Copyrights can either be licensed or assigned by the owner of the copyright. A copyright collective is a non-governmental body created by copyright law or private agreement which licenses copyrighted works on behalf of the authors and engages in collective rights management. Copyright societies track all the events and venues where copyrighted works are used and ensure that the copyright holders listed with the society are remunerated for such usage. The copyright society publishes its own tariff scheme on its websites and collects a nominal administrative fee on every transaction.
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. Legal consumer purchase of works, such as buying CDs from a music store, confer private 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 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.
The Society of Composers, Authors and Music Publishers of Canada (SOCAN) is a Canadian performance rights organization that represents the performing rights of more than 135,000 songwriters, composers and music publishers. The organization collects license fees through a music licensing program approved by the Copyright Board of Canada.
PRS for Music Limited is a British music copyright collective, made up of 2 collection societies: the Mechanical-Copyright Protection Society (MCPS) and the Performing Right Society (PRS). It undertakes collective rights management for musical works on behalf of its 160,000 members. PRS for Music was formed in 1997 following the MCPS-PRS Alliance. In 2009, PRS and MCPS-PRS Alliance realigned their brands and became PRS for Music.
A royalty payment is a payment made by one party to another that owns a particular asset, for the right to ongoing use of that asset. Royalties are typically agreed upon as a percentage of gross or net revenues derived from the use of an asset or a fixed price per unit sold of an item of such, but there are also other modes and metrics of compensation. A royalty interest is the right to collect a stream of future royalty payments.
APRA AMCOS consists of Australasian Performing Right Association (APRA) and Australasian Mechanical Copyright Owners Society (AMCOS), both copyright management organisations or copyright collectives which jointly represent over 100,000 songwriters, composers and music publishers in Australia and New Zealand. The two organisations work together to license public performances and administer performance, communication and reproduction rights on behalf of their members, who are creators of musical works, aiming to ensure fair payments to members and to defend their rights under the Australian Copyright Act (1968).
A copyright is the legal protection extended to the owner of the rights in an original work. Original work refers to every production in the literary, scientific, and artistic domains. The Intellectual Property Office (IPOPHL) is the leading agency responsible for handling the registration and conflict resolution of intellectual property rights and to enforce the copyright laws. IPOPHL was created by virtue of Republic Act No. 8293 or the Intellectual Property Code of the Philippines which took effect on January 1, 1998, under the presidency of Fidel V. Ramos.
Rico Rene Granados Blanco is a Filipino singer, songwriter, multi-instrumentalist, record producer, actor, endorser and entrepreneur. He began his career as one of the founding members, and served as the chief songwriter, vocalist, guitarist, and keyboardist of the Filipino rock band Rivermaya from 1994 until 2007, and has been a solo artist since 2008.
Mary Jane Cruz-Mendoza, known professionally as Jamie Rivera, is a pop singer from the Philippines and also known as the Inspirational Diva.
The Japanese Society for Rights of Authors, Composers and Publishers, often referred to as JASRAC, is a Japanese copyright collection society. It was founded in 1939 as a nonprofit organization, and is the largest musical copyright administration society in Japan.
Jesuit Communications Foundation (JesCom) is the media arm of the Philippine Province of the Society of Jesus. JesCom was founded in 1995 by the late Rev. Fr. James B. Reuter, S.J. It is based in the Jesuit Ateneo de Manila University in Quezon City. JesCom is involved in the production of audiovisual materials for evangelization and education.
Heber Gonzalez Bartolome was a Filipino folk and rock singer, songwriter, composer, poet, guitarist, bandurria player, bluesman, and painter. His music was influenced by the "stylistic tradition" of Philippine folk and religious melodies. He was the founder of Banyuhay, a "protest band" that carried the trademark sound of the kubing, a native musical instrument in the Philippines. His compositions were described as a "unique synthesis of rock and blues, and Philippine ethnic rhythms". Bartolome's song "Nena" became a hit in 1977. His song "Tayo'y Mga Pinoy" was a finalist during the 1978 first Metro Manila Popular Music Festival.
The Composers, Authors and Publishers Association of Canada was a Canadian copyright collective for the right to communicate with the public and publicly perform musical works. CAPAC administered these rights on behalf of its members and those of affiliated international organizations by licensing the use of their music in Canada. Royalties were paid to the music creators after administration costs were deducted to pay for the operation of CAPAC.
Collective rights management is the licensing of copyright and related rights by organisations acting on behalf of rights owners. Collective management organisations (CMOs), sometimes also referred to as collecting societies, typically represent groups of copyright and related rights owners, i.e; authors, performers, publishers, phonogram producers, film producers and other rights holders At the least, rights holders authorize collective rights management organizations to monitor the use of their works, negotiate licenses with prospective users, document correct right management data and information, collect remuneration for use of copyrighted works, ensuring a fair distribution of such remuneration amongst rightsholders. WMOs also act on legal mandates. Governmental supervision varies across jurisdictions.
Collection administration of copyrights describes the use in Canadian law of collective societies to manage licenses for copyrighted material belonging to more than one copyright owner. These collective societies are responsible for granting permission to use the works they manage and setting out what conditions users of their works must follow. Examples of collective societies in Canada include: Christian Video Licensing International and the Canadian Broadcasters Rights Agency
SAMRO, the Southern African Music Rights Organisation, is a copyright asset management society. It was established by the South African Copyright Act, and aims to protect the intellectual property of music creators by licensing music users, collecting licence fees and distributing royalties to music creators. SAMRO represents more than 15,000 Southern African music composers, lyricists/authors and music publishers. The organisation administers performing rights.
The Society of Authors, Composers and Music Publishers in Israel, known by the acronym ACUM, is a non-profit copyright collective which engages in collective rights management for authors, poets, lyricists, composers, arrangers, and music publishers in Israel. As a member of the International Confederation of Societies of Authors and Composers (CISAC), ACUM is affiliated with more than 100 similar rights organizations around the world, with which it engages in reciprocal royalty collection agreements. It also holds an annual prize ceremony which honors authors and musicians in many categories, including lifetime achievement.
The Korea Music Copyright Association (KOMCA) is a South Korean non-profit copyright collective for musical works, administering public performance and broadcasting rights, and mechanical recording and reproduction rights. Founded in 1964, it is the second collective rights management organization for musical works in Asia, after JASRAC in Japan. It is also one of the largest in Asia, with over 40,000 members. In 2021, it collected ₩289 billion in licensing fees and distributed ₩256 billion in royalties to its members.
Visayan Pop Songwriting Campaign, also known as Vispop or Visayan Pop Music Festival, is a Cebuano national songwriting campaign and competition for pop music compositions launched in Cebu City, Philippines on 2012. The competition is under the auspice of Artists and Musicians Marketing Cooperative. From 2013-2017, it was staged in cooperation with the Filipino Society of Composers, Authors and Publishers (FILSCAP). The 2019 edition was organized with the partnership of Sacred Heart School for Boys - Batch 1985 Foundation, but the project was later shelved.
