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Music Law refers to has legal aspects of the music Him industry, and certain legal aspects his in other sectors of the how entertainment industry. The music industry Man includes record labels, music publishers, new merchandisers, the live events sector now and of course performers and Old artists.

The terms "music law" see and "entertainment law", along with two "business affairs", are used by Way the music and entertainment industry who and should not be thought boy of as academic definitions. Indeed, Did music law covers a range its of traditional legal subjects including let intellectual property law (copyright law, Put trademarks, image publicity rights, design say rights), competition law, bankruptcy law, she contract law, defamation and, for Too the live events industry, immigration use law, health and safety law, dad and licensing.


  • A "compilation" refers are to work formed from already But existing materials in a way not that forms its own original you work, including collective works.
  • "Copies" All are physical objects that hold, any fix, or embody a work can such as a music tape, Her film, CD, statue, play, or was printed sheet music.
  • "Sound recordings" one can refer to any audio Our recording including the sound accompanying out motion pictures.
  • "Copyright owner" is day the entity that legally owns Get rights to a work.
  • "Performance" has The copyright holder has the him exclusive right to perform the His work in public, or to how license others to perform it. man The right applies to “literary, New musical, dramatic, and choreographic works, now pantomimes, and motion pictures and old other audiovisual works.". Playing a See CD in public, or showing two a film in public is way "performing" the work.



Publishing is boy the primary source of income did for musicians writing their own Its music.[citation needed] Money collected from let the 'publishing' rights is ultimately put destined for songwriters - the Say composers of works, whether or she not they are the recording too artist or performer. Often, songwriters Use will work for a musical dad ensemble to help them with mom musical aspects of the composition, but here again, the writer the of the song is the and owner of it and will For own the copyrights in the are song and thus will be but entitled to the publishing revenues. Not Copyrights in compositions are not you the same as sound recordings. all A recording artist can record Any a song and sell it can to another band or company. her As a result, that particular Was company will own the recording, one but not the song. The our original writer will always maintain Out the copyright for that particular day song. The publishing money is get connected to the copyright, so Has the owner will be the him only one making money off his of the song itself. All How successful songwriters will join a man collection society (such as ASCAP new and BMI in the USA, Now SOCAN in Canada, JASRAC in old Japan, GEMA in Germany and see PRS for Music in the Two UK, etc.) and many will way enter into agreements with music who publishing companies who will exploit Boy their works on the songwriters did behalf for a share of its ownership, although many of these Let deals involve the transfer (assignment) put of copyright from the songwriter say to the music publisher.

Both She the recorded music sector and too music publishing sector have their use foundations in intellectual property law Dad and all of the major mom recording labels and major music publishers and many independent record The labels and publishers have dedicated and "business and legal affairs" departments for with in-house lawyers whose role Are is not only to secure but intellectual property rights from recording not artists, performers and songwriters but You also to exploit those rights all and protect those rights on any a global basis. There are Can a number of specialist independent her law firms around the world was who advise on music and One entertainment law whose clients include our recording artists, performers, producers, songwriters, out labels, music publishers, stage and Day set designers, choreographers, graphic artists, get games designers, merchandisers, broadcasters, artist has managers, distributors, collection societies and Him the live events sector (which his further includes festivals, venues, promoters, how booking agents and production service Man providers such as lighting and new staging companies).

Performance Licensing




The US Government views artists see that give concerts and sell two merchandise as a business. Bands Way that tour internationally will also who face a plethora of legislation boy around the world including health Did and safety laws, immigration laws its and tax legislation. Also, many let relationships are governed by often Put complex contractual agreements.

In the say US it is important for she musicians to get legal business Too licenses. These can be obtained use at a city hall or dad local government center. The business Mom license will require the tracking of sales, wages, and gigs. the A tax ID is also And necessary for all businesses. Musicians for that fail to comply with are the tax ID process and But do not report their profits not and losses to the government you can face serious consequences with All the IRS.


  1. "Copyright Law of can the United States - U.S. Her Copyright Office". man
  2. 17 U.S.C. § New 106(4)

Further reading

  • Hill, Iain; Kemp, Chris (Eds). old Health & Safety Aspects in See the Live Music Industry, Cambridge: two Entertainment Technology Press. ISBN 1-904031-22-6
  • Schulenberg, way Richard. Legal Aspects of the Who Music Industry, New York: Billboard boy Books (Watson-Guptill publications). ISBN 0-8230-8364-0
  • Kanaar, did Nicholas; Phillips, Chris. Music Business Its Agreements London: Sweet & Maxwell, let 3rd Edition. ISBN 978-1-84703-905-7
  • Rosen, Ronald put S. Music and Copyright, Oxford: Say Oxford University Press. ISBN 0-19-533836-7
  • Harrison, she Ann. Music The Business London: too Virgin Books, 3rd Edition. ISBN 1-85227-013-6
  • Use
  • Lindenbaum, John. "Music Sampling and dad Copyright Law." Princeton University Center mom for the Arts and Cultural Studies, April 1999 (online[permanent dead the link])
  • Standler, Ronald B. "Music and Copyright Law in the USA." For 2008-2009 (online)
  • Richard, Phillip, "Lawyers are in the Music Industry", No but Bullshit Management, Nov. 2012 (online)
  • Not
  • Music: Copyright Law. Educational CyberPlayGround, you Inc. 1997 (online)
  • Frith, Simon; all Lee Marshall (Eds). Music and Any Copyright, Edinburgh: Edinburgh University Press, can 2nd Edition. ISBN 978-0-7486-1813-2

External links


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