Course on Modern Music Production
The COURSE OF THE UNITED NATIONS MUSIC PRODUCT. The uniqueness of the course is that it not only provides a theoretical basis and basic skills in the subject, but also enables students to prepare for launch and start their own projects. As an interactive music guide, the course teaches how to track and apply innovation in the profession. Also included in the course are the foundations of the ef-ffective time management and targeting. The program is run by a practicing music producer, director and concert organizer, involved in the full spectrum of domestic music genres, ranging from rock to rave, from hip-hop drama. The course is based on both the author ' s own professional experience and an impressive base of used literary sources and special film.
TOPIC 1. Introduction. 1.1. The emergence, the transformation of the profession. 1.2. Functioning, tasks and means of production. 1.3. The role of music in society and the role of producer in music. 1.4. Short «storys of success» of star producers. TOPIC 2. Current status of the profession. 2.1. Is the producer needed today? 2.2. Production patterns in the music business. 2.3. Combining the roles of producer and musician. TOPIC 3. Work with artists 3.1. Manager, psychologist, sociology, coach, critic, musician. 3.2. Artist-producer relations: from acquaintance to signature of the Contract and further cooperation. 3.3. The artist’s team: functional, areas of responsibility. 3.4. Crises: a «typical» set of solutions. TOPIC 4. Music law. Document logs. 4.1. Types of rights, defense organizations. 4.2. Registration of name (market mark), content, related rights. 4.3. Copyright online. 4.4. Catalogues of possible contracts and contracts.
TOPIC 5. The label. 5.1. Labs: (a) «big three», sub-bills, «indi» labels; (b) functional and ability of labels; © reasons for collaboration. 5.2. How do you choose the «need» label? 5.3. The artistic/producer/lable relationship is how to benefit all, taking into account «seastones» and force majeure. TOPIC 6. Finance: investments and profits. 6.1. Forms of income in the music business. 6.2. Monetization of music audio and video content. 6.3. Nisha and the commercial prospects of the project. 6.4. Project budget: format; how do you plan it? 6.5. Fund-raising: donors, investors, partners. TOPIC 7. Creation of a «product». 7.1. Searching for an artist. Heroists and producer projects. 7.2. Castings and assignments for them. 7.3. Manifesto (exact description) of the music project. 7.4. The target audience is a multidisciplinary portrait. 7.5. The artist’s image is «legend», appearance, wardrobe, communication. 7.6. Create audio/visual content: tracks, photos, videos. TOPIC 8. Promo. Concerts. 8.1. Three whales promo: smm, offline smi, sarafan radio. 8.2. As a media artist, it’s regular, interesting, beautiful. 8.3. Investment in promo: Where and how much? 8.4. Concerts: How to prepare, conduct, earn?
TOPIC 9. Preparation of their own projects. 9.1. Market review and niche selection. 9.2. Project manifesto, description (shablon). 9.3. Target setting, business plan, and timing. 9.4. Presentation and review of projects, adjustments. 9.5. Formation of a working package to launch the project. The curator. Greenhouse Marat Lvovich is a music producer, songwriter, director. Over 25 years in the management of popular artists. As a producer, he put on a show in 15 countries on three continents. The songs are aired on more than 35 radio stations, in the soundtracks of Channel One and STS. I developed a copyright system for the power of talented artists in increasing popularity and income. Author ' s resources: https://www.instagram.com/marat_gringauz https://www.tiktok.com/@marat_gringauz https://t.me/marat_gringauz https://vk.com/maratgringauz https://youtube.com/@muzproduce FILMOGRAPHIA: 1. Michael Apped «Long Way Home» 1989 2. Murray Cumming «Songwriter» 2018 3 Martin Scorsese «Vinyl» 2016 4 Baz Lourman «The Get Down» 2016 5. Francis Waitley «David Bowie: A Path to Glory» 2019
LITERATURE: 1. I. Mann, «Number 1. How to be the best in your business, Mann Ivanov Ferber, 2014 2. B. Grebenskov, „Aerostat — Music Encyclopaedia, i.e. 1 „Techna and Land“, Amphora 2008. 3. T. Mottola, „Hitmaker — Last Music Magnate“, Centre Polygraph, 2014. 4. All right, all right, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay. Z. Greenberg „Jay Z Empire“, Exmo, 2017 5. R. Branson, „Virgin Business, which you will not be taught in business school“, Mann Ivanov Ferber, 2018. 6. All right, all right, all right, all right, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay. E. Late, „Law of the Court. Study book and workshop for bachelor’s degree, Juright, 2018 7. D. Passman, All About Music Business, Alpine Business Book, 2009 8. D. Sibrook, „The song machine. Inside the whale factory, Ad Marginam Press, 2016 9. A. Ross, „Listen,“ Astrel: CORPUS, 2013 10. A. Elberts, Blockbuster Strategy, Mann, Ivanov and Ferber, 2015 11. C. Hurf, „How to Create a Product That Everyone Will Love“, Mann, Ivanov and Ferber, 2019 12. U. Strakovich, „The Digital — What Happened to Music in the 21st Century“, Art-transit, 2014 13. A. Motherland, „Producer Out“, Mann, Ivanov and Ferber, 2016 14. C. Richards, Life, CORPUS, 2018
