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The Muse's News

Issue 8.0 - March 2005
ISSN 1480-6975

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This issue sponsored by:
USA Songwriting Competition - The World's Leading International Songwriting Competition


I n   T h i s   I s s u e :

@-- Editor's Musings
@-- Music Reviews - Gian Fiero, Steve Allat & Brett Thompson
@-- Copyright & Publishing Q&A - by Nancy VanReece
@-- New Artist Spotlight Additions
@-- Songwriting Book Review - by James Linderman
@-- Musical Notes - Songwriting Contests & Market Info.
@-- Muse's Clues - Songwriting Web sites that inspire - brought
    to you by singer/songwriter & teacher, Irene Jackson.
@-- Featured Article - REACHING THE BREAKING POINT—Part Two
                       by Jeannie Deva 
@-- On Site Featured Article - An article already online for your
    viewing pleasure.
@-- Classifieds & Useful Services
@-- Contact information
ISSN 1480-6975. Copyright 1998/99/00/01/02/03 - Jodi Krangle. 
For more contact information, see end of issue.

You can pick up some attractive and useful Muse's Muse items like
mugs, mousepads (currently on sale!), t-shirts in various colors
and more by visiting .  Get
yourself some classy merchandise to remind yourself of your
commitment to better songwriting and support The Muse's Muse all
at the same time. 
S p o n s o r   M e s s a g e : 
(Please support the sponsors that support this newsletter! Thanks!)


Win a grand prize of over US$50,000 in cash, merchandise and
more. Winning songs get radio airplay. Judges include record
labels such as Universal, Warner, BMG and SONY Music. EARLY ENTRY
BONUS: First 1,000 entries will each receive FREE bonuses such as
magazine subscriptions if postmarked by March 31 or earlier. 

So, hurry! Enter here:


E d i t o r ' s   M u s i n g s :

Wow.  8 years.  How about that?  I can hardly believe it myself.
Every one of those issues is online at, by the way - so you can
have a look at the progression this newsletter has made
throughout the years.  I guess I'm a little proud of myself. ;)

That said, let's get on to the good stuff!

There's a new column on The Muse's News now.  In fact, it's a Q&A
- much the same way Nancy VanReece's Copyright and Publishing
column is a Q&A.  This one is a Music Industry Q&A put together
by our very own Gian Fiero (who has been a much appreciated Music
Reviewer here on The Muse's Muse for quite some time now) and his
friend, entertainment lawyer, Jon L. Duman.  You can see what
that's all about here:
There are several articles (in PDF format) from Gian, and a
couple of Q&A's already online.  More will be coming!  Drop by
and ask your own question, ok?  They'd love to hear from you.

The raffle winners this month are:

* Angie LaVelle from Orlando, FL has won a copy of 
the "Musician's Toolkit"  
(for details, see 

* Saro Tribastone from Italy has won a copy of VSS's
songwriting organization product, Lyricist (for details and
information on a discount offered, see

* Melissa Bollea from Brandon, FL has won a copy of 
"100 Miles To A Record Deal" by Bronson Herrmuth

* Paula Tripodi from Ramah, NM has won a 6 month
subscription to the Onlinegigs (
service.  This valuable service is a powerful tool for musicians,
agents, record companies and managers designed to virtually
automate the administration of booking and promoting a band or

And if you're interested in receiving a raffle prize, please do
contact me (my contact info is at the bottom of this newsletter)!
Don't be shy! When you do, let me know which raffle prize
particularly interests you (and yes, the reviewed book of the
month is a valid interest :)) and I'll see what I can do.  If you
happen to mention when you first subscribed to this newsletter
and how it helped you in the past, that would be very cool.  I'd
like to hear your perspective on things.  And it being eight
years now, I'm getting a bit nostalgic. ;)

Happy writing!


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S p o n s o r   M e s s a g e : 
(Please support the sponsors that support this newsletter! Thanks!)


Ring in the new year by getting a copy of Lyricist V3  - The
Songwriter's Best Friend: the first-of-its-kind word processor
designed for musicians, songwriters, and poets.  The software
includes a Rhyming Dictionary, Thesaurus, Album Categorization,
Chord Charting, Chord Generator, Song Arrangement, On-Line
Copyright Link.  The new version 3 release adds support for
"Piano Style" chord symbols, Nashville Number System, and
Transposition features - all in one user-friendly package.
Check out the review at

Muse's Muse visitors can take home the product for $5.00 off the
current sale price of $49.95 just for purchasing through the
purchase button provided off of the review. 

For more information, visit the review url above or call us at
888.732.1176 inside the U.S.A. and Canada or 603.726-4499 outside
the U.S.A.


M u s i c   R e v i e w s :  

by Gian Fiero, Steve Allat & Brett Thompson 


Reviews by Gian Fiero

* Chicago Soul Sessions Volume 1
* Wayna

Steve Allat:

* Peter Mandic
* Maya and Sage
* Modern Marriage
* Osgoods
* Pain Tolerance
* Alex Chu
* Darling
* Eyelash
* Sweeper
* The Complements
* Chris Graham
* Kathryn Grimm
* Andi Rae Healy
* David Miles Huber
* Alex Walsh
* Janubia
* Keyth Lawrence and the Purple Circle
* Kiva
* Zycophonic
* Joni Laurence
* Lunaractive
* Halovox
* Call Me Alice
* Derrick Jordan
* Claire Moss
* Lawrence Chang
* Matthew Parmenter
* the Bandages
* Seo Taiji

Reviews by Brett Thompson:

* Anagram
* Karli Bonne


For bios on each of the reviewers, see . If you're considering
sending in your own CD for review, you can also view that page to
find out which reviewer reviews your genre. Thanks!

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C o p y r i g h t   &   P u b l i s h i n g   Q & A :
        With Licensing executive Nancy VanReece 

Hi Nancy,

First off, I appreciate your willingness to share your wealth of
knowledge with people that are puzzled by this exciting but
sometimes complicated industry!

This is my situation.  I am a singer/songwriter.  I am in the
process of releasing a single soon.  This composition consists of
myself writing the lyrics and my producer writing the music.  He
holds the copyrights to his music and I to my lyrics.  Currently,
we have no written agreements between the two parties.  To make
things a little more interesting, I run my own publishing company
since I write only for myself.

Q:.  Out of the income earned (from record sales) should I take
an administration fee (for the pub. company) then issue out
moneys to myself and the producer?

A: If you have no written agreement concerning the composition,
you need to start there.  If you are publishing his share of the
song as well, then whether or not you take admin fees is between
your left pocket and your right pocket because traditionally, the
administration fees come out of the publishing side.  If he is
co-publishing the song with you then you will share
administration fees unless agreed on otherwise in writing.  You
need to issue a single song agreement between writer and
publisher to clearly indicate the divisions and responsibilities.
There is a sample of one in my Digital Web Book.

Q:  How much should the producer get paid depending on record
sales?  Should it go by percentage?

A: A production agreement in writing will determine the terms of
your arrangement. The deal is what ever you agree on but
traditionally the producer is looking for 2% or 3%.  Now that
percentage could be of gross minus breakage and minus marketing
or just on units sold, or at retail price and different foreign
or domestic.  It could go all over the place.  You need a written
agreement created by an entertainment legal counsel with
knowledge of each responsible turn.  Samples can be purchased for
you to make your own but I would send you to a good attorney for
a production agreement.

Q:.  Should mechanical royalties come into play?  If so, would
that be more or less like myself taking out of one pocket but
putting back in the other, since I'm sort of acting like a record
label which is financing the manufacturing of the records?

A: Mechanical royalties always come into play.  Your single song
agreement will state if you are paying full statutory rate as of
release date or creation date, or if there is some sort of
controlled composition clause.   It will also show when the
accounting of the rate should happen and what the splits are. 

Q:. Will my "manager" have to get paid?  I haven't signed a mgmt
contract just yet. I'm trying to work out the kinks with the
following question. Why should mgmt dip into the publishing
income pot?  I want that to be a separate entity from him
managing me as an artist.  I'm controlling the (artistic)
songwriting and publishing aspects of my career.

A: Any management agreement that you work through in the future
will more than likely be a flat percentage of everything.  After
all, they would be managing everything.  If there is a way for
you to separate your songwriting from your performance and have
the leverage to negotiate with this manager then you may be able
to isolate things out.  Again, it's all about negotiation,
written agreements and leverage.  

NOTE TO READERS: There is a chapter on each of these topics in
the Digital Web Book!  Pick One Up Today!


Since 1998, Nancy VanReece has been providing a question and
answer forum for Muse's Muse readers. Now all of the articles,
forums and Q&A's are compiled into an e-book called REAL ANSWERS

How to Ask a Question:
If you have a question for Nancy about publishing or copyright
administration, you can e-mail her at
Please indicate in the subject of your e-mail that your
submission is for The Muse's Muse guest forum, Real Answers to
Real Questions. Thanks!	

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S o n g w r i t i n g   B o o k   R e v i e w : by James Linderman

2005 Song Writer's Market edited by Ian Bessler
It would be easy to look at the cover of the 2005 Song Writer's
Market and assume that this is merely a directory existing for
the sole purpose of pitching songs. 

However, after even a casual look inside, it becomes clear that
it is a book with a lot more to offer than a directory.  It has
something of interest for all kinds of people involved in the
making and marketing of songs.

The book has 6 different kinds of material in it. 

First, there are articles about songcraft and the song biz that
provide a crash course on stuff like publishing, marketing,
royalties and contracts. This is a "must read" section before
doing anything with the listings that follow. 

Secondly, there are introductions that precede each set of
listings and make the content of the listings more understandable
and more potentially relevant. 

The third and largest section has the listings, but not just of
record labels but also of songwriting contests, music
organizations, managers, agents, publishers, producers and even a
small, but mighty, collection of contacts in the Classical Arts.

The fourth section is called "Insider Reports" which are
basically interviews with established artists and industry gurus
that collectively offer up a keyhole view of what the music
industry looks like from the inside.

Section five has some useful lists of resources like workshops,
conferences, retreats, awesome websites (like The Muses Muse),
trade mags, books and tons more.

In the last section you will find category indexes for the
listings with page references so you can find information related
to your goals if say...the only two kinds of music you are into
writing is country... and western.

I would recommend the 2005 Song Writer's Market to anyone who has
even a casual interest in taking his or her songs for a test
drive in the industry or for those who just want to see how the
whole music business thing works.

The two accessories you will want to have on hand as you go
through the book are a highlighter and a pad of page tabs. 

You can get your hands on a copy of 2005 Song Writer's Market at
James Linderman lives and works at theharmonyhouse, a music
lesson, songwriting and recording pre production facility in
Newmarket, Ontario. James writes songwriting articles and music
book reviews for The Muse's News, Canadian Musician Magazine,
Songwriters Magazine, and Professional Musician Magazine. His
writing is also featured in the James Linderman Wing of the
library at James has a Canadian University and
American College education in music theory and composition and is
also pretty good at making up songs and playing the guitar. 

Contact James at: 

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S p o n s o r   M e s s a g e : 
(Please support the sponsors that support this newsletter! Thanks!)


The Muse's Muse Songwriting Resource (online since 1995) now has
a section of Artist Spotlights at where musicians
and songwriters of all genres can strut their stuff.  Newly
spotlighted artists are also mentioned in this newsletter (see
above). Check out for
more details!

M u s i c a l   N o t e s : Songwriting Contests & Market Info.

In the interest of conserving space, I will only be including
changes to this listing in this newsletter.  All other contests
and market information that have already been listed here, are
displayed at & . Please check there
regularly for updates!
Narrative Music in partnership with Sonicbids has launched
International Narrative Song Competition (INSC) 2005. Have you
written a song or lyric that tells a great story? The song and
lyric competition is open to all amateur and professional
songwriters submitting original work. All genres of music are
accepted. Songwriters and lyricists may submit in 5 Narrative
Song and 5 Narrative Lyric categories. They may enter as many
songs and lyrics as they desire. Over $7,000.00 worth of prizes
to date intended to support aspiring songwriters(additional
sponsors shall be coming on board throughout 2005).
Submission postmark deadline: November 9, 2005.
MUSE'S NEWS READERS -- TAKE a FREE COURSE! is pleased to make this special offer of a free course available to all Muse's News Readers (a $40
value).  Come see for yourself why ASCAP says that the courses
offered by "will undoubtedly help prepare songwriters
for any market no matter their place of residence" and NSAI says
we're the "next important evolution for serious songwriters."
To take your FREE SONGWRITING COURSE, simply go to the following
link: .  

You can learn more about courses, co-writing hookups,
industry connections and pitching by going to . 

Download's free and easy Copyright Kit. Print
Copyright forms, Copyright submission process, handy tips &
tricks, choosing the right form, and more. 
Pete & Pat Luboff will pay for the phone call for Muse's Muse
songwriters who use the Luboffs' songwriting consultation
service. The service provides detailed, constructive song
analysis, answers to all your creative and business questions and
references to contacts when appropriate. Visit for more information.  
Ellen Silverstein Violette, Grammy-nominated Songwriter & CEO of
Create A Splash! e-marketing & writing strategies 4 success is
offering 15% discounts to Muse's Muse visitors on selected
services including all courses, web reviews, and some coaching
programs. Visit for information! 
It's important for your website to be found once it's created. We
all know this. But who can afford the promotion a website needs
to truly make its mark on the web? Now YOU can. This package is
offered exclusively to Muse's Muse visitors only - and now
includes an Artist Spotlight listing! Do you have a website that
no one knows about? Do you want it to stand out from the crowd?
Now you can get it promoted for a fraction of the price most
search engine optimization packages would cost you.  Visit
for more details.

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M u s e ' s    C l u e s :  by Irene Jackson

©1998-2005 Moonstone Productions All Rights Reserved. Used By

I like to read interviews with songwriters, especially those who
have had some measure of success, of course!  Not only is it
interesting to hear how they are inspired and what their writing
process is, but it also makes me feel, in some respects, that I'm
not so far away from the possibility of having some luck with one
of my songs one day.  Songwriters get a lot of conflicting
messages about pitching getting a hit, for instance,
is akin to winning the lottery.  I think that, myself, often
enough!  But in the next breath, you hear that hard work and
perseverance will eventually pay off.  I'd like to think that's
true, especially for so many songwriters out there who work so
hard at improving their craft and doing all of the right things
to achieve some sort of success. 

Sometimes it's luck, sometimes it's hard work, most of the time I
think it's a combination of the two.  RL Castleman is a truck
driver, but he's also a Grammy Award winning songwriter living in
Nashville, and the writer of the song "The Lucky One", recorded
by Alison Krauss.  MusicDish e-Journal has an interview with him

The story of how RL Castleman got his songs to Alison is
interesting enough (boy, who you know is everything sometimes!),
but my favourite part is near the end of the interview when he
starts talking about his writing process, and what it takes to
write a great song.  He advocates writing from your own
experience, keeping the good bits in songs for use later, and
when writing for Alison, he tries to remain purposely vague in
his lyrics, leaving a little space for the listener to fill in
his or her own life story. 

Interestingly enough, "timelessness" is also a quality he refers
to in regards to his writing.  The song "The Lucky One" was
written almost twenty years before Alison Krauss recorded it!  So
it just goes to show you that you could very well have a gem or
two on an old tape somewhere... Lemme see, where's that old
briefcase of mine?

Irene Jackson is a performing songwriter from Victoria, BC in
Canada. Aside from writing, recording and performing, she also
maintains a website for songwriters that includes tips, articles
and more links of interest.  Her eagerly anticipated CD "Catnip" is
finally here, and her earlier recordings have had attention
everywhere from Japan to South America.

Songwriting Tips:
Songs on MP3:
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F e a t u r e d   A r t i c l e : 

by Jeannie Deva © 2005 - All Rights Reserved

In part one of this article we began to address the phenomenon
known as "register break," the "passage," or "breaking point."
For those of you who read it, I hope you've been using the
suggested exercises, and have been finding them helpful. After
practicing them, you should find your voice sounding richer and a
bit fuller and more resonant. Are you? In this article, we'll
explore a few other "tricks of the trade" for better control of
your vocal range.

As discussed in Part One of this article, the usual cause of
register break is too much air pressure under the vocal folds due
to unregulated breath support. "Breath support" is a byword of
vocal lingo.  Unfortunately,  a physiological explanation of just
what it means, and why it is a crucial part to vocal technique,
is not as common.

If you think you have to push out more air in order to sing
higher, think again! Similar to fretting the strings on a guitar,
to sing higher pitches a shorter length of your vocal folds are
free to vibrate. They need less air coming up to them (from your
lungs) to make them vibrate faster, producing higher pitches. For
lower pitches, a longer length of your vocal folds are free to
vibrate. They require slightly more air (compared to higher
pitches) and they vibrate at a slower speed.

To prepare for each speed of vibration, the folds are stretched
and thinned or shortened and thickened appropriately for each
desired pitch. To do this, a combination of three things must

1) The muscles of the folds press the inner rims against each
other permitting different lengths of the folds to vibrate. (For
lower pitches, the entire length of each fold is free to

2) The muscles of the folds stretch and thin the folds (for
higher pitches) or shorten and thicken the folds (for lower

3) To facilitate the stretching and thinning of the folds, the
whole unit (called the vocal box) tilts slightly into the center
of your throat. All this is designed to occur automatically and
only needs your decision to sing different notes to trigger it.
This is one of the beauties of the voice as an instrument. One of
the main aspects of voice training, as I see it, is learning to
get out of the road of your vocal apparatus, permitting it to
work for you.

Your vocal folds are designed to be the vibrators and creators of
your vocal sound, not air stream regulators. If you force breath
out, it will usually be too much. This usually results in the
muscles of your vocal folds tensing as they resist the excessive
pressure created by the inordinate air stream. The surrounding
area of your throat would become tighter and smaller. The
necessary ease of inner movement then disappears as the vocal box
is "locked" in place. And the winner? Register break.

Your Breathing
When you breathe in, the air goes into your lungs, but where
exactly are your lungs? Everyone knows they are inside the rib
cage, with the common misconception that the lungs are in the
chest filling the front of your rib cage. There is a small
portion of each of your two lungs in the upper section of your
chest with the majority of each sac extending from inside your
shoulders down to about two inches above your waist. Is this
starting to change the way you think about breathing yet? The
largest part of your lungs are in your back! 
This article is continued at: -
and for the first in the series, you can visit:


Author of The Contemporary Vocalist, Jeannie Deva is a versatile
vocalist, master voice teacher, recording session vocal
coach/producer and columnist. With a vocal range of over four
octaves, she combines styles from R&B, Gospel, Jazz, Blues, Rock,
Classical-Pop and Celtic. For over three decades she has
headlined concerts in the US, Europe and South America.

Founder of The Deva Method®, A Non-Classical Approach for
SingersTM and Jeannie Deva® Voice Studios, Jeannie trains and
certifies teachers in her method. With a BA in Composition and
Arranging from Berklee College of Music, Deva helped launch their
vocal department in the mid '70's. She has coached tens of
thousands of singers around the world including recording artists
on many major and indie labels. Clients include Grammy Award
Winners, Nominees and celebrated singer-songwriters such as
Harriet Schock, Patty Griffin and Dar Williams.

Jeannie Deva's private voice studio is located in Los Angeles.
Her popular voice instruction books and CDs sell around the

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    " O N   S I T E "   F E A T U R E D   A R T I C L E :

Ouch! It hurts when I play (but don't you dare tell me to stop!)
by Linda Dessau

This article takes a look at musicians' injuries. For an expert
perspective, I interviewed Dr. Sarah Mickeler, B.Mus., D.C. Dr.
Mickeler is a former professional musician and a chiropractor who
concentrates on musicians' injuries in her practice. She can be
reached via her website at 


Jerry Flattum has two more articles in his series on 'What Is A
Broadcast Quality Recording?' available:
Part 4: Myth of the Piano or Guitar/Vocal Demo Revisited
and Part 5: Mastering Basics

You can see all of the articles in this series on Jerry's Bridge
On Fire column at

There's more to come!
================================================================= C l a s s i f i e d s & U s e f u l S e r v i c e s : ----------------------------------------------------------------- ATTENTION MUSIC EDUCATORS - CLASSROOM AND PRIVATE Have you had it with boring, ineffective lesson plans? Is it tough to find the time to create interesting curricula while balancing out the needs of all your students? Are your concerts putting your audiences to sleep? Don't miss this opportunity to obtain a free catalog of new and innovative arrangements, lesson plans, activities and drills designed to inspire your students to achieve greatness. Please email your mailing address if you would like to receive this information: ----------------------------------------------------------------- HEY SONGWRITERS: RING IN THE NEW YEAR WITH LYRICST Software V3 Pop Quiz: You have 5 minutes to complete: Locate every song's lead sheet you ever wrote, their genre, and album. What's the fingering for a G#sus4 chord at the ninth fret? Transpose your most current song from the key of G to F# and then into a Nashville Number Chart. Ooops, also transpose the chart from guitar style chords to piano. Now copyright the song from where you're sitting without removing your hands from your mouse or keyboard. Your time is up! You know what you need? LYRICIST! It's the songwriter's best friend. Includes Rhyming Dictionary, Album Categorization, Chord Charting, On-Line Copyright, and more. Check out the review at . Muse's Muse visitors can take home the product for $5.00 off the regular $49.95 USD selling price. For more information, visit the review url above or call Virtual Studio Systems at 888.732.1176 inside the U.S.A. and Canada or 603.726.4499 everywhere else. ----------------------------------------------------------------- BUILD A BUZZ AT INDIE-MUSIC.COM FOR ONLY $5/MONTH is giving new annual Members free software worth $69.95 (Lyricist/TrackNotes), t-shirts, and new benefits designed to increase exposure to your music. Includes multimedia features, charts, internet radio, and free advertising on the I-M website (2 million+ hits per month). All in addition to our famous original DIY features - no extra charge! There's never been a better time to join I-M! ----------------------------------------------------------------- THE 6th EDITION OF THE INDIE BIBLE IS NOW AVAILABLE! The Indie Bible shows you where to get your music reviewed, your songs played, and your CDs sold. Now in its Sixth Edition, The Indie Bible has 316 pages of valuable contacts and music-related articles. The 6th Edition of the Indie Bible contains: 4200 publications from around the world that will REVIEW your CD! 3400 radio stations from around the world will PLAY your songs! 600 vendors and services that will help you to SELL your music! 330 sites where you can UPLOAD your band's MP3 files! 500 helpful resources and sites where you can PROMOTE your band! 51 articles that will help your career to MOVE forward rapidly! Listings include web, e-mail and physical address, as well as phone and fax numbers. For details and to order online visit: ----------------------------------------------------------------- DOES THIS SOUND FAMILIAR TO YOU? You wanted to become a musician/songwriter and earn a living from music because it's CREATIVE and EXCITING. Yet here you are struggling with your CD burner, hunting through A&R directories, searching for stamps, etc ... Wouldn't life be easier if you could spend your precious creative time writing music rather than envelopes ?! Let The Music Broker Network take care of pitching & promoting your songs to Labels, Publishers, Film & TV: via both post & email. We leave you to what you do best: be creative. 10% DISCOUNT to Muse's Muse members: simply enter a discount code of MUSE when you checkout: ----------------------------------------------------------------- REAL ANSWERS TO REAL QUESTIONS, An eBook About Copyright & Publishing If you want to know how to protect yourself as a songwriter in this digital age, you need this book - EXCLUSIVELY offered through The Muse's Muse. And it's now HALF PRICE! Visit to learn more! ----------------------------------------------------------------- REACH NEW FANS ON MEDIAFEAST Looking to reach new fans? MediaFeast is an online independent music retailer dedicated to helping independent artists bring new music to fans and helping listeners find great new music. Create a free account and then have the opportunity to add albums for sale on In addition to prepackaged albums such as those sold at traditional retailers, MediaFeast offers the sale of one-off albums that are produced to order using a master artist disc and associated artwork. Artists set the selling prices for all of their albums and receive all profits above the base cost. Sign up through this ad and receive four free Pure Profit sales, where you will keep 100% of the selling price! Visit for details. ================================================================= ADVERTISING RATES: For Classifieds: US$50 Max. 8 lines, where a line = 65 characters including spaces and punctuation. All contracts must be prepaid. Write to: For Newsletter Sponsorship rates and other advertising opportunities, please see . Back to Menu
================================================================= C o n t a c t I n f o & C r e d i t s : ----------------------------------------------------------------- Jodi Krangle ............................................. EDITOR Kathryn Obenshain ...........................GRACIOUS PROOFREADER ----------------------------------------------------------------- The Muse's News is a free monthly newsletter for and about songwriters. Subscribers are welcome to recirculate or reprint The Muse's News for nonprofit use as long as the appropriate credit is given and the ENTIRE text of the newsletter is included (including credits and information at the end of each issue). Others should contact me at All articles copyrighted by their authors. Back issues and other information will be available at: The Muse's News is part of The Muse's Muse, a web resource for songwriters: For further information, send your e-mail to: ----------------------------------------------------------------- - How to place a classified ad, pass on market information or sponsor The Muse's News. - How to subscribe, unsubscribe, etc. - To submit articles,reviews,ideas,etc. SNAILMAIL: Please contact me first at ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Back issues of the newsletter can be read at the National
Library of Canada ecollection: ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Back to Menu

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