275:"One exception to the rule allows businesses of a certain size (stores under 2,000 square feet, restaurants or bars under 3,750 square feet) to play music from a radio, television, or similar household device without a license, provided there are fewer than six speakers (with limits on the placement of speakers), and customers aren't charged to listen. Other exceptions include educational and charitable functions... If your business falls into one of the categories listed above (size of business, number and placement of speakers, etc.) radio/TV] you may want to check out section 110(5) of the Copyright Act. As you likely won't need a license. But, before making a decision, check with a lawyer."
1141:
38:
266:
stations across the U.S., which rely entirely on student and listener support for funding and have difficulty affording the extra fees. Community
Orchestras, which mostly play classical works in the public domain, may occasionally play a work within copyright, but are forced to pay licenses to rights
279:
By discouraging performances in limited public arenas, again using the restaurant example, critics say PROs eliminate the free publicity such performances provide for a work thereby depressing media sales. Incidentally, lower media sales conflict with PROs, but disputes between the two parties are
207:(BMI) in 1939. Sociedad Puertorriqueña de Autores y Compositores de Musica (SPACEM) was founded in San Juan, Puerto Rico in 1953. SPACEM's name was changed to ACEMLA, or Asociacion de Compositoes y Editores de Musica and remains today PRO No. 76 in the CISAC's roster of performing rights societies.
1198:
of the United States
Constitution delegates the power to establish Copyright law in the United States, in recent years, a number of States have enacted transparency laws in respect to Performing Rights Societies. These generally force Performing Rights Societies to discloses the musical works they
154:
performance rights. PROs usually only collect royalties when use of a work is incidental to an organisation's purpose. Royalties for works essential to an organisation's purpose, such as theaters and radio, are usually negotiated directly with the rights holder. The interest of the organisations
1206:
Moreover, states with income taxes hope to withhold royalty income for "performances" inside those states rather than in the state where a composer/songwriter lives or the
Performing Rights Society is located. In practice, state income tax accounting is very difficult to regulate. Notable is
168:. A copyright collective is more general than a PRO as it is not limited to performances and includes reproduction rights organisations (RROs). RROs represent works distributed via mediums such as CD, audiocassette, or computer file rather than use of works in public settings.
270:
PROs are often criticised for stretching the definition of "public performance." Until relatively recently in the U.S., playing copyrighted music in restaurants did not involve legal issues if the media was legally purchased. PROs now demand royalties for such use.
622:
287:
companies – criticise the PROs for what they deem to be "mystical" formulas for deciding who gets what share of the total licensing revenue received. They also criticise PROs for slow or non-existent payments and excessive membership dues or service fees.
1199:
license. Because many establishments pay blanket license fees to
Performing Rights Societies but have little or no idea if the fees they pay actually secure the rights to perform musical works. This can result in unfair business practices called
172:
245:
for their use of copyrighted music in situations where the non-profit organisation was not earning money from the use. ASCAP, for example, was eventually forced in the face of public opinion to abandon its attempts to charge the
1203:. Many performing rights societies send representatives into businesses who attempt to disrupt or shut down a concert, claiming an insufficient or performing right license, and some states have banned this practice.
599:
710:
495:
362:
1151:
215:
Other than their primary purpose as an intermediary between rights holders and customers, PROs are highly active in legal arenas. PROs take alleged rights violators to
55:
280:
not known to occur since each type of organisation represents the interests of the same parties - rights owners - and are forced to work in common interest.
155:
varies: many have the sole focus of musical works, while others may also encompass works and authors for audiovisual, drama, literature, or the visual arts.
948:
657:
806:
420:
267:
societies on all concert revenues including concerts where all music is in the public domain, which is then distributed to songwriters of pop songs.
1465:
306:
192:
1460:
977:
302:
233:
The licensing services provided by a PRO arguably provide advantage to customers, who can simultaneously license all works the PRO represents.
102:
1347:
74:
1163:
1323:
230:
As a side benefit of tracking public performance of works for royalty collection, PROs publish statistics of publicly performed works.
81:
1181:
782:
121:
770:
1065:
830:
697:
524:
499:
372:
150:
in locations such as shopping and dining venues. Legal consumer purchase of works, such as buying CDs from a music store, confer
88:
1013:
693:
284:
758:
681:
59:
1371:
191:, founded in 1914 encompassing live performances. The rights for recorded or broadcast performance are administered by the
70:
511:
1025:
334:
204:
195:, founded in 1924. Italy introduced a performing rights society in 1882 and Germany in 1915. In the United States,
255:
902:
48:
1455:
1225:
188:
95:
1420:
242:
220:
247:
142:), also known as a performing rights society, provides intermediary functions, particularly collection of
1081:
1237:, Random House Digital, Inc., 1999. Cf. Chapter 13, "Performance, Performing, and Neighboring Rights".
349:
1425:
1217:
160:
1032:
224:
183:
The first performing rights society was established in France in 1851. In the United
Kingdom, the
184:
1395:
1207:
Colorado's law, which requires each
Performing Rights Society to disclose its entire catalog.
669:
607:
17:
746:
1195:
1122:
1093:
1089:
965:
878:
842:
227:. PROs lobby on behalf of rights holders, especially in discussions of legal royalty rates.
1110:
914:
890:
635:
1056:
552:
1449:
1200:
1072:
1061:
259:
943:
263:
623:
Gesellschaft für musikalische Aufführungs- und mechanische
Vervielfältigungsrechte
1232:
996:
956:
873:
849:
801:
794:
789:
37:
283:
Rights owners – especially independents and newcomers not represented by large
1258:
1297:
1117:
921:
741:
652:
428:
415:
403:
143:
146:, between copyright holders and parties who wish to use copyrighted works
1097:
1020:
931:
753:
532:
480:
322:
1105:
1044:
885:
854:
688:
664:
617:
582:
572:
562:
542:
460:
448:
438:
175:
headquartered in France, with 228 member societies in 119 countries.
1348:"Irving Azoff Launches 'Global Music Rights' To Take On ASCAP And BMI"
262:
for playing copyrighted music has also been criticised, especially by
1273:"Confédération Internationale des Sociétés d'Auteurs et Compositeurs"
1008:
984:
909:
897:
861:
825:
813:
765:
734:
705:
642:
630:
594:
587:
490:
470:
408:
366:
1324:"Ex-SESAC Board Member Launches New PRO for 'Digital-Era Creators'"
1085:
1077:
1049:
1001:
972:
961:
866:
777:
729:
717:
676:
519:
506:
453:
377:
343:
328:
251:
216:
200:
196:
1037:
989:
936:
837:
818:
722:
1134:
31:
389:
Most countries (that observe copyright) have the equivalent:
496:
Society of
Composers, Authors and Music Publishers of Canada
926:
Composers and
Authors Society of Singapore Ltd (COMPASS)
197:
The
American Society of Composers, Authors and Publishers
600:
Société des auteurs, compositeurs et éditeurs de musique
475:
ECAD (Escritório Central de Arrecadação e Distribuição)
1272:
1159:
187:
was the first to protect musical compositions with the
1234:
Legal aspects of the music industry: an insider's view
465:
Servicio Nacional de Propiedad Intellectual (SENAPI)
433:
Phonographic Performance Company of Australia (PPCA)
62:. Unsourced material may be challenged and removed.
201:Society of European Stage Authors & Composers
1100:, Global Music Rights (GMR), Pro Music Rights
783:Music Royalty Collection Society Nepal (MRCSN)
1148:The examples and perspective in this section
443:Autoren, Komponisten und Musikverleger (AKM)
8:
1396:"NCAC-MCSC-Music Copyright Society of China"
1166:, or create a new section, as appropriate.
949:Southern African Music Rights Organisation
1253:
1251:
1182:Learn how and when to remove this message
421:Australasian Performing Right Association
122:Learn how and when to remove this message
250:for singing campfire songs. ASCAP's and
27:Copyright collective for music royalties
1247:
682:The Indian Performing Right Society Ltd
307:Category:Copyright collection societies
241:PROs have been criticised for charging
193:Mechanical Copyright Protection Society
303:List of copyright collection societies
171:The global governing body for PROs is
512:Sociedad Chilena del Derecho de Autor
7:
1421:"Divided royalties enrage musicians"
60:adding citations to reliable sources
1296:Deceglie, Paul (23 February 1998).
158:In some countries PROs are called
25:
1131:State regulation and income taxes
71:"Performance rights organisation"
1139:
698:Phonographic Performance Ireland
525:Music Copyright Society of China
500:Re:Sound Music Licensing Company
373:Re:Sound Music Licensing Company
36:
1419:Yim Seung-hye (July 28, 2015).
694:Irish Music Rights Organisation
136:performance rights organisation
47:needs additional citations for
1466:Copyright collection societies
18:Performing rights organization
1:
1461:Music licensing organizations
1259:"CISAC Overview | CISAC"
199:(ASCAP) was founded in 1914;
166:copyright collecting agencies
1218:"The Returned Value of PROs"
1162:, discuss the issue on the
1482:
647:GEA-GRAMMO, ERATO-APOLLON
340:Global Music Rights (U.S.)
300:
256:non-commercial educational
219:, or in the U.S., to the
1226:Berklee College of Music
1073:United States of America
243:non-profit organisations
189:Performing Right Society
221:Copyright Royalty Board
1231:Schulenberg, Richard,
1222:Music Business Journal
277:
254:'s policy of charging
248:Girl Scouts of the USA
1216:Choquette, Frederic,
301:Further information:
273:
205:Broadcast Music, Inc.
161:copyright collectives
1426:Korea JoongAng Daily
1302:www.entrepreneur.com
1160:improve this section
1150:may not represent a
203:(SESAC) in 1930 and
56:improve this article
1033:Trinidad and Tobago
225:Library of Congress
185:Copyright Act 1842
1376:members.cisac.org
1192:
1191:
1184:
1128:
1127:
132:
131:
124:
106:
16:(Redirected from
1473:
1438:
1437:
1435:
1433:
1416:
1410:
1409:
1407:
1406:
1392:
1386:
1385:
1383:
1382:
1368:
1362:
1361:
1359:
1358:
1344:
1338:
1337:
1335:
1334:
1320:
1314:
1313:
1311:
1309:
1293:
1287:
1286:
1285:
1284:
1269:
1263:
1262:
1255:
1196:Copyright Clause
1187:
1180:
1176:
1173:
1167:
1143:
1142:
1135:
392:
391:
350:Pro Music Rights
127:
120:
116:
113:
107:
105:
64:
40:
32:
21:
1481:
1480:
1476:
1475:
1474:
1472:
1471:
1470:
1456:Music licensing
1446:
1445:
1442:
1441:
1431:
1429:
1418:
1417:
1413:
1404:
1402:
1394:
1393:
1389:
1380:
1378:
1370:
1369:
1365:
1356:
1354:
1346:
1345:
1341:
1332:
1330:
1322:
1321:
1317:
1307:
1305:
1295:
1294:
1290:
1282:
1280:
1277:Knowledge (XXG)
1271:
1270:
1266:
1257:
1256:
1249:
1244:
1213:
1211:Further reading
1188:
1177:
1171:
1168:
1157:
1144:
1140:
1133:
387:
359:
319:
314:
309:
299:
294:
239:
213:
181:
128:
117:
111:
108:
65:
63:
53:
41:
28:
23:
22:
15:
12:
11:
5:
1479:
1477:
1469:
1468:
1463:
1458:
1448:
1447:
1440:
1439:
1411:
1400:en.ncac.gov.cn
1387:
1363:
1339:
1315:
1304:. Entrepreneur
1288:
1264:
1246:
1245:
1243:
1240:
1239:
1238:
1229:
1212:
1209:
1190:
1189:
1154:of the subject
1152:worldwide view
1147:
1145:
1138:
1132:
1129:
1126:
1125:
1120:
1114:
1113:
1108:
1102:
1101:
1075:
1069:
1068:
1059:
1057:United Kingdom
1053:
1052:
1047:
1041:
1040:
1035:
1029:
1028:
1023:
1017:
1016:
1011:
1005:
1004:
999:
993:
992:
987:
981:
980:
975:
969:
968:
959:
953:
952:
946:
940:
939:
934:
928:
927:
924:
918:
917:
912:
906:
905:
900:
894:
893:
888:
882:
881:
876:
870:
869:
864:
858:
857:
852:
846:
845:
840:
834:
833:
828:
822:
821:
816:
810:
809:
804:
798:
797:
792:
786:
785:
780:
774:
773:
768:
762:
761:
756:
750:
749:
744:
738:
737:
732:
726:
725:
720:
714:
713:
708:
702:
701:
691:
685:
684:
679:
673:
672:
667:
661:
660:
655:
649:
648:
645:
639:
638:
633:
627:
626:
620:
614:
613:
610:
604:
603:
597:
591:
590:
585:
579:
578:
575:
569:
568:
565:
559:
558:
555:
553:Czech Republic
549:
548:
545:
539:
538:
537:SAYCO/ACINPRO
535:
529:
528:
522:
516:
515:
509:
503:
502:
493:
487:
486:
483:
477:
476:
473:
467:
466:
463:
457:
456:
451:
445:
444:
441:
435:
434:
431:
425:
424:
418:
412:
411:
406:
400:
399:
396:
386:
383:
382:
381:
375:
370:
358:
355:
354:
353:
347:
341:
338:
332:
326:
318:
315:
313:
310:
298:
295:
293:
290:
260:radio stations
238:
235:
212:
209:
180:
177:
130:
129:
44:
42:
35:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1478:
1467:
1464:
1462:
1459:
1457:
1454:
1453:
1451:
1444:
1428:
1427:
1422:
1415:
1412:
1401:
1397:
1391:
1388:
1377:
1373:
1367:
1364:
1353:
1349:
1343:
1340:
1329:
1325:
1319:
1316:
1303:
1299:
1292:
1289:
1278:
1274:
1268:
1265:
1260:
1254:
1252:
1248:
1241:
1236:
1235:
1230:
1227:
1223:
1219:
1215:
1214:
1210:
1208:
1204:
1202:
1197:
1194:Although the
1186:
1183:
1175:
1172:February 2020
1165:
1161:
1155:
1153:
1146:
1137:
1136:
1130:
1124:
1121:
1119:
1116:
1115:
1112:
1109:
1107:
1104:
1103:
1099:
1095:
1091:
1087:
1083:
1079:
1076:
1074:
1071:
1070:
1067:
1063:
1060:
1058:
1055:
1054:
1051:
1048:
1046:
1043:
1042:
1039:
1036:
1034:
1031:
1030:
1027:
1024:
1022:
1019:
1018:
1015:
1012:
1010:
1007:
1006:
1003:
1000:
998:
995:
994:
991:
988:
986:
983:
982:
979:
976:
974:
971:
970:
967:
963:
960:
958:
955:
954:
950:
947:
945:
942:
941:
938:
935:
933:
930:
929:
925:
923:
920:
919:
916:
913:
911:
908:
907:
904:
901:
899:
896:
895:
892:
889:
887:
884:
883:
880:
877:
875:
872:
871:
868:
865:
863:
860:
859:
856:
853:
851:
848:
847:
844:
841:
839:
836:
835:
832:
829:
827:
824:
823:
820:
817:
815:
812:
811:
808:
805:
803:
800:
799:
796:
793:
791:
788:
787:
784:
781:
779:
776:
775:
772:
769:
767:
764:
763:
760:
757:
755:
752:
751:
748:
745:
743:
740:
739:
736:
733:
731:
728:
727:
724:
721:
719:
716:
715:
712:
709:
707:
704:
703:
699:
695:
692:
690:
687:
686:
683:
680:
678:
675:
674:
671:
668:
666:
663:
662:
659:
656:
654:
651:
650:
646:
644:
641:
640:
637:
634:
632:
629:
628:
624:
621:
619:
616:
615:
611:
609:
606:
605:
601:
598:
596:
593:
592:
589:
586:
584:
581:
580:
576:
574:
571:
570:
566:
564:
561:
560:
556:
554:
551:
550:
546:
544:
541:
540:
536:
534:
531:
530:
526:
523:
521:
518:
517:
513:
510:
508:
505:
504:
501:
497:
494:
492:
489:
488:
484:
482:
479:
478:
474:
472:
469:
468:
464:
462:
459:
458:
455:
452:
450:
447:
446:
442:
440:
437:
436:
432:
430:
427:
426:
422:
419:
417:
414:
413:
410:
407:
405:
402:
401:
397:
394:
393:
390:
384:
379:
376:
374:
371:
368:
364:
361:
360:
356:
351:
348:
345:
342:
339:
336:
333:
330:
327:
324:
321:
320:
317:United States
316:
312:North America
311:
308:
304:
297:International
296:
292:Organisations
291:
289:
286:
281:
276:
272:
268:
265:
264:college radio
261:
257:
253:
249:
244:
236:
234:
231:
228:
226:
222:
218:
210:
208:
206:
202:
198:
194:
190:
186:
178:
176:
174:
169:
167:
163:
162:
156:
153:
149:
145:
141:
137:
126:
123:
115:
104:
101:
97:
94:
90:
87:
83:
80:
76:
73: –
72:
68:
67:Find sources:
61:
57:
51:
50:
45:This article
43:
39:
34:
33:
30:
19:
1443:
1430:. Retrieved
1424:
1414:
1403:. Retrieved
1399:
1390:
1379:. Retrieved
1375:
1366:
1355:. Retrieved
1351:
1342:
1331:. Retrieved
1327:
1318:
1306:. Retrieved
1301:
1298:"Cut It Out"
1291:
1281:, retrieved
1279:, 2019-07-08
1276:
1267:
1233:
1221:
1205:
1193:
1178:
1169:
1149:
944:South Africa
485:MUSICAUTHOR
388:
282:
278:
274:
269:
240:
232:
229:
214:
182:
170:
165:
159:
157:
151:
147:
139:
135:
133:
118:
112:January 2017
109:
99:
92:
85:
78:
66:
54:Please help
49:verification
46:
29:
997:Switzerland
957:South Korea
874:Puerto Rico
850:Philippines
802:New Zealand
790:Netherlands
1450:Categories
1405:2022-04-28
1381:2022-04-28
1357:2020-04-24
1352:All Access
1333:2020-02-04
1283:2020-03-11
1242:References
1228:, May 2011
285:publishing
237:Criticisms
211:Activities
82:newspapers
1328:Billboard
1164:talk page
1118:Venezuela
922:Singapore
742:Lithuania
653:Hong Kong
498:(SOCAN),
429:Australia
416:Australia
404:Argentina
398:Agencies
223:, of the
144:royalties
1432:June 30,
1308:12 March
1158:You may
1098:AllTrack
1021:Thailand
951:(SAMRO)
932:Slovakia
754:Malaysia
670:ARTISJUS
602:(SACEM)
533:Colombia
481:Bulgaria
395:Country
380:(Canada)
323:AllTrack
148:publicly
1372:"CISAC"
1201:tolling
1106:Uruguay
1045:Ukraine
886:Romania
855:FILSCAP
747:LATGA-A
689:Ireland
665:Hungary
625:(GEMA)
618:Germany
608:Georgia
583:Finland
573:Estonia
563:Denmark
543:Croatia
527:(MCSC)
461:Bolivia
449:Belgium
439:Austria
423:(APRA)
179:History
152:private
96:scholar
1123:SACVEN
1094:SPACEM
1090:ACEMLA
1009:Taiwan
985:Sweden
966:KOSCAP
910:Serbia
898:Russia
879:ACEMLA
862:Poland
843:APDAYC
826:Panama
814:Norway
766:Mexico
735:JASRAC
706:Israel
700:(PPI)
643:Greece
631:Greece
595:France
588:Teosto
514:(SCD)
491:Canada
471:Brazil
409:SADAIC
385:Others
367:Canada
357:Canada
352:(U.S.)
346:(U.S.)
337:(U.S.)
331:(U.S.)
325:(U.S.)
258:(NCE)
98:
91:
84:
77:
69:
1111:AGADU
1086:SESAC
1078:ASCAP
1050:UACRR
1002:SUISA
973:Spain
962:KOMCA
915:SOKOJ
867:ZAIKS
778:Nepal
730:Japan
718:Italy
677:India
567:KODA
520:China
507:Chile
454:SABAM
378:CMRRA
363:SOCAN
344:SESAC
329:ASCAP
252:SESAC
217:court
173:CISAC
103:JSTOR
89:books
1434:2016
1310:2013
1038:COTT
1014:MUST
990:STIM
978:SGAE
937:SOZA
891:UCMR
838:Peru
831:SPAC
819:TONO
807:APRA
795:BUMA
771:SACM
759:MACP
723:SIAE
711:ACUM
658:CASH
636:AEPI
612:SAS
577:EAU
557:OSA
547:HDS
305:and
75:news
1096:),
1082:BMI
1066:PPL
1062:PRS
1026:MCT
903:RAO
335:BMI
164:or
140:PRO
58:by
1452::
1423:.
1398:.
1374:.
1350:.
1326:.
1300:.
1275:,
1250:^
1224:,
1220:,
1088:,
1084:,
1080:,
1064:,
964:,
696:,
134:A
1436:.
1408:.
1384:.
1360:.
1336:.
1312:.
1261:.
1185:)
1179:(
1174:)
1170:(
1156:.
1092:(
369:)
365:(
138:(
125:)
119:(
114:)
110:(
100:·
93:·
86:·
79:·
52:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
