Abbreviation | KOMCA |
---|---|
Formation | 1964 |
Type | Not-for-profit |
Headquarters | Seoul, South Korea |
Website | komca |
Korea Music Copyright Association | |
Hangul | 한국음악저작권협회 |
---|---|
Hanja | 韓國音樂著作權協會 |
Revised Romanization | Hanguk Eumak Jeojakgwon Hyeophoe |
McCune–Reischauer | Hankuk Ŭmak Chŏchakkwŏn Hyŏphoe |
The Korea Music Copyright Association (KOMCA) is a South Korean non-profit copyright collective for musical works,administering public performance and broadcasting rights,and mechanical recording and reproduction rights. Founded in 1964,it is the second collective rights management organization for musical works in Asia,after JASRAC in Japan. It is also one of the largest in Asia,with over 50,000 members. [1] [2] In 2023,it collected ₩ 407 billion (US$295 million) in licensing fees and distributed ₩389 billion (US$282 million) in royalties to its members. [2]
Copyright owners—including authors,composers,arrangers,and music publishers—can join KOMCA as associate members. Associate members who have "engaged in substantial musical creation" are promoted to full members by the board of directors. These members can attend and vote at the annual general meeting and can be elected to the board of directors. The board consists of 21 members,elected to three-year terms of office. [1]
KOMCA was founded by members of the Korea Record Writers Association,a voluntary organization for songwriters. In December 1961,the Korea Entertainment Association was formed as a member of the Federation of Artistic and Cultural Organizations of Korea ,established by the government following the May 16 coup. The government then merged the Korea Record Writers Association into the new association's creative division. After the merger,members of the former Korea Record Writers Association felt their rights were not being protected and sought to establish a copyright management organization under the Copyright Act of 1957. KOMCA was founded in March 1964 and was approved by the Ministry of Education on June 19,1964. [3]
KOMCA became of member of the World Intellectual Property Organization (WIPO) in 1979 and joined CISAC as an associate member in 1987,becoming a full member in 1995. [4] [5] In 2004,KOMCA hosted the 44th CISAC World Congress in Seoul. [6] [7]
In December 2007,KOMCA signed a reciprocal representation agreement with the Japanese Society for Rights of Authors,Composers and Publishers (JASRAC),which allows "either society to administer (license,collect and distribute royalties) usage of the other society's repertoire in its own country on behalf of the other society". [8] [9] This was called a "milestone in Japan-Korean musical relations" because Japanese music had been completely banned in South Korea until 1999,and music with Japanese lyrics was not allowed until 2004. [9] [10] [11] In 2012,Korean pop music earned ₩11 billion (US$10 million) in royalties from Japan,about ten percent of what was earned in South Korea that same year. In comparison,₩137 million (US$126,000) was earned in Hong Kong,₩130 million (US$120,000) in Taiwan,₩100 million (US$92,000) in Singapore,and ₩58 million (US$53,000) in the United States. [12]
In October 2014,the Ministry of Culture,Sports and Tourism (MCST) approved the establishment of a new copyright association,the Korean Society of Composers,Authors and Publishers (KOSCAP),in an attempt to "create competition and extend the rights of [music] creators". Before this,KOMCA had had a copyright management monopoly on music for fifty years. [13] The main difference between the two associations is KOSCAP's "selection system",which allows music creators to choose which rights the association will be entrusted with,including transmission,broadcasting and reproduction rights. In contrast,KOMCA members must entrust all their rights to KOMCA. [13]
In April 2015,MCST approved KOSCAP's new copyright royalty distribution system,which treats all types of music equally. Under KOMCA,licensing fees paid by broadcasting stations differ according to the type of music,so fees for using background music are much less than music with lyrics,like K-pop songs. This caused conflict between the two competing organizations,as they both felt the other's distribution system was unfair to songwriters. [14]
On December 4,2011,KOMCA held the inaugural Korea Music Copyright Awards at Olympic Hall in Seoul. The awards were created in recognition of individuals working behind the scenes (composers,editors,lyricists etc.) in the music industry. Songwriter Cho Young-soo was the first to be awarded the grand prize for earning the most royalties. Pop genre awards (ballad,dance,rock,hip-hop,and trot) were also given out,as well as awards for Korean classical music and children's songs. [15] Pdogg,long-time producer and composer for boy group BTS,is the most awarded songwriter in this category,having won the grand prize for five consecutive years between 2019 and 2023. [16] Bumzu won the grand prize in 2024,largely for his work with Seventeen. [17]
A performance rights organisation (PRO),also known as a performing rights society,provides intermediary functions,particularly collection of royalties,between copyright holders and parties who wish to use copyrighted works publicly in locations such as shopping and dining venues. Legal consumer purchase of works,such as buying CDs from a music store,confer private performance rights. PROs usually only collect royalties when use of a work is incidental to an organisation's purpose. Royalties for works essential to an organisation's purpose,such as theaters and radio,are usually negotiated directly with the rights holder. The interest of the organisations varies:many have the sole focus of musical works,while others may also encompass works and authors for audiovisual,drama,literature,or the visual arts.
APRA AMCOS consists of Australasian Performing Right Association (APRA) and Australasian Mechanical Copyright Owners Society (AMCOS),both copyright management organisations or copyright collectives which jointly represent over 100,000 songwriters,composers and music publishers in Australia and New Zealand. The two organisations work together to license public performances and administer performance,communication and reproduction rights on behalf of their members,who are creators of musical works,aiming to ensure fair payments to members and to defend their rights under the Australian Copyright Act (1968).
The International Confederation of Societies of Authors and Composers is an international non-governmental,not-for-profit organisation that aims to protect the rights and promote the interests of creators worldwide. It advocates for strong legal protection of copyright and authors' rights. It is the world's largest international network of authors' societies,also known as collective management organisations (CMOs),copyright / royalty collection societies,collecting societies,or performance rights organisations (PROs).
The Japanese Society for Rights of Authors,Composers and Publishers,often referred to as JASRAC,is a Japanese copyright collection society. It was founded in 1939 as a nonprofit organization,and is the largest musical copyright administration society in Japan.
"No. 1" is a song by South Korean recording artist BoA. It was released on April 12,2002,for her second studio album of the same name (2002) through SM Entertainment. In Japan,the song was released as a double A-side CD single with the track "Kiseki" on September 19,2002,via Avex Trax. The single,titled "Kiseki / No. 1",was included in her second Japanese studio album Valenti (2003). "No. 1" was written by Kim Young-ah,while production was handled by Sigurd Røsnes and Ahn Ik-soo.
Teosto is a non-profit performance rights organization that collects royalties on behalf of songwriters and composers in Finland. Teosto is a member of the Confédération Internationale des Sociétés d'Auteurs et Compositeurs (CISAC). It represents 29 000 Finnish,and nearly three million foreign composers,songwriters,arrangers and publishers. The organization's clients are 29,000 music-using companies and communities.
The Southern African Music Rights Organisation (SAMRO),is a copyright asset management society. It was established by the South African Copyright Act,and aims to protect the intellectual property of music creators by licensing music users,collecting licence fees and distributing royalties to music creators. SAMRO represents more than 15,000 Southern African music composers,lyricists/authors and music publishers. The organisation administers performing rights.
Jung Jin-young,professionally known as Jinyoung,is a South Korean singer,songwriter,record producer,and actor. He was a member of boy group B1A4,being its former leader. He is currently managed by BB Entertainment. He has also gained recognition with the television series Love in the Moonlight (2016) and Police University (2021).
Hybe Co.,Ltd. is a South Korean multinational entertainment company established in 2005 by Bang Si-hyuk as Big Hit Entertainment Co.,Ltd. The company operates as a record label,talent agency,music production company,event management and concert production company,and music publishing house. It has multiple subsidiaries,including Big Hit Music,Belift Lab,Source Music,Pledis Entertainment,KOZ Entertainment,and ADOR,collectively known as Hybe Labels.
The Society of Authors,Composers and Music Publishers in Israel,known by the acronym ACUM,is a non-profit copyright collective which engages in collective rights management for authors,poets,lyricists,composers,arrangers,and music publishers in Israel. As a member of the International Confederation of Societies of Authors and Composers (CISAC),ACUM is affiliated with more than 100 similar rights organizations around the world,with which it engages in reciprocal royalty collection agreements. It also holds an annual prize ceremony which honors authors and musicians in many categories,including lifetime achievement.
Min Yoon-gi,known professionally by his stage names Suga and Agust D,is a South Korean rapper,songwriter and record producer. Under Big Hit Entertainment,he debuted as a member of the South Korean boy band BTS in 2013. His first solo mixtape,Agust D,was released in 2016 and re-released in 2018 to digital download and streaming platforms,reaching number three on Billboard's World Albums Chart. In 2020,he released his second solo mixtape,D-2;it peaked at number 11 on the US Billboard 200,number seven on the UK Albums Chart,and number two on Australia's ARIA Album Chart.
Bang Si-hyuk,known professionally as "Hitman" Bang,is a South Korean record producer,songwriter,and record executive. He founded the record label Big Hit Music and entertainment company Hybe Corporation both in 2005,and is chairman of the latter.
Kye Beom-ju,better known by the stage name Bumzu,is a South Korean singer,songwriter,and record producer. Bumzu is best known for writing and producing much of the discographies of boy bands NU'EST and Seventeen.
Kang Hyo-won,known professionally as Pdogg,is a South Korean record producer,and songwriter for Big Hit Music. He has produced and composed for artists such as 8Eight,Baek Ji-young,BTS,Jo Kwon,and Lim Jeong-hee,among others.