Dan Galen Hodges, Jr., D.b.a. And Eric M. Griffin, J.d. The Profession Of Publishing Music -

The book, totaling roughly 210 pages in its 2025 first edition, serves as a thorough guide covering the entire ecosystem of music publishing. Key topics explored include:

Dan Galen Hodges, Jr., D.B.A., is a renowned music publisher and entrepreneur. With a Doctor of Business Administration (D.B.A.) degree, Hodges brings a unique blend of business acumen and musical expertise to the industry. He has worked with numerous high-profile artists and has been instrumental in shaping the careers of many musicians. Hodges' experience in music publishing has equipped him with a deep understanding of the complex relationships between songwriters, publishers, and recording artists. His company, Dan Hodges Music, has become a respected player in the industry, with a portfolio of successful publications and collaborations. The book, totaling roughly 210 pages in its

Dan Galen Hodges, Jr. (d.b.a.) will tell you to incorporate yesterday. Eric M. Griffin (J.D.) will tell you to read the fine print three times. He has worked with numerous high-profile artists and

A veteran Nashville-based publisher, Dr. Hodges is an Associate Professor at Belmont University's Mike Curb College of Entertainment and Music Business. He is the founder of Dan Hodges Music, LLC (DHM), an independent publishing company that has placed hits on Gold and Platinum records, including "Good Directions" by Billy Currington and "Dibs" by Kelsea Ballerini. Hodges also holds leadership roles in music organizations, including serving as president of the Music and Entertainment Industry Educators Association (MEIEA) from 2025-2027. Dan Galen Hodges, Jr

Here is a crafted from that premise, designed for a publication like Billboard Pro , Music Business Worldwide , or Forbes .

Dan Galen Hodges, Jr., D.B.A., approaches the profession of music publishing as a sophisticated economic ecosystem. In the tradition of business administration, the focus is on sustainability, scalability, and strategic asset management. For Hodges, a music publishing company is not merely a custodian of songs; it is an investment firm dealing in intellectual property assets.

The profession, viewed through the Hodges lens, requires an understanding of global revenue streams. Where once a publisher collected royalties primarily from mechanical sales (CDs, cassettes) and public performance, the digital era has fragmented these streams into micro-licensing, synchronization fees, and streaming royalties. The D.B.A. perspective is crucial here: it applies corporate strategy to creative assets. This involves the valuation of catalogs—treating a songwriter’s discography as a portfolio akin to real estate or stocks.