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royalties and license fees assessed by CAPAC. While the issue was in the courts, both the stations and the clubs were enjoined from playing any CAPAC music unless they paid a percentage of their revenue to CAPAC. In 1955 the
Supreme Court ruled that radio stations could decide either to pay 1% of their revenue to CAPAC or refrain from using CAPAC music.
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In 1950 CPAC changed its method of assessment from logging individual performances to collecting a percentage of revenues. Over the next few years the organization came into conflict with the
Canadian Association of Broadcasters as well as a number of private supper clubs, who objected to paying the
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for the right to communicate with the public and publicly perform musical works. CAPAC administered these rights on behalf of its members (composers, lyricists, songwriters, and their publishers) and those of affiliated international organizations by licensing the use of their music in Canada.
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CAPAC developed a schedule under which broadcasters and cinema owners paid royalties for each playing of CAPAC music, while live music venues were required to purchase music performance licenses. Royalties were also collected when music was used in advertisements.
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65:(CPRS) in 1925. Its initial purpose was to administer the royalties of composers, lyricists and music publishers whose creations were performed in Canada, be they native Canadians or foreigners. The
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Royalties were paid to the music creators after administration costs were deducted to pay for the operation of CAPAC.
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Canada. Royal
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bought partial ownership of the CPRS in 1930. In 1945 CPRS became CAPAC through the
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By 1976 CAPAC had about 6,000 members and revenue of about $ 10 million.
367:. Vol. 47. Broadcasting Publications. October 1954. p. 93.
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Association des compositeurs, auteurs et éditeurs du Canada Ltée
317:. Nielsen Business Media, Inc. 10 January 1953. pp. 14–.
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Society of
Composers, Authors and Music Publishers of Canada
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Robert G. Howell; Linda
Vincent; Michael D. Manson (1999).
343:. Nielsen Business Media, Inc. 24 May 1952. pp. 17–.
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CAPAC was established as a subsidiary of Great
Britain's
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Composers, Authors and
Publishers Association of Canada
200:. Billboard Publications. September 1974. p. 91.
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American
Society of Composers, Authors and Publishers
239:. Billboard Publications. October 1950. p. 12.
479:This article about an organization in Canada is a
414:Nielsen Business Media, Inc. (6 November 1976).
170:. E. Cloutier, Queen's printer. pp. 96–97.
283:Intellectual property law: cases and materials
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364:Supreme Court Favors CAPAC in Copyright Fight
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403:. Radio Daily Corporation. 1956. p. 13.
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180:: CS1 maint: multiple names: authors list (
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87:In 1989 the organization merged with the
89:Performing Rights Organization of Canada
420:. Nielsen Business Media, Inc. p.
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311:"CAPAC Seen Winning Rate Fight vs CAB"
256:Louis Applebaum: A Passion for Culture
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140:List of copyright collection societies
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540:Music organizations based in Canada
483:. You can help Knowledge (XXG) by
63:Canadian Performing Rights Society
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253:Walter Pitman (1 October 2002).
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337:"CAPC and CAB reach agreement"
286:. E. Montgomery. p. 377.
233:"On New Canada Logging System"
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27:Canadian copyright collective
400:Radio Daily-television Daily
71:Supplementary Letters Patent
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216:The Canadian Encyclopedia
61:(PRS) under the name the
59:Performing Rights Society
259:. Dundurn. p. 217.
530:Canadian copyright law
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135:Copyright collective
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167:Report on copyright
448:has generic name (
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99:See also
211:"CAPAC"
53:History
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36:French
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