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A performance rights organisation (PRO), also known as a performing rights society, provides intermediary functions, particularly collection of royalties, between copyright holders and parties who wish to use copyrighted works publicly in locations such as shopping and dining venues.
Society of Authors, Composers and Music Publishers in Israel (ACUM) (performance rights society, representing authors, poets, lyricists, composers, arrangers, and music publishers) Tali Rights, the Israeli Scriptwriters & Directors Collecting society
The American Society of Composers, Authors, and Publishers (ASCAP) (/ ˈ æ s k æ p /) is an American not-for-profit performance-rights organization (PRO) that collectively licenses the public performance rights of its members' musical works to venues, broadcasters, and digital streaming services (music stores). [2]
Broadcast Music, Inc. (BMI) is a performance rights organization in the United States. It collects blanket license fees from businesses that use music, entitling those businesses to play or sync any songs from BMI's repertoire of over 22.4 million musical works.
Music licensing is the licensed use of copyrighted music. [1] Music licensing is intended to ensure that the owners of copyrights on musical works are compensated for certain uses of their work. A purchaser has limited rights to use the work without a separate agreement.
SoundExchange is an American non-profit collective rights management organization spun off from the RIAA in 2003. It is the sole organization designated by the U.S. Congress to collect and distribute digital performance royalties for sound recordings.
the performing rights in dramatical works, for example when a theatre plays a work; the rights of reprographic reproduction of literary, visual and musical works, for example where a book or sheet music are copied using a photocopier; related rights, for example the rights of performers and producers in recorded music when used in broadcasts [2]
Once the synchronisation rights in the music have been licensed to the producers of the cinematograph film, the authors continue to own the remaining rights such as the public performance rights in the music and lyrics. These remaining rights too could be licensed away by the authors but the authors would be entitled to certain minimum royalties.