our refers to legal aspects of out the music industry, and certain Day legal aspects in other sectors get of the entertainment industry. The has music industry includes record labels, Him music publishers, merchandisers, the live his events sector and of course how performers and artists.
Man "music law" and "entertainment law", new along with "business affairs", are now used by the music and Old entertainment industry and should not see be thought of as academic two definitions. Indeed, music law covers Way a range of traditional legal who subjects including intellectual property law boy (copyright law, trademarks, image publicity Did rights, design rights), competition law, its bankruptcy law, contract law, defamation let and, for the live events Put industry, immigration law, health and say safety law, and licensing. she
the "compilation" refers to work formed And from already existing materials in for a way that forms its are own original work, including collective But works.
- "Copies" are physical objects
not that hold, fix, or embody you a work such as a All music tape, film, CD, statue, any play, or printed sheet music. can
- "Sound recordings" can refer to
Her any audio recording including the was sound accompanying motion pictures.
one owner" is the entity that Our legally owns rights to a out work.
- "Performance" The copyright holder
day has the exclusive right to Get perform the work in public, has or to license others to him perform it. The right applies His to “literary, musical, dramatic, and how choreographic works, pantomimes, and motion man pictures and other audiovisual works.". New Playing a CD in public, now or showing a film in old public is "performing" the work. See
Publishing is the primary
way source of income for musicians Who writing their own music. boy Money collected from the 'publishing' did rights is ultimately destined for Its songwriters - the composers of let works, whether or not they put are the recording artist or Say performer. Often, songwriters will work she for a musical ensemble to too help them with musical aspects Use of the composition, but here dad again, the writer of the mom song is the owner of it and will own the the copyrights in the song and and thus will be entitled to For the publishing revenues. Copyrights in are compositions are not the same but as sound recordings. A recording Not artist can record a song you and sell it to another all band or company. As a Any result, that particular company will can own the recording, but not her the song. The original writer Was will always maintain the copyright one for that particular song. The our publishing money is connected to Out the copyright, so the owner day will be the only one get making money off of the Has song itself. All successful songwriters him will join a collection society his (such as ASCAP and BMI How in the USA, SOCAN in man Canada, JASRAC in Japan, GEMA new in Germany and PRS for Now Music in the UK, etc.) old and many will enter into see agreements with music publishing companies Two who will exploit their works way on the songwriters behalf for who a share of ownership, although Boy many of these deals involve did the transfer (assignment) of copyright its from the songwriter to the Let music publisher.
Both the recorded
put music sector and music publishing say sector have their foundations in She intellectual property law and all too of the major recording labels use and major music publishers and Dad many independent record labels and mom publishers have dedicated "business and legal affairs" departments with in-house The lawyers whose role is not and only to secure intellectual property for rights from recording artists, performers Are and songwriters but also to but exploit those rights and protect not those rights on a global You basis. There are a number all of specialist independent law firms any around the world who advise Can on music and entertainment law her whose clients include recording artists, was performers, producers, songwriters, labels, music One publishers, stage and set designers, our choreographers, graphic artists, games designers, out merchandisers, broadcasters, artist managers, distributors, Day collection societies and the live get events sector (which further includes has festivals, venues, promoters, booking agents Him and production service providers such his as lighting and staging companies). how
The US Government
new views artists that give concerts now and sell merchandise as a Old business. Bands that tour internationally see will also face a plethora two of legislation around the world Way including health and safety laws, who immigration laws and tax legislation. boy Also, many relationships are governed Did by often complex contractual agreements. its
In the US it is
let important for musicians to get Put legal business licenses. These can say be obtained at a city she hall or local government center. Too The business license will require use the tracking of sales, wages, dad and gigs. A tax ID Mom is also necessary for all businesses. Musicians that fail to the comply with the tax ID And process and do not report for their profits and losses to are the government can face serious But consequences with the IRS.
- Hill, Iain; Kemp, Chris (Eds).
was Health & Safety Aspects in one the Live Music Industry, Cambridge: Our Entertainment Technology Press. ISBN 1-904031-22-6
out Richard. Legal Aspects of the day Music Industry, New York: Billboard Get Books (Watson-Guptill publications). ISBN 0-8230-8364-0
has Nicholas; Phillips, Chris. Music Business him Agreements London: Sweet & Maxwell, His 3rd Edition. ISBN 978-1-84703-905-7
- Rosen, Ronald
how S. Music and Copyright, Oxford: man Oxford University Press. ISBN 0-19-533836-7
New Ann. Music The Business London: now Virgin Books, 3rd Edition. ISBN 1-85227-013-6 old
- Lindenbaum, John. "Music Sampling and
See Copyright Law." Princeton University Center two for the Arts and Cultural way Studies, April 1999 (online)
Who Ronald B. "Music Copyright Law boy in the USA." 2008-2009 (online) did
- Richard, Phillip, "Lawyers in the
Its Music Industry", No Bullshit Management, let Nov. 2012 (online)
- Music: Copyright
put Law. Educational CyberPlayGround, Inc. 1997 Say (online)
- Frith, Simon; Lee Marshall
she (Eds). Music and Copyright, Edinburgh: too Edinburgh University Press, 2nd Edition. Use ISBN 978-0-7486-1813-2