Andrew Surmani discusses the kinds of work experiences and skills the company looks for to fill certain roles within Alfred Publishing including sales, editorial and production.

Phil Galdston, a long time songwriter and producer, talks about the role of a publisher.

Phil Galdston, a long time songwriter and producer, talks about the benefits of owning your own publishing. In the long run, the artist earns much more money if they hold onto their publishing rights throughout their career.

Todd Brabec, Executive Vice President of ASCAP, discusses what a publisher does for an artist, from aggressively exploiting an artist’s catalog to collecting and dividing revenues properly. He also describes a few alternatives to traditional publishing deals.

Andrew Surmani, from Alfred Publishing, discusses the print music publishing business and the career opportunities that are available at the company from time to time. Alfred Publishing produces print music products, instructional DVDs, piano/vocal folios, guitar books, band methods, and much more. The music they publish in printed form is either based on original songs or licensed copyrights. Career opportunities are always listed on their Web site: www.alfred.com.

Peggy Monastra, Director of Promotions for G. Schirmer Music Publishers, talks about the day-to-day activities of a music publisher. Music publishers seek out repertoire that fits a certain programming need for the client. They also spend time sending scores and CDs to clients. Monastra also shares that publishers are often partners in developing consortiums between opera companies or orchestras. Negotiating commission contracts, developing a new production budget, working with composers, and setting up meetings are included as well.

Russell Rains, a lawyer and Director of the Digital Media Management MBA Program at St. Edward’s University in Austin, TX, explains what a “compulsory” license is and why this exception to the copyright owner’s control allows you to record a song no matter who owns it. He also explains what to do if you cannot locate the publisher of a work, but still want to make a recording of it.

Russell Rains, Director of the MBA Program in Digital Media Management Program at St. Edward’s College in Austin TX, explains what a “work for hire” deal is in the context of a recording or songwriting contract, and why it’s beneficial for artists to control their own copyrights instead of entering into a work for hire arrangement.

Former President of the storied Rykodisc label and founder of Slow River Records, George Howard is an accomplished musician, producer, executive, and educator. He is also the author of several books, including Music Publishing 101. In this video tutorial, George demystifies the crucially important segment of music publishing.