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A copyright collective is a non-governmental body created by copyright law or private agreement which licenses copyrighted works on behalf of the authors and engages in collective rights management. Copyright societies track all the events and venues where copyrighted works are used and ensure that the copyright holders listed with the society are remunerated for such usage. The copyright society publishes its own tariff scheme on its websites and collects a nominal administrative fee on every transaction.
PRS for Music Limited is a British music copyright collective, made up of two collection societies: the Mechanical-Copyright Protection Society (MCPS) and the Performing Right Society (PRS). It undertakes collective rights management for musical works on behalf of its 175,000 members. PRS for Music was formed in 1997 following the MCPS-PRS Alliance. In 2009, PRS and MCPS-PRS Alliance realigned their brands and became PRS for Music.
A royalty payment is a payment made by one party to another that owns a particular asset, for the right to ongoing use of that asset. Royalties are typically agreed upon as a percentage of gross or net revenues derived from the use of an asset or a fixed price per unit sold of an item of such, but there are also other modes and metrics of compensation. A royalty interest is the right to collect a stream of future royalty payments.
The Bureau International de l'Edition Mécanique (BIEM), also known as Bureau International des Sociétés Gérant les Droits d'Enregistrement et de Reproduction Mécanique, is an organisation coordinating statutory licence agreements among different countries. It administers mechanical rights, ensuring payment of royalties to the creators of musical, literary and dramatic work), which may be reproduced on a CD or DVD, or through digital means, such as downloads from the Internet. The members of mechanical rights societies are composers, authors and publishers.
The Mechanical-Copyright Protection Society (MCPS) is an organisation that collects royalties and protects rights for music publisher, song writer and composer members, when their music is reproduced, in any format – including online, physical and synchronised.
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).
Independent music is a broad style of music characterized by creative freedoms, low-budgets, and a do-it-yourself approach to music creation, which originated from the liberties afforded by independent record labels. Indie music describes a number of related styles, but generally describes guitar-oriented music straying away from mainstream conventions. There are a number of subgenres of independent music which combine its characteristics with other genres, such as indie pop, indie rock, indie folk, and indie electronic.
The music industry refers to the individuals and organizations that earn money by writing songs and musical compositions, creating and selling recorded music and sheet music, presenting concerts, as well as the organizations that aid, train, represent and supply music creators. Among the many individuals and organizations that operate in the industry are: the songwriters and composers who write songs and musical compositions; the singers, musicians, conductors, and bandleaders who perform the music; the record labels, music publishers, recording studios, music producers, audio engineers, retail and digital music stores, and performance rights organizations who create and sell recorded music and sheet music; and the booking agents, promoters, music venues, road crew, and audio engineers who help organize and sell concerts.
American singer Britney Spears has released nine studio albums, eight compilation albums, nine box sets, three extended plays (EPs), 50 singles, 11 promotional singles, two charity singles, and has made three guest appearances. In 1997, Spears signed a recording contract with American record label Jive Records in order to launch her career.
The Spanish Society of Authors and Publishers is the main collecting society for songwriters, composers and music publishers in Spain. It is similar to AGADU, ASCAP, GEMA, SADAIC, SACEM and SAYCO. The philologist, poet, composer, scriptwriter, movie and television director and producer Antón Reixa (1957) is the chairman of the Board of Directors since May 2012. SGAE was founded in 1889 as Society of Authors of Spain. In 1995, its name changed to Society of Authors and Publishers, seeking to accommodate cultural editors.
Phonographic Performance Limited (PPL) is a British music copyright collective. It is a private limited company that is registered in the UK. PPL was founded by Decca Records and EMI and incorporated on 12 May 1934, and undertakes collective rights management of sound recordings on behalf of its record-company members, and distributes the fees collected to both its record company members and performer members. As of 2022, PPL collected royalties for over 140,000 performers and recording rightsholders.
SNEP is the inter-professional organisation that protects the interests of the French record industry. Originally known under the acronym SNICOP, the organisation was established in 1922 and has 48 member companies.
SoundExchange is an American non-profit collective rights management organization spun off from the RIAA in 2003. It is the sole organization designated by the U.S. Congress to collect and distribute digital performance royalties for sound recordings.
The American hip hop group Black Eyed Peas has released nine studio albums, two compilation albums, one extended play, forty singles, eight promotional singles, thirty-eight music videos, and two video albums. Interscope Records released the band's debut album, Behind the Front, in the United States in June 1998. Although the album received a four-star review from AllMusic, it charted low on the Billboard 200 in the United States and on the French Albums Chart, at numbers 129 and 149 respectively. The band's second album, Bridging the Gap, was released in 2000 and peaked at number 67 in the US and reached its highest position in New Zealand, at number 18.
A music publisher is a type of publisher that specializes in distributing music. Music publishers originally published sheet music. When copyright became legally protected, music publishers started to play a role in the management of the intellectual property of composers.
The Irish Music Rights Organisation (IMRO) is a national organisation that administers the performing right in copyright music in Ireland on behalf of its members and on behalf of the songwriters, composers and music publishers of the international overseas societies that are affiliated to it. At present IMRO has approximately 11,000 songwriter, composer and music publisher members.
Hans Friedrich August Carste was a German composer and conductor. He arrived in Berlin in 1931 after working in Vienna and Breslau. He composed film music and as well as songs for the stage. Electrola offered him and his orchestra an exclusive recording contract and he recorded many high quality sides for them. Hans Carste joined the NSDAP in 1933.
Croatian Composers' Society is a professional organization of composers in Croatia.
Music royalties are royalty payments for the writing and performing of music. Unlike other forms of intellectual property, music has a strong linkage to individuals – composers (score), songwriters (lyrics) and writers of musical plays – in that they can own the exclusive copyright to created music and can license it for performance independent of corporates. Recording companies and the performing artists that create a "sound recording" of the music enjoy a separate set of copyrights and royalties from the sale of recordings and from their digital transmission.
References
- ↑ Richard James Burgess (2002). The Art of Music Production . Omnibus Press. pp. 149. ISBN 9780711990104.
- ↑ Nigel Parker (2004). "Contracts". Music Business. Sweet & Maxwell. p. 252. ISBN 9780421899308.
- ↑ "Q. Do I need to register with royalty collection agencies abroad as well as in the UK?". www.soundonsound.com. Retrieved 2023-05-01.
- ↑ "BIEM - FAQs". Bureau International de l'Edition Mecanique . Retrieved 2023-05-01.
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