Publishing and Copyright - Part 1


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  • we are harmonised with the rest of Europe.
  • Adapting could mean sampling
  • Liquid – they need a container
  • Not necessarily SOLD
  • Publishing and Copyright - Part 1

    1. 1. Publishing and Copyright 02/20/11 Music Business and Management
    2. 2. Copyright <ul><li>Right granted to the creator(s) of original literary, dramatic musical and artistic works </li></ul><ul><li>prevent another person from exploiting those works without first gaining permission. </li></ul><ul><li>The first owner of copyright in a musical work is the original composer /author of the work, but it can be assigned to another (such as a music publisher) who then becomes the copyright owner. </li></ul>02/20/11 Music Business and Management
    3. 3. When does it begin? <ul><li>The work is in copyright as soon as it is ‘recorded in some fixed form’. Either written down or recorded on tape or video etc. </li></ul><ul><li>Note: if the music is created by an employee in the normal course of employment then the employer will be the first owner </li></ul>02/20/11 Music Business and Management
    4. 4. The Act <ul><li>Copyright, Designs and Patents Act 1988. </li></ul><ul><li>Copyright Lasts 70 years after the composers death. Then Public domain and no permission necessary, no royalties paid. (NB a particular arrangement may actually be copyright) </li></ul>02/20/11 Music Business and Management
    5. 5. The Clauses <ul><li>The copyright owner has the exclusive right to: </li></ul><ul><li>Copy the work </li></ul><ul><li>Issue copies of the work to the public </li></ul><ul><li>Perform the work in public </li></ul><ul><li>Broadcast the work or include it in a cable programme service </li></ul><ul><li>Make an adaptation of the work </li></ul>02/20/11 Music Business and Management
    6. 6. Clauses 2 <ul><li>The copyright owner also has Moral rights which prevent derogatory versions being made </li></ul><ul><li>Also has the Right of Paternity - the right to be known as the author or composer </li></ul><ul><li>These two rights are not re-assignable. </li></ul>02/20/11 Music Business and Management
    7. 7. 02/20/11 Music Business and Management
    8. 8. Recording Copyright <ul><li>There is a separate and distinct copyright in any Sound Recording (disc, CD or Film). </li></ul><ul><li>It lasts for 50 years after the release of the recording. </li></ul><ul><li>Permission for use of this must be sought direct from the copyright owner. </li></ul>02/20/11 Music Business and Management
    9. 9. Sampling? <ul><li>Sampling is counted as a form of Adaptation </li></ul><ul><li>permission has to be sought from the owners of the music and recording copyright. </li></ul><ul><li>Under the 1988 Act owner has the legal right to authorise or prevent others from copying, performing or adapting their copyright work. </li></ul>02/20/11 Music Business and Management
    10. 10. What this means. <ul><li>Songs are often described as ‘Liquid’ </li></ul><ul><li>Copyright gives the writer proper ownership. </li></ul><ul><li>Gives the songs a value </li></ul><ul><li>Songs can be Lent….. </li></ul><ul><li>Bought, sold or hired. </li></ul>02/20/11 Music Business and Management
    11. 11. The challenge <ul><li>The value and permission status of songs could be arranged individually </li></ul><ul><li>There are over 35,000 registered music writers in the UK </li></ul><ul><li>Over 3000 registered publishing companies </li></ul><ul><li>We need a practical way of dealing with this </li></ul>02/20/11 Music Business and Management
    12. 12. How is this organised? <ul><li>We have various collection agencies who organise, police and collect royalties due as a result song and music Copyrights. </li></ul>02/20/11 Music Business and Management
    13. 13. Collection Agencies <ul><li>Performing Right Society </li></ul><ul><li>P.R.S. </li></ul><ul><li>Perform the work in public </li></ul><ul><li>Broadcast the work or include it in a cable programme service </li></ul><ul><li>Issue ‘Blanket’ licences to all music playing venues </li></ul>02/20/11 Music Business and Management
    14. 14. Examples <ul><li>TV & Cable broadcasters </li></ul><ul><li>Radio Broadcasters </li></ul><ul><li>Live Venues </li></ul><ul><li>Clubs </li></ul><ul><li>Pubs </li></ul><ul><li>Restaurants </li></ul><ul><li>Shops </li></ul><ul><li>Airline companies…………. </li></ul>02/20/11 Music Business and Management
    15. 15. Logging <ul><li>Radio plays are ‘Logged’ </li></ul><ul><li>High profile stations are logged daily - smaller stations less so. Could be once per month. </li></ul><ul><li>Only ‘significant’ venues are logged </li></ul><ul><li>Constantly working on new methods to improve accuracy of information </li></ul>02/20/11 Music Business and Management
    16. 16. Collection Agencies 2 <ul><li>Mechanical Copyright Protection Society </li></ul><ul><li>M.C.P.S. </li></ul><ul><li>Issue copies of the work to the public </li></ul><ul><li>Make an adaptation of the work </li></ul><ul><li>Issue licences to Record labels </li></ul>02/20/11 Music Business and Management
    17. 17. Collection Agencies 2 <ul><li>Licence based on number of records pressed </li></ul><ul><li>Current rate – 8.5% PPD </li></ul><ul><li>25% of first pressing allowed to be Mechanical royalty free. </li></ul><ul><li>Individuals writing & releasing themselves can get exemption </li></ul><ul><li>NO ONE ELSE CAN </li></ul>02/20/11 Music Business and Management