promotion in both the traditional and emerging mediums.
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Describing the process of music delivery in both the traditional and emerging mediums.
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Identifying major trade publications.
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Describing the function of the music “charts”.
Competency 6: Upon completion of this course, the student will demonstrate a basic knowledge of artist
management by:
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Describing the function of a personal manager.
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Describing the function of a business manager.
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Describing the function of a booking agent.
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Describing the function of an entertainment attorney.
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Identifying types of management contracts and associated fees.
Competency 7: Upon completion of this course, the student will demonstrate a basic knowledge of the
organizations that support the music and entertainment industry by:

Identifying the various labor unions that represent musicians, singers, performers and support
personnel.
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Describing the function of the American Federation of Musicians (AFM), the American
Federation of Television and Radio Artists (AFTRA) and the Screen Actors Guild (SAG).
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Describing the activities of the National Academy of Recording Arts and Sciences (NARAS), the
Latin Academy of Recording Arts and Sciences (LARAS), and the Recording Industry
Association of America (RIAA).
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Identifying organizations that provide resources, news, networking, and information about
employment opportunities in various sectors of the industry.
General Education Outcomes
Students who successfully complete MUM2700 will demonstrate skills in accordance with the collegewide general learning outcomes. The general learning outcomes suggest that as graduates of Miami Dade
College, students will able to:
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Communicate effectively using listening, speaking, reading, and writing skills.
o MUM2700 students communicate verbally and in written form.

Use quantitative analytical skills to evaluate and process numerical data.
o MUM2700 students compute mechanical royalties.
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Solve problems using critical and creative thinking and scientific reasoning.
o MUM2700 students address issues related to copyright law using creative thinking and
scientific reasoning.

Formulate strategies to locate, evaluate, and apply information.
o MUM2700 students locate, evaluate, and apply information pertaining to the music
industry from a variety of sources and in a variety of ways.

Demonstrate knowledge of diverse cultures, including global and historical perspectives.
o MUM2700 students tackle music business issues from a global perspective.

Create strategies that can be used to fulfill personal, civic, and social responsibilities.
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o MUM2700 students explore strategies directly related to fulfilling their personal, civic,
and social responsibilities by focusing on enrichment and profitability, service-oriented
business practices, and the social impact of the music business.
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Demonstrate knowledge of ethical thinking and its application to issues in society.
o MUM 2700 students address ethical business practices related to copyright and
publishing.
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Use computer and emerging technologies effectively.
o MUM2700 students use computers and emerging technology including word processors,
spreadsheets, and computer applications related to the music industry.

Demonstrate an appreciation for aesthetics and creative activities.
o MUM2700 students will tackle a variety of music business issues using creative
approaches developed throughout the course.
o Alternatively, since one person’s art is another person’s garbage, determinations
regarding aesthetics will be made by MUM2700 students and represent their own
personal opinions.
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Describe how natural systems function and recognize the impact of humans on the environment.
o MUM2700 students will explore environmental-friendly packaging, issues associated with
the impact of high sound pressure levels on hearing, the disposal of computer equipment,
and a variety of music business activities that use energy and the related impact on the
environment.
The Miami Dade College learning outcomes are available online at:
http://www.mdc.edu/learningoutcomes/outcomes.aspx
Suggested Texts
Baskerville, D. (2005). Music business handbook and career guide (8th ed.). Thousand Oaks, CA: Sage
Publications. ISBN: 1412904382.
Brabec, J., & Brabec, T. (2011). Music, money, and success: The insider’s guide to making money in the
music business (7th ed.). London, GB: Schirmer Trade Books. ISBN: 978-0-85712-646-7
Passman, D. S. (2010). All you need to know about the music business (7th ed.). New York, NY: Rosetta
Books. ISBN: 9780795309779
Supplies
 Students should bring a writing instrument and paper to each class meeting.
 Students are suggested to purchase a USB flash drive of size 2 Gigabytes or larger.
 Students are expected to have access to a computer and the Internet.
Resources
 www.mdc.edu
 www.drcalle.com
 https://mycourses.mdc.edu (Angel learning portal)
 www.copyright.gov (U.S. Copyright Office)
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www.uspto.gov (U.S. Patent and Trademark Office)
www.irs.gov
www.ascap.com
www.bmi.com
www.harryfox.com
www.soundexchange.com
www.sba.gov (Small Business Administration)
www.sunbiz.org (Florida Division of Corporations)
www.usdol.gov (U.S. Department of Labor)
www.bls.gov (U.S. Department of Labor, Bureau of Labor Statistics)
www.cia.gov (Central Intelligence Agency)
www.ethics.org (Ethics Resource Center)
www.nces.ed.gov (U.S. Department of Education, National Center for Education Statistics)
Course Requirements
 Schedule of assignments (all assignments will be posted on Angel)
o Week 2: Introductory paragraph:
o Week 6: Mechanical royalty computation assignment
o Week 10: Revenue sources outline assignment
o Week 14: Ethical business practices assignment
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Calendar
o Weeks 1 - 3: Course competencies 1
o Weeks 4 – 5: Course competencies 2
o Weeks 6 – 7: Course competencies 3
o Weeks 8 – 9: Course competencies 4
o Weeks 10 – 11: Course competencies 5
o Weeks 12 – 13: Course competencies 6
o Weeks 14 – 15: Course competencies 7
o Week 16: Final review
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Due dates (All tests will be delivered via Angel)
o Week 2: Copyright basics test
o Week 3: Copyright forms test
o Week 5: Copyright and music publishing test
o Week 7: Music licensing test
o Week 9: Record contracts test
o Week 11: Marketing and promotions test
o Week 13: Management test
o Week 15: Music industry organizations test
o Week 16: Final exam
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The MDC academic calendar is available at:
http://www.mdc.edu/main/academics/academic_calendar.asp
Course Evaluation/Grading Policy/Assessment Methods/Schedule
Course grading scale:
A: 90 – 100
B: 80 – 89
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C: 70 – 79
D: 60 – 69
F: 59 or lower
Tests: All tests will be issued and graded via Angel.
Assignments: All assignments will be issued and graded via Angel.
Grading policy: Scores for each test or assignments will be calculated by dividing the number of points
earned by the number of possible points. The percentage grades for each test and assignment will be
totaled and computed into a final a grade in accordance with the course grading scale.
Course/Departmental Policies
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Attendance is mandatory. Every two absences will result in a one percent deduction from the
overall grade. In other words, if your average based on assignments and tests is 92 and you
missed four courses, your overall average is 90.
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Lateness is discouraged. Please be on time.
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Class participation is encouraged.
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Missed assignments can only be made up in cases involving excused absences.
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Illness/emergencies should be reported to the professor via E-mail.
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Students are expected to observe the academic honesty policies detailed in the MDC publication
outlining student rights and responsibilities. This document is available at
http://www.mdc.edu/policy/student_rights_and_responsibilities.pdf
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Students with special needs should contact the instructor or the appropriate college department.
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In case of emergency, the class will exercise college-mandated emergency procedures
Available Support Services
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The Kendall MIDI lab is located in room 8111.
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The Kendall computer courtyard is located in building 3.
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The Kendall music lab is located in room M-335.
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Disability Services – please contact student services.
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ACCESS Department - students who experience learning difficulties or have disabilities
are urged to visit an ACCESS advisor to determine if eligible for any special services
Recommended Texts
Baker, B. (2011). Guerilla Music Marketing Online: 129 free and low-cost strategies to promote and sell
your music on the Internet. St. Louis, MO: Spotlight Publications.
Baragary, R. (1996). The Billboard guide to home recording. New York, NY: Billboard Books. (ISBN:
0823083004).
Collins, J. C. (2001). Good to great. New York, NY: HarperCollins Publishers.
Collins, J. C., & Porras, J. I. (2002). Built to last: Successful habits of visionary companies. New York,
NY: HarperCollins Publishers.
Franz, D. (2001). Producing in the home studio with Pro Tools. Boston, MA: Berklee Press. (ISBN:
0634032216).
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Halloran, M. (Ed.). (2001). The musician’s business and legal guide (3 ed.). Upper Saddle River, NJ:
Prentice Hall. (ISBN: 0130316814).
rd
Huber, D. M. (1999). The MIDI manual: A practical guide to MIDI in the project studio (2nd ed.).
Burlington, MA: Focal Press. (ISBN: 0240803302).
Jones, K. M. (with Greenberg, G. A.). (1996). Everything you’d better know about the recording
industry. Venice, CA: Brooklyn Boy Books. (ISBN: 1885726031).
Levine, M. (2010). Broken windows, broken business. New York, NY: Warner Business Books.
Moser. D. J. (2006). Moser on music copyright. Boston, MA: Thomson Course Technology PTR. (ISBN:
1598631438).
Moser, D. J., & Slay, C. L. (2012). Music copyright law. Boston, MA: Cengage Learning.
Rapaport, D. (2003). A music business primer. Upper Saddle River, NJ: Prentice Hall. (ISBN:
0130340774)
Robbins, A. (1991). Awaken the giant within. New York, NY: Free Press. (ISBN: 0671791540).
Shemel, S., & Krasilovsky, M. W. (with Gross, J. M.) (2003). This business of music: The definitive
guide to the music industry (9th ed.). New York, NY: Billboard Publications. (ISBN:
0823077284).
Tunecore. (2012). Music industry survival manual: New rules for the music industry. New York, NY:
Tunecore.
Wacholtz, L. E. (1996). Star tracks: Principles for success in the music and entertainment business (1st
ed.). Nashville: TN: Thumbs Up Publishing. (ISBN: 096523410X).
Whitsett, T. (2004). Music publishing: The real road to music business success (5th ed.). Vallejo, CA:
MixBooks. (ISBN: 193114009X).
Williams, D. B., & Webster, P. R. (1999). Experiencing music technology (3rd ed.). Belmont, CA:
Thomson Higher Education. (ISBN: 0534176720).
Wixen, R. D. (2009). The plain and simple guide to music publishing (2nd ed.). Milwaukee, WI: Hal
Leonard. (ISBN: 978-1-4234-6854-7).