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