Glossary
Key terms and definitions in music publishing, licensing, and royalties.
Staatlich genehmigte Gesellschaft der Autoren, Komponisten und Musikverleger — the Austrian CMO responsible for collecting and distributing performing rights royalties. AKM has reciprocal agreements with CISAC member societies worldwide.
The combined Australian and New Zealand CMO formed by the merger of APRA (Australasian Performing Right Association) and AMCOS. It administers both performance and mechanical rights across Australasia and has a large international reciprocal network.
The American Society of Composers, Authors and Publishers — one of the three main US performing rights organizations (PROs). ASCAP collects public performance royalties on behalf of songwriters and publishers and distributes them based on usage data.
A revised or updated version of an original musical work, produced by reworking the melody, harmony, lyrics, or structure of the source composition. Adaptations are a form of derivative work and typically require authorization from the original copyright holder.
The full set of procedures involved in managing musical compositions on behalf of a rights holder. This includes registering works with collection societies, filing copyright registrations, issuing licenses, collecting royalties, resolving conflicts, and disbursing earnings to the appropriate parties.
A publishing arrangement where a third party (the administrator) handles registrations, licensing, and royalty collection on behalf of the copyright owner, typically in exchange for a percentage fee (commonly 10–25%). The writer retains full ownership of their copyrights.
A professional or company that manages the copyright and financial affairs of a song or catalog on behalf of the rights holder. An administrator's primary role is to protect copyrights, collect royalties, issue licenses, and ensure accurate payment — without necessarily acquiring an ownership interest in the works.
An upfront payment made by a publisher to a songwriter against future royalties. The writer does not receive further royalties until the advance is fully recouped — meaning the advance acts as a loan that must be earned back through royalty earnings.
The formal registration of a songwriter or publisher with a PRO or CMO. A songwriter must be affiliated with one PRO at a time in their home territory in order to collect performance royalties through that society.
A new version of an existing musical work that modifies the melody, harmony, or structure. Publishing an arrangement generally requires permission from the original copyright holder, and the arranger may be entitled to a share of royalties if the original publisher agrees.
A US federal law that permits consumers to make private, non-commercial copies of recorded music without infringing copyright. The act also imposed a levy on the sale of digital audio recording devices and blank media, with proceeds distributed to music recording and publishing rights holders.
The creator of an artistic, literary, musical, or dramatic work. In the context of music publishing, the author is typically the songwriter or composer who generates the original composition and holds the initial copyright.
Broadcast Music, Inc. — one of the three main US PROs. BMI collects and distributes performance royalties for songwriters, composers, and publishers. It is a non-profit organization competing with ASCAP and SESAC in the US market.
The Dutch CMO covering performance rights (BUMA) and mechanical rights (STEMRA). Now operating as Buma/Stemra, it is one of the major European societies with a broad international reciprocal network and active digital licensing operations.
Previously released recordings or compositions, typically more than three years old, that continue to generate royalties. Back catalogs are highly valued assets in publishing and often command premium acquisition multiples due to their proven, predictable revenue streams.
Royalties collected by CMOs that cannot be distributed because the rightful owner cannot be identified or located. After a statutory period, black box funds may be distributed among the society's members on a pro-rata basis or retained by the CMO.
A license granted by a PRO or CMO that allows a licensee (e.g. a radio station or streaming service) to use any work in the organization's entire catalog, in exchange for a single negotiated fee rather than clearing each song individually.
A mechanical royalty earned when music is broadcast on TV or radio, applicable in certain countries outside the US. These royalties are collected by local CMOs or MROs and paid to publishers and songwriters for the reproduction element of the broadcast.
The CISAC International System Network — a global database used by member CMOs to query, share, and reconcile work registrations, ownership splits, and rights data across societies worldwide.
The International Confederation of Societies of Authors and Composers — the international umbrella body for CMOs worldwide. CISAC sets standards for work registration (including CWR), administers CIS-Net, and promotes best practices in copyright management.
Collective Management Organization — an entity authorized to grant licenses and collect royalties on behalf of multiple rights holders. CMOs operate under national law and typically cover specific right types (performance, mechanical, or both). Examples include GEMA, SACEM, PRS, and SOCAN.
Common Works Registration — the CISAC-developed file format and protocol used by publishers and administrators to electronically register musical works with societies worldwide. CWR files contain structured transaction records (NWR, REV, EXC, etc.) describing ownership splits and territory.
The complete collection of musical works owned or administered by a publisher or songwriter. Catalogs are bought, sold, and licensed as assets, and their value is typically assessed as a multiple of their annual net publisher share (NPS).
The purchase of a music publishing catalog or a share thereof, typically by a publisher, investment fund, or streaming company. Acquisitions are valued using a multiple of the catalog's trailing twelve-month or average NPS, ranging from 10x to 30x+ depending on quality and growth trajectory.
A publishing contract in which a songwriter assigns a percentage of their copyright ownership to a publishing company in exchange for creative services, catalog promotion, and administration. The writer typically retains 50% of the publisher's share while the publisher receives the other 50%, plus full administration rights.
A hybrid arrangement in which a songwriter co-owns the copyright with a publisher. The writer typically retains 50% of the publisher's share (25% of the total pie), while the publisher administers the catalog and takes the other 50% of the publisher's share in exchange for services and possibly an advance.
Any person who contributes creatively to the writing of a musical composition — whether melody, lyrics, or both. Co-writers share the copyright in the composition and must agree on ownership splits, typically documented in a split sheet.
A term describing a situation in which the same individual or entity owns and controls both the composition copyright and the sound recording copyright for a piece of music. This is common among self-releasing independent artists who write and record their own material.
An umbrella term for any organization that administers, licenses, and collects royalties for copyrighted works on behalf of its members. Collection societies include PROs, CMOs, and MROs, and are typically funded by retaining a small administrative fee from the royalties they collect.
The percentage of royalties that a publishing administrator retains from gross collections before paying the remainder to their client. Commission is the primary — and often only — form of compensation for an administrator, and typically ranges from 10% to 25% depending on the deal.
A person who writes or co-writes the musical elements of a composition, often referring specifically to creators of classical music, orchestral works, film scores, or video game music. Composers hold copyright in their compositions and may register with a PRO or CMO to collect performance royalties.
A statutory license that allows anyone to record and release a cover version of a previously released song without obtaining prior permission, provided they pay the statutory mechanical rate and send the required notices to the copyright owner.
A clause in recording contracts that reduces the mechanical royalty rate payable by a label for songs written or co-written by the recording artist (the 'controlled compositions'), often set at 75% of the statutory rate or capped at a maximum number of tracks per album.
The exclusive legal right granted to a creator to control reproduction, distribution, public performance, and creation of derivative works from their original work. In music, there are two separate copyrights: the musical composition (melody + lyrics) and the sound recording (the specific recorded version).
The Copyright Act of 1976 is the foundational US federal statute governing copyright law. It establishes the rights of copyright holders, introduces the concept of fair use, sets copyright terms based on the author's life, and provides separate protections for musical compositions and sound recordings.
A formal record filed with a copyright office (such as the US Copyright Office) documenting a work's creation date, content, and ownership. While copyright exists automatically upon creation, registration provides legal standing to pursue infringement lawsuits and claim statutory damages.
A US body of three judges responsible for setting statutory royalty rates for compulsory mechanical licenses and certain digital performance rights. The CRB periodically determines rates for physical and download mechanicals (currently 9.1 cents per track or 1.75 cents per minute) and for streaming mechanical royalties.
The duration of copyright protection before a work enters the public domain. In most countries, compositions are protected for the life of the author plus 70 years. Sound recordings may have different (often shorter or jurisdictionally variable) terms.
A new performance or recording of a previously released song by someone other than the original artist. Releasing a cover requires obtaining a mechanical license from the publisher. The cover artist typically cannot change the lyrics or fundamental character of the song without permission.
A contractual mechanism by which unrecouped advances from one project or period are offset against royalties earned by another. For example, a loss on Album 1 must be recovered before royalties from Album 2 are paid out, effectively reducing the writer's cash flow.
In audiovisual production, a cue is a discrete piece of music used at a specific point in a film, TV show, or other production. Each cue is typically logged on the production's cue sheet with timing, usage type, and rights ownership details for royalty processing purposes.
A document produced by a film or TV production company listing every piece of music used in the production, including title, composer, publisher, ISWC, duration, and type of use (background, theme, featured, etc.). Cue sheets are submitted to PROs to enable accurate performance royalty distribution to rights holders.
Digital Service Provider — any platform that delivers music to consumers in digital form, including interactive streaming services (Spotify, Apple Music), download stores (iTunes), and non-interactive webcasters. DSPs are required to obtain mechanical and performance licenses and report usage data to rightsholders.
A new work based on or incorporating elements of a pre-existing copyrighted work, such as a sample, interpolation, translation, or arrangement. Creating a derivative work requires authorization from the original copyright holder (except in cases of fair use or statutory exemption).
A US federal law enacted in 1998 that updated copyright law for the digital age. The DMCA criminalizes circumvention of digital rights management (DRM) systems, establishes a safe harbor for online platforms hosting user content (subject to takedown procedures), and addresses music piracy in digital environments.
The digital download of a sound recording — for example, an iTunes or Bandcamp download. DPDs trigger a mechanical royalty obligation for the composition, payable to the publisher at the applicable statutory or negotiated rate. Each permanent digital download constitutes one DPD.
A set of technologies and legal frameworks used to control or restrict the use, copying, and distribution of digital content. In music, DRM may limit playback to authorized devices or prevent copying. DRM protections are legally reinforced by the DMCA, which prohibits circumvention of such measures.
A company that distributes music from independent artists and labels to digital service providers (DSPs) such as Spotify, Apple Music, and Amazon Music, often also collecting and forwarding mechanical royalties on behalf of the artist. Examples include DistroKid, TuneCore, and CD Baby.
The right to receive royalties when a sound recording is performed publicly via digital audio services such as internet radio and satellite radio. In the US, this right is distinct from the underlying composition right and is administered by SoundExchange for non-interactive streams.
European Article Number / Universal Product Code — the barcode-based product identifier used on physical music releases. The UPC (US) or EAN (international) appears on the product barcode and is used by distributors, retailers, and chart monitoring services to track sales.
A license granting one party sole rights to use a copyrighted work in a specified way, territory, or time period, to the exclusion of all others — including the copyright owner. As opposed to a non-exclusive license, which can be granted to multiple parties simultaneously.
In publishing, the act of commercially using a musical composition to generate revenue. Examples of exploiting a work include releasing a recording in physical or digital form, licensing a song for use in a TV show or film (sync), licensing to DSPs or radio stations, or selling sheet music.
The UK and Commonwealth equivalent of the US 'fair use' doctrine, permitting limited use of copyrighted material without authorization for specific purposes such as research, private study, criticism, review, or news reporting. Fair dealing is more narrowly defined than fair use.
A US doctrine that permits limited use of copyrighted material without authorization for purposes such as commentary, parody, education, or news reporting. Whether a specific use qualifies as fair use is determined on a case-by-case basis using a four-factor analysis.
The initial commercial release of a musical composition on a sound recording. Before first use, a copyright owner can refuse to license the composition to anyone. After first use, compulsory mechanical license provisions typically apply, allowing others to record cover versions.
A printed collection of sheet music, typically organized around an artist, genre, or theme. Folio rights are a subset of print rights and require separate licensing from performance and mechanical rights. Publishers frequently issue folios as supplemental revenue sources.
Gesellschaft für musikalische Aufführungs- und mechanische Vervielfältigungsrechte — the German CMO administering both performance and mechanical rights for musical works. GEMA is one of the largest and most influential CMOs in Europe, known for its robust licensing enforcement.
Rights covering the dramatic performance of musical works — i.e. operas, musicals, and ballets — where music is performed as part of a storyline with costumes or staging. Grand rights are not typically administered by PROs and must be licensed directly from the publisher or rightsholder.
Independent Management Entity — an EU concept under Directive 2014/26/EU allowing qualifying organizations to collect and distribute royalties for rights holders without being a full collective management organization. IMEs have fewer governance obligations than CMOs but must meet transparency requirements.
Interested Party Information — the unique 9- or 11-digit identifier assigned to each rights holder (songwriter, publisher, or other party) in the global CISAC database. IPI numbers are used across CMOs and CWR files to link rights holders to their works.
Indian Performing Right Society — the Indian CMO responsible for administering performing rights for musical and literary works. IPRS collects royalties for public performances and broadcasts in India and distributes them to its affiliated members.
International Standard Recording Code — a 12-character alphanumeric code that uniquely identifies a specific sound recording (master). ISRCs are embedded in digital files and metadata to enable accurate tracking of streams and broadcast performances, particularly for neighboring rights purposes.
International Standard Musical Work Code — an 11-character code uniquely identifying a musical composition (not the recording). ISWCs are assigned during CMO registration and are used to link the work across different societies' databases, helping resolve conflicts and match royalty payments.
Any party entitled to a share of royalties from a musical work, including songwriters, publishers, administrators, and co-publishers. Income participants are listed in CWR registrations and CMO databases with their respective ownership percentages and share types.
The unauthorized use of a copyrighted work without permission from the rights holder. In music, infringement can include reproducing, distributing, publicly performing, or creating a derivative work based on a composition or sound recording without a valid license. Infringement can result in legal action and financial damages.
Any original creation of the mind that has commercial value and is protected by law. In music, intellectual property includes musical compositions (protected by copyright), sound recordings, and associated trademarks (such as artist names or logos). IP rights can be owned, licensed, transferred, and monetized.
An on-demand streaming service that allows listeners to select the specific songs they want to hear — such as Spotify, Apple Music, or Tidal. Interactive streams generate both performance royalties (via PROs) and mechanical royalties (via the MLC in the US), distinguishing them from non-interactive radio-style streams.
Mechanical royalties earned from the use of a composition outside the United States. Unlike US statutory mechanicals which are calculated on a per-track cent rate, international mechanicals are typically calculated as a percentage of the published price to dealer (PPD) or wholesale price. These royalties are frequently uncollected by US-based songwriters without an international publisher or administrator.
The use of a melody or musical phrase from a pre-existing song in a new composition, without sampling the original recording — rather, re-recording the relevant portion. Interpolations require a license from the original publisher but do not require clearing the original master recording.
Japanese Society for Rights of Authors, Composers and Publishers — the primary Japanese CMO managing performance and mechanical rights. JASRAC is one of the most powerful CMOs in Asia, with strict licensing enforcement and broad domestic coverage.
A musical work created by two or more authors with the intention that their contributions be merged into a unified composition. In a joint work, all contributing authors are co-owners of the copyright, with equal undivided interests unless otherwise agreed in a split sheet or co-writer agreement.
The metadata associated with a sound recording as it appears on a physical or digital release — including track title, artist, composer, publisher, ISRC, and timings. Accurate label copy is essential for CMO matching and royalty attribution.
A basic musical notation document showing the melody, lyrics, and chord changes of a song — the minimum required to document and register a musical composition for copyright purposes. Lead sheets are commonly filed with copyright offices and PROs.
A formal notice sent by a publisher to a collection society instructing the society to recognize the publisher's administrative authority over a songwriter's catalog. An LOD establishes who receives the publisher's share of royalties and is a key document when onboarding a new catalog to a publishing administrator.
A legal agreement granting permission to a third party to use a copyrighted work for specific purposes, under defined conditions and for a limited period, without transferring ownership of the underlying copyright. Licenses in music include mechanical, performance, sync, master, print, and grand rights licenses.
The payment made by a licensee in exchange for the right to use a copyrighted work. License fees can be structured as a one-time upfront payment, an ongoing usage fee, or a percentage of revenue generated from the licensed work. For example, streaming services pay a share of their revenue as a license fee to publishers.
A fee paid by a visual media producer to use song lyrics in a print, subtitle, or on-screen context. Lyric rights are a subset of print/display rights and require clearance separate from sync and master licenses.
A contractual clause guaranteeing that one party will receive terms no less favorable than those offered to any other party in similar circumstances. In sync licensing, MFN clauses are common when two copyrights (composition and master) must be licensed together — neither can be licensed for less than the other.
Music Industry Licensing Technology — a digital services licensing platform operated by several European CMOs that provides mechanical licenses for interactive streaming and download services. MINT allows multi-territory licensing for digital platforms operating across member territories.
The Mechanical Licensing Collective — the US organization designated under the Music Modernization Act (2018) to administer blanket mechanical licenses for digital streaming and downloads, collect royalties from DSPs, and distribute them to publishers and self-administered songwriters.
The largest music publishing companies globally, typically affiliated with major record label conglomerates. The current major publishers include Universal Music Publishing Group (UMPG), Sony Music Publishing, Warner Chappell Music, and BMG Rights Management. Major publishers control vast catalogs and have extensive sub-publishing networks.
A license granted by the owner of a sound recording (usually a label or independent artist) to allow another party to use that specific recording. Required alongside a sync license when placing a song in visual media — the sync license covers the composition and the master license covers the recording.
The ownership rights in a specific sound recording, as distinct from the underlying musical composition. Master rights are typically held by record labels, though artists who self-release retain their own masters. Licensing masters generates master use fees and digital performance royalties.
A type of collection society that administers mechanical licenses and collects and distributes mechanical royalties to publishers and songwriters. In territories where a single CMO does not manage both performance and mechanical rights, an MRO operates separately from the PRO. The MLC serves this function in the US; in Germany, GEMA handles both.
Authorization to reproduce and distribute a copyrighted musical composition in a recorded format — whether as a physical release, digital download, or interactive stream. In the US, mechanical licenses for digital streaming are now administered by the MLC.
Revenue earned by a songwriter/publisher each time a musical composition is reproduced — on a CD, vinyl, digital download, or interactive stream. Mechanical royalties are paid by record labels and DSPs, either at a statutory rate or negotiated rate, directly to publishers or via licensing bodies like the MLC.
Structured information describing a musical work or recording — including title, ISWC/ISRC, songwriter names, publisher names, ownership splits, territory, and genre. Accurate metadata is fundamental to CMO matching and ensuring royalties flow to the correct rights holders.
Royalties generated when music is synchronized with user-created video content on platforms like YouTube or TikTok. Depending on the platform's licensing agreements with rights holders, micro-sync uses typically generate performance and/or mechanical royalties for the composition, as well as revenue shares for the recording owner.
Landmark US legislation passed in 2018 that reformed how mechanical royalties are collected and distributed in the digital environment. The MMA created the MLC, established a federal copyright for pre-1972 sound recordings, and updated royalty rate-setting procedures for songwriters.
The business of acquiring, protecting, administering, and commercially exploiting song copyrights, and collecting the royalties those copyrights generate. Music publishing ensures songwriters are compensated when their compositions are recorded, streamed, broadcast, performed live, or licensed for use in media.
A professional who selects and licenses music for film, TV, advertising, video games, and other visual media. Music supervisors work with studios, production companies, and ad agencies, negotiating sync and master licenses with publishers and labels on behalf of their clients.
The portion of total royalties that flows to the publisher after deducting the writer's share. NPS is the standard metric used to value music publishing catalogs — typically expressed as an annual figure and used as the base for applying a multiplier when buying or selling catalogs.
Rights related to the performance or broadcast of a sound recording, distinct from the underlying composition. Neighboring rights generate royalties for recording artists and record labels (not songwriters) when their recordings are played on broadcast radio or public venues. Commonly collected by PPL (UK) and GVL (Germany).
A license granting permission to use a copyrighted work without preventing the copyright owner from granting the same rights to others simultaneously. Most sync and mechanical licenses for non-exclusive placements are non-exclusive, allowing the publisher to license the same composition to multiple parties.
A streaming service where listeners cannot choose specific songs, similar to radio — such as Pandora or iHeart Radio. Non-interactive streams generate performance royalties for compositions (via PROs) and sound recording digital performance royalties (via SoundExchange), but do not trigger mechanical royalties.
A legal notice required under Section 115 of the US Copyright Act that must be sent to a copyright owner before recording and distributing a cover version of their composition under a compulsory mechanical license. NOIs must be filed within 30 days of distributing the recording and before distribution begins.
Phonographic Performance Limited — the UK CMO that collects and distributes neighboring rights royalties on behalf of record labels and performing artists when their recordings are played on radio, TV, or in public venues. PPL operates alongside PRS for Music, which covers the composition side.
Performing Rights Organization — a body that collects and distributes public performance royalties for the musical compositions in its repertoire. Major PROs include ASCAP, BMI, and SESAC (US), PRS for Music (UK), GEMA (Germany), SACEM (France), and SOCAN (Canada).
Performing Right Society for Music — the UK CMO that administers both performance and mechanical rights on behalf of its songwriter, composer, and publisher members. PRS licenses broadcasters, venues, and streaming services, and distributes royalties to members in the UK and via international reciprocal agreements.
The exclusive right of a copyright owner to authorize or prohibit the public performance of their musical composition — including broadcasts on radio and TV, live performances, streaming on non-interactive services, and playback in public venues. Performance rights are administered by PROs.
Revenue generated when a musical composition is publicly performed — on radio, TV, live venues, restaurants, streaming services, or any licensed public space. Collected by PROs (e.g. ASCAP, BMI, PRS) and distributed to registered songwriters and publishers.
Royalties that have been earned but not yet collected or distributed — currently 'in the pipeline' between collection societies, publishers, and songwriters. Pipeline can represent months or years of revenue depending on society reporting cycles and sub-publishing arrangements.
Rights to reproduce the musical notation or lyrics of a song in printed form — such as sheet music, songbooks, educational arrangements, or lyric sheets. Print rights require separate licensing from performance and mechanical rights and are often handled directly by publishers.
Royalties paid to publishers and songwriters when sheet music containing musical notation and/or lyrics is sold or licensed — whether in physical or digital format. Printed music royalties are typically paid directly to the publisher, who then remits the songwriter's share according to the applicable agreement.
Works that are no longer protected by copyright (or were never protected) and can be used freely without permission or payment. Compositions typically enter the public domain 70 years after the death of the last surviving author in most jurisdictions.
Any act of performing or transmitting a musical work to an audience beyond a small private circle — including broadcast on radio or TV, live concerts, digital streaming, playback in bars, restaurants, hotels, or retail spaces, and internet webcasting. Public performances require a license from the applicable PRO or CMO.
An entity that acquires, administers, and commercially exploits musical compositions on behalf of songwriters. Publishers register works, issue licenses, collect royalties, pitch songs for sync placements, and promote the catalog. In exchange, they retain a share of royalties (publisher's share).
Historically, 50% of the total royalties generated by a composition, with the other 50% going to the songwriter (writer's share). In practice, through co-publishing deals, songwriters may retain part of the publisher's share. The split varies by contract.
A company or individual that handles the licensing, registration, royalty collection, and accounting for a music catalog on behalf of the copyright owner, for a commission fee. Unlike a full publisher, a publishing administrator does not acquire ownership of the copyrights. Examples include Songtrust, Sentric, and CD Baby Pro.
A legally binding contract between a songwriter (or their representative) and a music publisher that defines the terms under which the publisher will administer and exploit the writer's compositions. Publishing agreements vary widely — from full copyright transfers to limited administration-only arrangements.
The process by which a publisher recoups an advance paid to a songwriter from the writer's royalty earnings. Until the advance is fully recouped, the writer receives no further royalty payments. Recoupment is typically calculated from the writer's share only, not the full royalty income.
Royalties that have been earned but not yet paid to the rightful copyright owner, often because works were not registered correctly or contact information for the songwriter was unavailable. If the owner cannot be located within the society's holding period, these royalties may be transferred to the black box for eventual redistribution.
A contractual provision in a publishing agreement that allows copyright ownership of specific works to revert to the songwriter after a defined period of time or upon the fulfillment of certain conditions — for example, if the publisher fails to commercially exploit the work within a specified timeframe.
The right of an author to reclaim ownership of a copyright after a specified period, even if it was previously assigned to a publisher. In the US, Section 203 of the Copyright Act allows creators to terminate grants of copyright 35 years after assignment under certain conditions.
A privately-owned, for-profit organization that provides mechanical licensing and royalty collection services, distinct from CMOs. Unlike CMOs, RAEs are not member-owned and do not require government authorization to operate. RAEs can selectively choose their clients. Music Reports (MRI) is a prominent US example.
Payments made to songwriters and publishers for the use of their musical compositions across various channels. Royalties in music publishing include mechanical royalties (for reproduction), performance royalties (for public performance), sync fees (for use in media), and print royalties (for sheet music). They can be paid per-use or under blanket license arrangements.
A periodic report issued by a publisher, label, distributor, or CMO to a rights holder detailing the royalties earned in a given period — typically broken down by source, territory, usage type, and amount. Royalty statements are typically issued quarterly or semi-annually.
Société d'Auteurs Belge / Belgische Auteurs Maatschappij — the Belgian CMO administering performance and mechanical rights. SABAM collects royalties for public performances, broadcasts, and reproductions in Belgium and distributes them to its affiliated members.
Société des Auteurs, Compositeurs et Éditeurs de Musique — the French CMO responsible for collecting and distributing performance and mechanical royalties for its members. SACEM is one of the largest CMOs in Europe and has reciprocal agreements with societies worldwide.
The third-largest US PRO (after ASCAP and BMI), notable for being a for-profit, invitation-only organization. SESAC licenses the public performance of its affiliate songwriters' compositions and distributes royalties. It is owned by SESAC Holdings Inc.
Sociedad General de Autores y Editores — the Spanish CMO responsible for collecting and distributing performance, mechanical, and other rights royalties. SGAE is one of the largest CMOs in the Spanish-speaking world and administers rights in Spain with reciprocal coverage internationally.
Società Italiana degli Autori ed Editori — the Italian CMO responsible for collecting and distributing royalties for literary, dramatic, musical, and audiovisual works. SIAE administers performance and mechanical rights in Italy and has reciprocal agreements with CISAC member societies.
Society of Composers, Authors and Music Publishers of Canada — the Canadian CMO that collects and distributes performance royalties for musical compositions. SOCAN also handles digital mechanical royalties through its Re:Sound and SODRAC affiliations.
Société pour le développement de la création musicale — a Canadian CMO specializing in mechanical rights, particularly for audiovisual works and reproductions. SODRAC merged with SOCAN's operations and now functions as part of the SOCAN group for broader rights management.
Svenska Tonsättares Internationella Musikbyrå — the Swedish CMO that collects and distributes performance and mechanical royalties for musical works used in Sweden. STIM is a member of CISAC and has extensive reciprocal agreements with international societies.
Schweizerische Gesellschaft für die Rechte der Urheber musikalischer Werke — the Swiss CMO that manages performance and mechanical rights for musical works in Switzerland and Liechtenstein. SUISA is a cooperative society owned by its member composers, lyricists, and publishers.
The process of obtaining permission to use a portion of an existing recording in a new work. Sample clearance involves licensing both the underlying composition (from the publisher) and the master recording (from the label or artist). Uncleared samples can result in infringement claims and takedowns.
The act of taking a segment from a pre-existing sound recording and incorporating it into a new composition. Legally releasing a track containing a sample requires clearing two separate rights: a license from the composition's publisher and a license from the master recording's owner. Uncleared sampling constitutes copyright infringement.
Music composed specifically for an audiovisual work such as a film, TV series, or video game — typically created to evoke specific moods or complement on-screen action. A score composer may work under a work-for-hire arrangement (assigning copyright to the production company) or retain copyright and earn ongoing performance royalties.
A publishing contract limited to one specific composition rather than a writer's full catalog. Under a single song agreement, a publisher acquires the rights to administer and exploit that one song, typically in exchange for an advance and a share of royalties.
Non-dramatic performance rights for musical works — the standard public performance rights administered by PROs. As opposed to grand rights, small rights cover songs performed in concert, on radio, on TV, or in public venues without dramatic context.
The creator of a musical composition — whether the melody, lyrics, or both. Songwriters own the initial copyright in their works and typically assign administration rights (or full ownership) to a publisher in exchange for advances, services, and a share of royalties.
A fixation of music, sounds, or other audio onto a physical or digital medium — such as a CD, vinyl record, or digital file. The sound recording copyright is distinct from the underlying musical composition copyright and is typically owned by the record label or the recording artist. Sound recordings generate master use fees, streaming royalties, and neighboring rights.
A US digital performance rights organization that collects and distributes digital performance royalties (neighboring rights) for sound recordings played on non-interactive digital radio services such as Pandora and SiriusXM. SoundExchange pays both the featured artist and the sound recording copyright owner (label).
In a co-written work, the split refers to the agreed percentage of copyright ownership assigned to each contributing writer. Splits must sum to 100% and are documented in a split sheet. Accurate splits are critical for correct CMO registration and proportional royalty distribution to all collaborators.
A document signed by all co-writers of a song that records the agreed ownership percentages (splits) for each contributor. Split sheets are essential for accurate CMO registration and are the authoritative reference in the event of a royalty dispute between collaborators.
An exclusive songwriting agreement in which a songwriter is contracted to write primarily or exclusively for one publisher, typically in exchange for a weekly or monthly advance against future royalties. Staff writer deals are common in Nashville and other songwriting-centric markets.
The royalty rate set by law (or regulatory body) that must be paid for certain compulsory licenses, such as mechanical licenses for cover songs in the US. The US statutory mechanical rate is determined by the Copyright Royalty Board and currently set at 9.1 cents per track (or 1.75 cents per minute, whichever is greater) for physical and permanent downloads.
A publisher appointed by the primary (original) publisher to administer a catalog in a specific territory or group of territories outside the primary publisher's base. Sub-publishers handle local CMO registrations, licensing, and collection in their territory and remit net receipts back to the primary publisher.
A license authorizing the use of a musical composition in synchronization with visual media — such as films, TV shows, ads, video games, or YouTube videos. Sync licenses are negotiated directly with the publisher and are separate from the master license needed for the recording.
Revenue generated from the licensing of a musical composition for use in visual media. Sync fees are typically one-time negotiated payments (not ongoing royalties), though backend performance royalties are generated when the synced content is broadcast or streamed.
Finnish Composers' Copyright Society — the Finnish CMO that collects and distributes performance and mechanical royalties for musical works. TEOSTO is a CISAC member with reciprocal agreements covering the international exploitation of Finnish members' works.
Norwegian Performing Rights Society — the Norwegian CMO administering performance and mechanical rights for musical works. TONO collects royalties from broadcasters, streaming platforms, live venues, and other users in Norway, distributing them to its member composers, lyricists, and publishers.
The statutory right under US Copyright Act Section 203 allowing songwriters (or their heirs) to reclaim copyright ownership that was previously transferred or licensed, by serving a termination notice between 35 and 40 years after the original grant. This right cannot be waived by contract.
Copyright rights divided and administered on a territory-by-territory basis. A publisher may hold rights globally, or rights may be divided between multiple publishers/sub-publishers across different countries. Each territory has its own laws, CMOs, and rates.
The federal agency within the Library of Congress responsible for administering copyright registration, maintaining public records, and providing information on copyright law. While copyright arises automatically upon creation, registering with the US Copyright Office is required to file an infringement lawsuit and claim statutory damages in the US.
The outstanding portion of an advance that has not yet been earned back through royalties. A writer with an unrecouped balance receives no royalty payments until the balance reaches zero. Unrecouped balances do not typically need to be repaid in cash unless the contract specifies otherwise.
Content created and uploaded by users of a platform — such as YouTube or TikTok — that incorporates copyrighted music. UGC is often covered by blanket licensing agreements between the platform and music rights holders, enabling monetization rather than takedown. UGC generates micro-sync and performance royalties for publishers and songwriters.
A legal arrangement in which a commissioned or employee-created work is owned by the commissioning party rather than the creator. In music, if a songwriter creates a work as a 'work made for hire,' the commissioning party holds the copyright and the songwriter has no termination rights under US law.
The process of submitting a musical composition's details — title, ISWC, ownership splits, contributing parties, and territories — to CMOs and registries. Proper work registration is the foundation of royalty collection; unregistered works cannot be matched to usage data and royalties go unclaimed.
Historically, 50% of total royalties generated by a song, paid directly to the songwriter regardless of their publishing arrangement. Most PROs pay the writer's share directly to the writer rather than routing it through the publisher, protecting songwriters from publisher bankruptcy or non-payment.