Music Business Foundations Coursera Quiz Answers

All Weeks Music Business Foundations Coursera Quiz Answers

This course has been developed to provide students with the latest instruction on the best way for creators, consumers, and facilitators to navigate the resurgence of one of the world’s most exciting industries: the music business.

Three things are clear about today’s music industry: The consumption of music is expanding at the greatest rate in history and from the most portals ever imagined, the cost of producing music is decreasing, and the number of artists creating and seeking to expose their work and develop careers through the Internet has increased dramatically.

Whether you’re a music creator, consumer, or facilitator of this process, you’ll want to understand the history, underpinnings, and basics of the music business. Course author John Kellogg—administrator, educator, entertainment lawyer, performer, and radio and television personality—offers students the opportunity to learn the fundamental principles of the developing new music business, for now and into the future.

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Music Business Foundations Week 01 Quiz Answers

Practice Quiz : What Are Your Goals?

Q1. What are your goals for this course? What do you hope to accomplish? What skills do you hope to improve and what are you hoping to learn more about?

Q2. If you achieve your goals, where would that leave you? What would be the best, most positive outcome? How would accomplishing your goals make you feel?

Identify your best outcome and take a moment to imagine it as fully as you can.

Q3. What do you believe might be your biggest internal obstacle in achieving your goals? What is it within you that holds you back? It might be an emotion, an irrational belief, or a bad habit. Think more deeply—what is it really?

Identify your main inner obstacle and take a moment to imagine it fully.

Q4. Finally, what can you do to overcome your obstacle? Identify one action you can take or one thought you can think to overcome your obstacle.

Make the following plan for yourself:

“If… (obstacle), then I will … (action or thought).”

Week 1 Quiz

Q1. What was the first popular mechanical reproduction of music?

  • Sheet Music
  • The Hurdy Gurdy
  • 78 RPM Single Records
  • Piano Rolls

Q2. True or False: During the Depression live music flourished.

  • True
  • False

Q3. True or False: Depression-era bands primarily performed live on the radio.

  • True
  • False

Q4. True or False: Black female blues singers became the first record stars.

  • True
  • False

Q5. True or False: Congress changed the Copyright Act in 1909 to ensure publishers were paid a mechanical royalty.

  • True
  • False

Q6. Which of the following statements is not true?

  • The Armed Forces Radio Network provided music that inspired U.S. troops during WWII.
  • The Armed Forces Radio Network spread American music across the world.
  • The Armed Forces Radio Network consisted of five short-wave radio stations in the U.S.

Q7. Select the answer that correctly fills the blank in the following statement:

Ahmet Ertegun was a fan of American jazz and rhythm and blues (he and his brother Neshui were said to have collected nearly 20,000 jazz and blues albums). His independent record company, __________, became one of the most successful labels in promoting rhythm and blues, soul, and rock music.

  • Decca
  • Specialty
  • Minit
  • Atlantic

Q8. Select the answer that correctly fills the blank in the following statement:

The recording industry went through a period of rapid growth between 1954 and 1958 as a new generation of youth in America who had increased leisure time and disposable income popularized rock and roll music. In those four years record industry income ___________.

  • Doubled
  • Remained flat while the concert industry doubled
  • Increased 50 percent
  • Tripled

Q9. Select the answer that correctly fills the blank in the following statement:

Ray Charles, in renegotiating his contract with Atlantic Records, decided to leave that company and go with ABC Records because they allowed him to own _________.

  • His own tour bus
  • One mint julep
  • The studio
  • The master recordings

Q10. Select the answer that correctly fills the blank in the following statement:

The selling of ________ technology allowed the record companies to become so valuable that they consolidated into large conglomerates.

  • Sony Walkman Input
  • Vinyl Records
  • MP3
  • Compact Disc

Music Business Foundations Week 02 Quiz Answers

Week 2 Quiz

Q1. Consider the following contractual language dealing with advances and determine if the following statement is true or false. Be sure to click on the Show Answer(s) button to learn more.

Each of the Advances paid to you pursuant to this Paragraph 6, as well as all Recording Costs, shall be fully recoupable from any and all royalties (excluding mechanicals) payable under this Agreement.”

True or False: It is common for all the recording costs to be recouped from the artists royalties.

  • True
  • False

Q2. Consider the following contractual language dealing with royalties and determine if the following statement is true or false.

Conditioned upon your full and faithful performance of all the terms and conditions hereof, you shall be paid royalties on net sales of Records derived from the Masters recorded hereunder, and other exploitations of the Masters, as hereinafter set forth:

  • On net sales of Albums sold at full price through normal retail channels in the United States (“USNRC Net Sales”) the royalty rate shall be the following applicable percentage of the retail list price:
  • On Albums derived from Masters recorded during the First and Second Contract Periods: Nine percent.
  • On Albums derived from Masters recorded during the Third and Fourth Contract Periods: Ten percent.

If USNRC Net Sales, on which royalties are payable pursuant to paragraph 8[a][i] above, of any Album recorded in fulfillment of your Minimum Recording Commitment hereunder shall exceed 500,000 units, then the royalty rate shall be increased by the greater of one-half [1/2] of Company’s royalty increase pursuant to the Distribution Agreement or one-quarter of one percent [1/4%], for such sales of that particular Album in excess of 500,000 units. The royalty rate shall be increased by the greater of one-half [1/2] of Company’s royalty increase pursuant to the Distribution Agreement or an additional one-quarter of one percent [1/4%] for such sales of that particular Album in excess of 1,000,000 units.

On USNRC Net Sales of Seven 7-inch, Twelve 12-inch Singles and as digital downloads, the royalty rate shall be Six percent.

True or False: The above depicts a normal royalty rate for a new artist.

  • True
  • False

Q3. Consider the following contractual language dealing with royalty reserves and determine if the following statement is true or false. Be sure to click on the Show Answer(s) button to learn more.

Company shall have the right to withhold a reasonable portion of your royalties as a reserve for returns, rebates, credits, and exchanges. The reserve established by Company, and the liquidation thereof, shall be consistent with and not exceed the Distributor’s customary policy for artists signed directly to the Distributor.

True or False: The distributor’s customary policies in regards to releasing the royalty reserve is to release the reserve to the artist in two years.

  • True
  • False

Q4. Consider the following contractual language dealing with mechanical royalties and determine if the statement below is true or false. Be sure to click on the Show Answer(s) button to learn more.

The mechanical licenses for compositions recorded hereunder which are written, owned or controlled, in whole or in part, by you or any entity owned or controlled by, or affiliated with you (“Controlled Compositions”) are hereby licensed to Company for the United States at a rate (the “Controlled Composition Rate”) equal to three-fourths (3/4) of the minimum statutory copyright royalty rate, determined as of the date the Masters were initially delivered; and for Canada at a rate equal to three-fourths (3/4) of the minimum compulsory rate in Canada (but not less than 2 cents), determined as of the date the Masters were initially delivered. Mechanical royalties shall only be payable on records for which royalties are payable hereunder. The mechanical royalty rate for any budget or mid-priced record, for any multiple-record set, and for any record sold through a record club shall be three-fourths of the Controlled Composition Rate.

Notwithstanding the foregoing, the maximum rate which Company shall be required to pay in respect of an album shall be equal to ten (10) times the Controlled Composition rate, and the maximum rate in respect of any other record shall be equal to the number of compositions contained thereon (not to exceed three (3) times the Controlled Composition rate). If a 12-inch Single released by Company contains more than one (1) recording of the same Controlled Composition, Company shall not be obligated to pay the above rate more than once in respect of such Controlled Composition on such recorded. Without limiting Company’s rights, you agree to indemnify and hold Company harmless for the payment of mechanical royalties in excess of the applicable amounts in the provisions of this paragraph 12 (and the corresponding provisions of the Distribution Agreement). If Company pays or is charged by the Distributor for any such excess, Company may recover such excess from royalties or any other payments due you hereunder.

True or False: The controlled composition clause (CCC) will pay three quarters the minimum statutory royalty rate for each master, and the maximum rate for an album is 10 times the controlled composition rate.

  • True
  • False

Q6. Choose the answer below that best completes the following sentence:

Recording contracts have gotten longer and longer because of _________.

  • increasingly complex international law.
  • more provisions added to cover the rights and obligations that result from technological advancements.
  • the inclusion of provisions that ensure that performers on a record receive performance royalties.
  • the elaborate definition of a contract’s term.
  • legal teams justifying their existence.

Q6. Choose the answer below that best completes the following sentence:

After the copyright holder’s life plus a 70-year period the ownership of a sound recording falls into what is called __________.

  • “Copyright Reserve”
  • “Fair Use”
  • “The Controlled Composition Clause”
  • “The Public Domain”

Q7. In the mid-1990s the artist Prince Rogers Nelson (known by the stage name “Prince”) protested what provision of record contracts?

  • Royalty Rate
  • Advances
  • Term

Q8. This type of digital music service is based on an ad and subscription model where the consumer can listen to any song or album from a vast catalog as many times as they want for free, or they can subscribe on a monthly basis (avoiding having to listen to advertisements).

  • Interactive streaming service
  • Non-interactive streaming service

Q9. True or False: Recording costs are not recouped from an artist’s royalties.

  • True
  • False

Music Business Foundations Week 03 Quiz Answers

Week 3 Quiz

Q1. Scenario 1

Randy Smackson, an A&R rep for Simon Towell’s American Idle Records (A.I.) has discovered his latest ‘diamond in the rough’, Kelly Tartson. After lengthy negotiations with Kelly’s manager, Paula Mabdul and their attorney, an agreement was reached. Kelly, a talented vocalist is also a prolific songwriter and producer of her own music, entered into an exclusive recording agreement with A.I. In order to get the recording deal, A.I. insisted that Kelly sign a co-publishing agreement with their publishing affiliate, Rip Off UR Music Publishing (Rip Off) under which Kelly must transfer fifty percent (50%) of all copyrights to compositions she creates during term of the agreement to Rip Off. Under the co-publishing agreement Kelly will receive seventy-five percent (75%) of all income received by Rip Off from the exploitation of the compositions. Under the terms of her recording agreement, Kelly will receive the full statutory mechanical rate of $.091 per song for all recordings sold. A provision in the co-publishing agreement indicates that Kelly’s writing services are considered a work for hire. However, Kelly doesn’t receive a salary from Rip Off, writes at her own pace, in her home studio with no direction or input from Rip Off UR Music.

If Kelly writes the hit single, “I Hate Reality TV Shows” and it goes gold (500,000 copies sold in the U.S) and her album of the same name is certified platinum (1,000,000 sold in the U.S) what is the total amount of mechanical royalties Kelly is entitled to under the terms of the co-publishing agreement with Rip Off UR Music Publishing if she also is the sole songwriter of six (6) songs on the album and receives the current full statutory minimum mechanical royalty rate for each composition?

  • $168,765
  • $443,625
  • $136,500
  • $91,960

Q2. Using the scenario from Question 1, answer the following question:

In spite of the provision in the co-publishing agreement indicating that she is creating songs on a work for hire basis, is it likely the songs will be considered works for hire?

  • Yes
  • No

Q3. Using the scenario from Question 1, answer the following question:

In spite of the provision in the co-publishing agreement indicating that she is creating songs on a work for hire basis, ff she is not considered an employee for hire would she have the right to terminate her grant of 50% of the copyrights to Rip Off UR Music?

  • Y​es
  • N​o

Q4. Rip Off finds many ways to exploit Kelly’s composition, “I Hate Reality TV Shows.” Which of the copyright’s bundle of rights are implicated by the following use:

The AI recording of the song is played on radio stations all over the U.S.

  • Grand Right
  • Print Right
  • Derivative Right
  • Synchronization for Composition and Master-use for Sound Recording Rights
  • Public Performance Right (licensed by ASCAP, BMI, and SESAC)
  • Public Performance Right [Composition – licensed by ASCAP, BMI and SESAC, Sound Recording – digital performance licensed by SoundExchange]

Q5. Which of the copyright’s bundle of rights are implicated by the following use:

Rapper, Nanye East loves the hook of the AI recording of the song. He wants to sample portions of the record and song for the first single from his upcoming album.

  • Grand Right
  • Print Right
  • Derivative Right
  • Synchronization for Composition and Master-use for Sound Recording Right
  • Public Performance Right [licensed by ASCAP, BMI and SESAC]
  • Public Performance Right [Composition – licensed by ASCAP, BMI and SESAC, Sound Recording – digital performance licensed by SoundExchange]

Q6. Which of the copyright’s bundle of rights are implicated by the following use:

The recording of the song is streamed on Pandora, XM/Sirius Satellite Radio and in live performance venues across the world.

  • Grand Right
  • Print Right
  • Derivative Right
  • Synchronization for Composition and Master-use for Sound Recording Right
  • Public Performance Right [licensed by ASCAP, BMI and SESAC]
  • Public Performance Right [Composition – licensed by ASCAP, BMI and SESAC, Sound Recording – digital performance licensed by SoundExchange]

Q7. Which of the copyright’s bundle of rights are implicated by the following use:

A Broadway show producer wants to adapt the song for dramatic use in a musical play about the perils of former reality show contestants.

  • Grand Right
  • Print Right
  • Derivative Right
  • Synchronization for Composition and Master-use for Sound Recording Right
  • Public Performance Right [licensed by ASCAP, BMI and SESAC]
  • Public Performance Right [Composition – licensed by ASCAP, BMI and SESAC, Sound Recording – digital performance licensed by SoundExchange]

Q8. Which of the copyright’s bundle of rights are implicated by the following use:

Rip Off enters a deal with a company to produce and sell sheet music of the song.

  • Grand Right
  • Print Right
  • Derivative Right
  • Synchronization for Composition and Master-use for Sound Recording Right
  • Public Performance Right [licensed by ASCAP, BMI and SESAC]
  • Public Performance Right [Composition – licensed by ASCAP, BMI and SESAC, Sound Recording – digital performance licensed by SoundExchange]

Q9. Which of the copyright’s bundle of rights are implicated by the following use:

The producers of the American Idol TV program love the song and want to use the AI recording in the background of scenes where unlucky audition contestants who get booted off the show scream, cry and curse at the judges.

  • Grand Right
  • Print Right
  • Derivative Right
  • Synchronization for Composition and Master-use for Sound Recording Right
  • Public Performance Right [licensed by ASCAP, BMI and SESAC]
  • Public Performance Right [Composition – licensed by ASCAP, BMI and SESAC, Digital Performance of Sound Recording Sound Recording – licensed by SoundExchange]

Q10. True or False: The use of a song during a religious service may be considered fair use.

  • True
  • False

Q11. True or False: The current Statutory Mechanical Royalty Rate is $.091 for songs under five minutes.

  • True
  • False

Music Business Foundations Week 04 Quiz Answers

Week 4 Quiz

Q1. A Booking/Talent agent (select all that apply):

  • Usually sells recordings of the artist’s performances.
  • Usually receives a commission of 10% – 15% of the artist’s gross earnings from the engagements booked
  • Procures employment for artists.
  • Is usually regulated by the states in which they do business.
  • Organizes concerts.
  • That is registered with the State of Califorina must comply with the talent union’s contract requirements regarding term and commissions.

Q2. A personal manager of a recording artist must (select all that apply):

  • Be a lawyer
  • Help the artist with scheduling and coordinating the artist’s activities
  • Have good and productive relationships with record company personnel
  • Be registered as a talent agent in the state of California.
  • Take a commission of at least 25% of the gross earnings of the artist.
  • Procure employment for the artist
  • Place the interest of his or her artist above their own
  • Have an understanding of the dynamics of the record industry
  • Own a production or publishing company.

Q3. The primary responsibility of a personal manager is to:

  • Advance the artist’s career from one level to the next
  • Agree with everything the artist says
  • Loan the artist money
  • Pay all of the artist’s expenses

Q4. The primary responsibility of a talent/booking agent is to:

  • Make travel arrangements for the artist
  • Publish books by the artist
  • Procure employment for the artist
  • Advance the artist’s career from one level to the next

Q5. What is the typical commission an experienced personal manager charges an artist?

  • 20%
  • 5%
  • 50%
  • 12%

Q6. Which of the following is/are realistic alternative(s) to the normal rate of commission a personal manager may charge her/his client (select all that apply):

  • An equal share of net income earned by the artist
  • 0%
  • 50% of the artist’s gross income

Q7. A manager’s fiduciary duty is to:

  • Loan the artist money
  • Charge their client a commission of 30%
  • Pay a tax on the income received from the artist
  • Put the artist’s interest in business dealings above her/his own

Q8. If a manager is found to have violated the California Talent Agency Law the California Labor Commissioner may (select all that apply):

  • Order the manager to pay all commissions earned from the artist
  • Terminate the manager’s agreement with the artist
  • Put the manager in jail

Q9. Most established business managers will charge a commission of:

  • 50%
  • 15%
  • 5%
  • 35%

Q10. Which of the following technological advancements greatly impacted how personal managers conducted their business on behalf of their clients? (select all that apply)

  • Invention of the lie detector
  • Growth of the Internet
  • Invention of the television
  • Development of on-stage monitors

Q11. In which of the following are the areas entertainment lawyers primarily work? (select all that apply)

  • Litigation
  • Probate
  • Transactions
  • Criminal
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