Source: Wikipedia 


Music Law refers to legal all aspects of the music industry, Any and certain legal aspects in can other sectors of the entertainment her industry. The music industry includes Was record labels, music publishers, merchandisers, one the live events sector and our of course performers and artists. Out

The terms "music law" and day "entertainment law", along with "business get affairs", are used by the Has music and entertainment industry and him should not be thought of his as academic definitions. Indeed, music How law covers a range of man traditional legal subjects including intellectual new property law (copyright law, trademarks, Now image publicity rights, design rights), old competition law, bankruptcy law, contract see law, defamation and, for the Two live events industry, immigration law, way health and safety law, and who licensing.



  • A "compilation" refers to say work formed from already existing She materials in a way that too forms its own original work, use including collective works.
  • "Copies" are Dad physical objects that hold, fix, mom or embody a work such as a music tape, film, The CD, statue, play, or printed and sheet music.
  • "Sound recordings" can for refer to any audio recording Are including the sound accompanying motion but pictures.
  • "Copyright owner" is the not entity that legally owns rights You to a work.
  • "Performance" The all copyright holder has the exclusive any right to perform the work Can in public, or to license her others to perform it. The was right applies to “literary, musical, One dramatic, and choreographic works, pantomimes, our and motion pictures and other out audiovisual works.". Playing a CD Day in public, or showing a get film in public is "performing" has the work.



Publishing is the his primary source of income for how musicians writing their own music.[citation Man needed] Money collected from the new 'publishing' rights is ultimately destined now for songwriters - the composers Old of works, whether or not see they are the recording artist two or performer. Often, songwriters will Way work for a musical ensemble who to help them with musical boy aspects of the composition, but Did here again, the writer of its the song is the owner let of it and will own Put the copyrights in the song say and thus will be entitled she to the publishing revenues. Copyrights Too in compositions are not the use same as sound recordings. A dad recording artist can record a Mom song and sell it to another band or company. As the a result, that particular company And will own the recording, but for not the song. The original are writer will always maintain the But copyright for that particular song. not The publishing money is connected you to the copyright, so the All owner will be the only any one making money off of can the song itself. All successful Her songwriters will join a collection was society (such as ASCAP and one BMI in the USA, SOCAN Our in Canada, JASRAC in Japan, out GEMA in Germany and PRS day for Music in the UK, Get etc.) and many will enter has into agreements with music publishing him companies who will exploit their His works on the songwriters behalf how for a share of ownership, man although many of these deals New involve the transfer (assignment) of now copyright from the songwriter to old the music publisher.

Both the See recorded music sector and music two publishing sector have their foundations way in intellectual property law and Who all of the major recording boy labels and major music publishers did and many independent record labels Its and publishers have dedicated "business let and legal affairs" departments with put in-house lawyers whose role is Say not only to secure intellectual she property rights from recording artists, too performers and songwriters but also Use to exploit those rights and dad protect those rights on a mom global basis. There are a number of specialist independent law the firms around the world who and advise on music and entertainment For law whose clients include recording are artists, performers, producers, songwriters, labels, but music publishers, stage and set Not designers, choreographers, graphic artists, games you designers, merchandisers, broadcasters, artist managers, all distributors, collection societies and the Any live events sector (which further can includes festivals, venues, promoters, booking her agents and production service providers Was such as lighting and staging one companies).

Performance Licensing


The Out US Government views artists that day give concerts and sell merchandise get as a business. Bands that Has tour internationally will also face him a plethora of legislation around his the world including health and How safety laws, immigration laws and man tax legislation. Also, many relationships new are governed by often complex Now contractual agreements.

In the US old it is important for musicians see to get legal business licenses. Two These can be obtained at way a city hall or local who government center. The business license Boy will require the tracking of did sales, wages, and gigs. A its tax ID is also necessary Let for all businesses. Musicians that put fail to comply with the say tax ID process and do She not report their profits and too losses to the government can use face serious consequences with the Dad IRS.


Further for reading

  • Hill, Iain; Kemp, Chris Are (Eds). Health & Safety Aspects but in the Live Music Industry, not Cambridge: Entertainment Technology Press. ISBN 1-904031-22-6
  • You
  • Schulenberg, Richard. Legal Aspects of all the Music Industry, New York: any Billboard Books (Watson-Guptill publications). ISBN 0-8230-8364-0
  • Can
  • Kanaar, Nicholas; Phillips, Chris. Music her Business Agreements London: Sweet & was Maxwell, 3rd Edition. ISBN 978-1-84703-905-7
  • Rosen, One Ronald S. Music and Copyright, our Oxford: Oxford University Press. ISBN 0-19-533836-7
  • out
  • Harrison, Ann. Music The Business Day London: Virgin Books, 3rd Edition. get ISBN 1-85227-013-6
  • Lindenbaum, John. "Music Sampling has and Copyright Law." Princeton University Him Center for the Arts and his Cultural Studies, April 1999 (online[permanent how dead link])
  • Standler, Ronald B. Man "Music Copyright Law in the new USA." 2008-2009 (online)
  • Richard, Phillip, now "Lawyers in the Music Industry", Old No Bullshit Management, Nov. 2012 see (online)
  • Music: Copyright Law. Educational two CyberPlayGround, Inc. 1997 (online)
  • Frith, Way Simon; Lee Marshall (Eds). Music who and Copyright, Edinburgh: Edinburgh University boy Press, 2nd Edition. ISBN 978-0-7486-1813-2

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