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