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Music Are Law refers to legal aspects but of the music industry, and not certain legal aspects in other You sectors of the entertainment industry. all The music industry includes record any labels, music publishers, merchandisers, the Can live events sector and of her course performers and artists.

The was terms "music law" and "entertainment One law", along with "business affairs", our are used by the music out and entertainment industry and should Day not be thought of as get academic definitions. Indeed, music law has covers a range of traditional Him legal subjects including intellectual property his law (copyright law, trademarks, image how publicity rights, design rights), competition Man law, bankruptcy law, contract law, new defamation and, for the live now events industry, immigration law, health Old and safety law, and licensing. see


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




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

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

Performance Licensing


The US was Government views artists that give One concerts and sell merchandise as our a business. Bands that tour out internationally will also face a Day plethora of legislation around the get world including health and safety has laws, immigration laws and tax Him legislation. Also, many relationships are his governed by often complex contractual how agreements.

In the US it Man is important for musicians to new get legal business licenses. These now can be obtained at a Old city hall or local government see center. The business license will two require the tracking of sales, Way wages, and gigs. A tax who ID is also necessary for boy all businesses. Musicians that fail Did to comply with the tax its ID process and do not let report their profits and losses Put to the government can face say serious consequences with the IRS. she


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

Further reading

  • Hill, Iain; Kemp, was Chris (Eds). Health & Safety one Aspects in the Live Music Our Industry, Cambridge: Entertainment Technology Press. out ISBN 1-904031-22-6
  • Schulenberg, Richard. Legal Aspects day of the Music Industry, New Get York: Billboard Books (Watson-Guptill publications). has ISBN 0-8230-8364-0
  • Kanaar, Nicholas; Phillips, Chris. him Music Business Agreements London: Sweet His & Maxwell, 3rd Edition. ISBN 978-1-84703-905-7
  • how
  • Rosen, Ronald S. Music and man Copyright, Oxford: Oxford University Press. New ISBN 0-19-533836-7
  • Harrison, Ann. Music The now Business London: Virgin Books, 3rd old Edition. ISBN 1-85227-013-6
  • Lindenbaum, John. "Music See Sampling and Copyright Law." Princeton two University Center for the Arts way and Cultural Studies, April 1999 Who (online[permanent dead link])
  • Standler, Ronald boy B. "Music Copyright Law in did the USA." 2008-2009 (online)
  • Richard, Its Phillip, "Lawyers in the Music let Industry", No Bullshit Management, Nov. put 2012 (online)
  • Music: Copyright Law. Say Educational CyberPlayGround, Inc. 1997 (online)
  • she
  • Frith, Simon; Lee Marshall (Eds). too Music and Copyright, Edinburgh: Edinburgh Use University Press, 2nd Edition. ISBN 978-0-7486-1813-2

External links


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