The Art of Music Licensing

First Edition
by Al Kohn & Bob Kohn

Table of Contents

Chapter 1 The Art of Music Licensing
  1. The Art of Granting Licenses
    1. Share in the Economic Success of the Work in which the Music is Going to Be Used
    2. Maximize the Long-term Value of the Work
    3. Maintain an Active Relationship Between the Song and the Listening Public
  2. The Art of Clearing License
    1. Understanding the Nature of Rights Involved
    2. Knowing What Music You Wish to License
    3. Develop a Licensing Strategy
      1. Approaching the Simple Project
        1. Find Out Who Owns the Song
        2. Getting Help From the Harry Fox Agency, ASCAP, BMI and the Copyright Office
        3. A Last Resort
        4. Contacting the Music Publisher
      2. Approaching the Complex Project
        1. Popular Music-driven Motion Picture Soundtracks, New Media Works
        2. Music Clearing Houses and Other Professional Assistance
        3. Finding the Recording or Orchestration
    4. Understanding the Needs and Fears of the Music Copyright Owner
      1. Fear of Piracy
      2. Fear of Making a Bad Deal
      3. Fear of Getting Sued
    5. Spend time Educating the Copyright Owner About Your Intended Use of the Music
    6. Allow Enough Time to Complete the Process

Chapter 2 The Language of Music Licensing
  1. Music as Property
  2. Copyright
  3. Right vs. License
  4. Ownership of Music
  5. Works Made for Hire
  6. Joint Ownership of Music
  7. Deriving Income from Music
  8. Sale of Copyright
  9. Divisibility of Copyright and Sale of Exclusive Rights Under Copyright
  10. Deriving Income By Licensing use on a Non-exclusive Basis
  11. Types of Licenses for Music
    1. Print Licenses
    2. Mechanical Licenses
    3. Electrical Transcription Licenses
    4. Synchronization Licenses
    5. Videogram Licenses
    6. Commercial Synchronization Licenses
    7. Musical Product Licenses
    8. Software or New Media Licenses
    9. Performance Licenses
    10. Dramatic Performance Licenses and Grand Performance Licenses
    11. Dramatic Adaptation Licenses
  12. Differences in the Rights and Privileges of Holder of Exclusive rights and Non-Exclusive Licenses
  13. Avoiding Confusion - Exclusive Rights vs. Non-Exclusive License
  14. Avoiding Confusion - Understanding Ownership of the “Undivided” Copyright
  15. Avoiding Confusion -- Selling, Assigning, Granting, Licensing
  16. The Language of the Art

Chapter 3 Formalities of Licensing
  1. Formalities of Assignment
    1. Assignment Must Be In Writing
    2. Recordation of Assignments
    3. Short Form Assignment Document
  2. Formalities of Licensing
    1. Written Licenses
    2. Oral Licenses
    3. Implied Licenses
    4. Operation of Law
  3. Get It in Writing
  4. Letter Form v. Contract Form
  5. Reference to the Parties
  6. Standard Terms and Conditions
  7. Forms Used in this Book
Forms

Chapter 4 Duration of Copyright, Assignments of Copyright, and Licenses
  1. Introduction
  2. Duration of Copyright
    1. Life
    2. Creation
    3. History
    4. The Appropriate Duration of Copyright Protection
    5. Duration of Copyright in Works Created On or After January 1, 1978
    6. Duration of Copyright in Works Created Before January 1, 1978
  3. Renewal of Copyright
    1. Permissive Registration
    2. When May Renewal Registration Be Submitted
    3. Renewal Copyright Claimants
    4. Proper Claimants For Renewal of Arrangements, Translations, Compilations, and Other Collective Works, and Derivative Works
    5. Renewal Copyright Owners
  4. Duration of Assignments of Copyright
    1. Duration Limited By the Terms of the Assignment
    2. Duration Limited By the Terms of the Copyright Law
      1. Grants Executed By the Author After January 1, 1978
      2. Grants Covering the Initial Term of Copyright
      3. Grants Covering the Renewal Term of Copyright
      4. Grants Covering the Extended (19-year) Term of Copyright
  5. Duration of an Assignment of Renewal Copyright
    1. Limited Relevancy
    2. Renewal Copyright v. Renewal Expectancy
    3. Transfer of Renewal Expectancy
    4. Operation of the Rule of Renewal Expectancy
    5. Formalities of Assigning Renewal Expectancies
    6. Renewal Copyright Vesting
    7. Renewal Vesting Under Copyright Renewal Act of 1992
    8. Effect of 1992 Act on Assignments of Renewal Expectancies
    9. Persons Entitled to Submit Renewal Applications
    10. Advice for Music Publishers
    11. Advice for Songwriters
  6. Duration of Licenses
    1. By Terms of the License
    2. By Terms of the Copyright Law
      1. Termination of Licenses Granted By Authors After January 1, 1978
      2. Licenses Covering the Initial Term of Copyright
      3. Licenses Purporting to Cover the Renewal Term of Copyright
      4. Effect of Rear Window on Music Licensing
        1. Effect on Which Songs Will Be Used In New Derivative Works
        2. Effect on Terms, if any, Upon Which Previously Produced Derivative Works May Continue to Be Exploited
          1. Licenses Granted to Music Publishers
          2. Mechanical Licenses Granted to Record Companies
          3. Synchronization Licenses Granted to Producers
          4. Master Licenses Granted to Producers to Use Sound Recordings
          5. Owners of Copies or Phonorecords Containing Affected Works
      5. Effect of 1992 Act
      6. Advice for Derivative Licensees
      7. Advice for Music Publishers
      8. Advice for Songwriters
      9. Licenses Covering the Extended (19-year) Term of Copyright
  7. After Life

Lists

Chapter 5 Basic Considerations in Music Licensing
  1. Introduction
  2. Fee Structure
  3. Value of the Song
  4. The Importance of the Song in Relation to Its Intended Use
    1. Why Is the Song Being Used?
    2. How Will the Song Be Rendered?
    3. Will Any Changes Be Made?
    4. Will the Song’s Title Be Used for a Special Purpose?
  5. The Scope of the Intended Use
    1. What Media Will the License Cover?
    2. Through What Distribution Channels Will the Media Be Distributed?
    3. How Long Will the Use Be Permitted By the License?
    4. Where Will the Use Be Permitted?
    5. Who Else May Exercise a Similar Privilege to Use the Work?
  6. Common Terms and Conditions Regarding Fees and Payment
    1. Advances
    2. Cross-Collateralization
    3. Bonus
    4. Payment and Accounting
    5. Audit Privileges
    6. Reserves Against Returns
    7. Most Favored Nations
    8. Commonly Used Boilerplate Terms and Conditions
    9. Representations and Warranties
    10. Indemnification
    11. Assignment Clauses
    12. Benefit of Successors and Assigns
    13. Exclusion of All Other Express or Implied Warranties
    14. Exclusion of Consequential Damages
    15. Limitations of Liability
    16. Severability
    17. Cure Period
    18. Entire Agreement or Integration Provision
    19. Modifications and Amendments
    20. Waiver
    21. No Partnership or Agency
    22. No Third Party Beneficiaries
    23. Choice of Law
    24. Choice of Forum
    25. Confidentiality of Agreement
    26. Notice
    27. Advice of Legal Counsel
    28. Attorneys Fees
    29. Recitals
    30. Counterparts
    31. Captions
    32. Gender
    33. Effective Date
  7. Affiliated Company Problem
  8. General Advice to Music Copyright Owners -- Always Encourage Activity in the Song
  9. General Advice to Persons Seeking to Clear Licenses -- Fully Disclose All the Uses You Might Conceivably Make of the Music

Chapter 6 Print Licenses
  1. Introduction
  2. Historical Background
    1. Origins of Musical Notation
    2. The Art of Printing
    3. Printed Music Publishing in America
    4. Print Music Publishing Today
  3. Types of Printed Music
    1. Sheet Music
    2. Folio
    3. Personality Folio
    4. Instrument Folio
    5. Music Instruction Books Concert and Educational Editions
    6. Fakebooks
  4. Preparation and Distribution of Printed Music
    1. Independent Print Distributors
  5. Print Rights
    1. Granting and Acquiring Exclusive Print Rights
      1. Grants by Songwriters to Music Publishers
      2. Grants by Music Publishers to Print Music Distributors
  6. Print Licenses
    1. Granting and Clearing Non-Exclusive Licenses to Print Music in Folios
    2. Granting and Clearing Licenses to Print Lyrics
      1. Books
      2. Record Albums
      3. Lyric Magazines
      4. Print Advertising

Forms

Chapter 7 Mechanical Licenses
  1. Historical Background
    1. Music Boxes
    2. Player Piano Rolls
    3. Phonograph Records
    4. Compact Discs
  2. Legal Background
    1. Copyright
    2. Compulsory Licensing
  3. Considerations In Granting and Clearing Mechanical Licenses\
    1. Fee Structure
      1. Giving or Getting a Rate
      2. Rate Changes
    2. Importance of the Song in Relations to its Intended Use
      1. Arrangements and Changes
    3. Scope of the License
      1. Record Number vs. Master Number
      2. Type of Media
      3. Distribution Channels
      4. Term
      5. Territory
      6. Exclusivity
      7. Credit
  4. Mechanical Rights Agencies

Forms

Laws

Chapter 8 Electrical Transcription Licenses
  1. Introduction
  2. Types of Electrical Transcriptions
    1. Transcriptions for Radio Broadcast
      1. Themes and Introductions
      2. Syndicated Radio Programs
      3. Commercial Advertisements Prepared for Radio Broadcast
    2. Transcriptions for Background Music Services
      1. Muzak and 3M
      2. Performance License Aspects
      3. Recent Changes
    3. Transcriptions for In-Flight Use on Airlines
  3. Considerations in Granting and Clearing Electrical Transcription Licenses
    1. Fee Structure
    2. Value of the Song and Its Importance in Relation to the Intended Use
      1. Arrangements and Changes
    3. Scope of Use
      1. Type of Media
      2. Distribution Channels
      3. Term
      4. Territory
      5. Exclusivity
  4. Rights Agencies
Forms

Chapter 9 Synchronization Licenses
  1. Consideration In Granting and Clearing Synchronization Licenses
    1. Fee Structure
      1. Performance License Aspects
    2. The Value of the Song
    3. The Importance of the Song in Relation to Its Intended Use
    4. Scope of the Use
      1. Media and Distribution Channels
      2. Term
        1. Authority to Issue Long-Term Licenses
        2. Effect of Rear Window Decision
      3. Territory
      4. Exclusivity
      5. Credit
      6. Changes and Translations
      7. Screening and Free Copies
      8. Most Favored Nations
  2. Theatrical Motion Picture Trailers
  3. Promotional Music Videos
  4. Non-Theatrical Business Video Programs

Forms

Chapter 10 Videogram Licenses
  1. The Right Involved
  2. Emerging Fee/Royalties Issues
  3. Consideration in Granting and Clearing Videogram Licenses
    1. Fee Structure
    2. Importance of the Song in Relation to Its Intended Use
    3. Scope of the Intended Use
      1. Media
      2. Distribution Channels
      3. Term
      4. Territory
      5. Exclusivity
  4. Other Terms and Considerations
    1. Payment and Accounting
    2. Reserves Against Returns
    3. Most Favored Nations
    4. Free Copies
  5. Promotional Music Video Videogram License
  6. Non-Theatrical Videogram License
  7. Video Yearbooks

Forms

  • Form 10.1 Synchronization License for Motion Picture Theatrical and Television Exhibition With Videogram License on Percentage Royalty Basis
  • Form 10.2 Videogram License Provisions on "Block of Copies" Basis
  • Form 10.3 Videogram License Provisions on "Flat Fee" Basis for Fixed Term With Arbitration Provision
  • Form 10.4 Videogram License Provisions on Twice "Statutory Rate" Basis With Arbitration Provision
  • Form 10.5 Audiovisual Work Synchronization and Videogram License (Includes No Theatrical or Television Exhibition Provisions)
  • Form 10.6 Videogram Synchronization License Used By Harry Fox Agency
  • Form 10.7 Synchronization License for Promotional Music Videos With Videogram Provisions
  • Form 10.8 Non-Theatrical Film Synchronization License With Videogram Provisions

Chapter 11 Old Licenses and New Uses
  1. Types of Old Synchronization Licenses
    1. Old Licenses That Clearly Include Home Video Reproduction Privileges
    2. Old Licenses That Clearly Exclude Home Video Reproduction Privileges
    3. Old Licenses Whose Scope is Unclear
      1. Several Old Licenses
      2. Several Court Cases
      3. Recent Court Cases
  2. Determining The Scope of Ambiguous Licenses - A Suggested Approach
    1. Evidence of Intent of the Parties
    2. Where No Clear Intent of the Parties is Evident
      1. Expectations of the Film Producer
      2. Expectations of the Music Copyright Owner
  3. Avoiding Ambiguity

Forms

  • Form 11.1 Old Motion Picture Synchronization License

Chapter 12 Licenses for Television, Radio, and Print Advertising
  1. Industry Background
  2. Considerations In Granting And Clearing Licenses To Use Music In Advertising
    1. Fee Structure
    2. The Value of the Song
      1. Nature of the Product or Service
      2. Reluctance To License
      3. Overcoming Reluctance
    3. The Importance of the Song In Relation to Its Intended Use
      1. Nature of the Product or Service
      2. Nature of the Use
      3. Use of Original Recordings
      4. Use of Sound-Alike Recordings
      5. Lyric Changes
      6. Use of the Song's Title
    4. Scope of the Intended Use
      1. Media and Distribution Channels
      2. Term
      3. Territory
      4. Exclusivity
  3. Print Advertising

Forms

  • Form 12.1 License for Use of Music in Radio or Television Advertisements
  • Form 12.2 Alternative License for Use of Music in Radio or Television Advertisements
  • Form 12.3 License for Use of Lyrics in a Print Advertisement

Chapter 13 Licenses for Music Boxes and Consumer Musical Products
  1. Background
  2. Considerations in Granting and Clearing Musical Product Licenses
    1. Fee Structure
      1. Applicability of Compulsory License Provision
    2. Value of the Song
    3. Importance of the Song in Relation to Its Intended Use
    4. Scope of Use
      1. Media
      2. Term
      3. Territory
      4. Exclusivity
  3. Printing of Music or Lyrics

Forms

    Form 13.1 License For Use of Music in Music Boxes
    Form 13.2 Alternative License for Use of Music in a Consumer Musical Product

Chapter 14 Licenses For Computer Software, Mutli-Media Disks and New Media Products

  1. Technological Developments
    1. Computer Software
      1. Videogame or Entertainment Software
      2. Educational Software
      3. Music Software
      4. Musical Instrument Digital Interface (MIDI) Software
      5. Business Software
    2. Multi-Media Programs
    3. New Media Products
      1. Karaoke
      2. Electronic Bulletin Board Services (BBS)
      3. Holographic Motion Pictures
  2. Considerations In Granting and Clearing Licenses For Computer Software, Multi-Media Programs, and New Media Products
    1. Fee Structure
      1. Flat Fee
      2. Royalty
      3. Pro Rata
      4. Applicability of the Compulsory License Provision
    2. Value of the Song
    3. Importance of the Song in Relation to Its Intended Use
      1. A Special Nature of Interactive Works
      2. Traditional Factors
    4. Scope of the Use
      1. Media
      2. Term
      3. Exclusivity
      4. Territory
  3. Additional Considerations in Clearing Licenses For Multi-Media and New Media Products
    1. Understanding All the Rights Involved
    2. Educate the Music Copyright Owner

Forms

    Form 14.1 Multi-Media License Used By Harry Fox Agency
    Form 14.2 MDI License Used by Harry Fox Agency
    Form 14.3 License to Use Music in Karaoke Recordings
    Form 14.4 License to Use Film Footage From a Motion Picture
    Form 14.5 License to a Still Photograph
    Form 14.6 License to Use a Sound Recording
    Form 14.7 Location Release

Chapter 15 Performance Licenses
  1. Historical Background
    1. Performance Rights Societies
    2. American Society of Composers, Authors & Publishers (ASCAP)
    3. Broadcast Music Incorporated (BMI)
    4. Society of European State Authors and Composers (SESAC)
    5. International Performance Rights Societies
  2. Legal Background
    1. Performances Under the Copyright Law Today
    2. Limitations on the Exclusive Right of Public Performance
      1. Non-Profit Performances
      2. Mom & Pop Stores
      3. Record Stores
      4. State Fairs
      5. Public Broadcasting
  3. Peformance Rights Societies Today
    1. ASCAP
    2. BMI, Inc.
    3. SESAC, Inc.
    4. International Performance Rights Societies
    5. Membership Requirements
    6. Choosing the Society With Which to Affiliate
    7. Procedures Upon Affiliation
  4. Performance License Grants to Performing Rights Societies
    1. Non-Exclusive
    2. Equal Shares
    3. Assignability of Writer's Share
    4. Nondramatic Performances
  5. Considerations In Granting And Clearing Performance Licenses
    1. Blanket Licenses
    2. Source Licenses and Direct Licenses
    3. Per Program Licenses
  6. Collection of Performance Royalties From Music Users
  7. Distribution of Performance Royalties to Publisher and Writer Members
    1. Statistical Sampling
    2. Credit Systems
    3. Grievance Procedures

Forms

  • Form 15.1 BMI Writer Agreement
  • Form 15.2 BMI Publisher Agreement
  • Form 15.3 ASCAP Publisher/Writer Agreement
  • Form 15.4 BMI General License (for restaurants, bars, cafes, discos, etc.)
  • Form 15.5 BMI Hotel/Motel License
  • Form 15.6 BMI Music on Hold License
  • Form 15.7 BMI Athletic Clubs/Dance Classes
  • Form 15.8 BMI Subscription Music Service License
  • Form 15.9 BMI Inflight/Boarding License
  • Form 15.10 BMI Educational Institution License (One Tier)
  • Form 15.11 BMI Educational Institution License (Two Tier)
  • Form 15.12 BMI Single Radio Station Blanket License
  • Form 15.13 BMI Single Radio Station Per Program License
  • Form 15.14 ASCAP General License (for restaurants, taverns, nightclubs, and similar establishments)
  • Form 15.15 ASCAP Hotels and Motels License
  • Form 15.16 ASCAP Dancing Schools License
  • Form 15.17 ASCAP Concert and Recitals License (Blanket)
  • Form 15.18 ASCAP Concert and Recitals License (Per Concert)
  • Form 15.19 ASCAP Circus License
  • Form 15.20 ASCAP Symphony Orchestras Which Have Annual Total Expenses of $250,000 or More License
Lists
  • List 15.1 Major Overseas Performance Rights Societies

Chapter 16 The Grand Rights Controversy
  1. Overview of Theatrical Musical Productions
    1. Non-Musical Play With Incidental Music
    2. Play With Music
    3. Musical Revue
    4. Dramatico-Musical Work
  2. Legal Background
    1. Copyright
    2. Licensing By Theatrical Production Companies and Theatrical Agencies
    3. Licensing By Performance Rights Societies
    4. Licensing By Music Publishers
  3. Distinguishing Between Dramatic Rights, Nondrammatic Rights and Grand Rights
    1. Dramatic Performance Defined
    2. Nondramatic Performance Defined
    3. Grand Rights Defined
  4. Grand Performance Distinguished From Dramatic Performance
  5. Analysis of Various Dramatic and Nondramatic Uses of Music
    1. Performance Rights Societies
    2. Performance License Provisions
    3. Eight Examples of Performances of Music
      1. A non-dramatic rendition of a musical composition, that was not originally part of any opera, operetta, musical comedy, play or like production, on stage in a theatre, nightclub, cabaret, concert hall, or like establishment.
      2. A dramatic rendition of a musical composition, that was not originally part of an opera, operetta, musical comedy, play or like production, on stage in a theatre, nightclub, cabaret, concert hall or like establishment.
      3. A non-dramatic rendition of a musical compositin that was originally part of an opera, operetta, musical comedy, play, or like production, on stage in a theatre, nightclub, cabaret, concert hall, or like establishment.
      4. A dramatic renditin of a musical composition, that was originally part of an opera, operetta, musical comedy, play, or like production, on stage in a nightclub, cabaret, concert hall, or like establishment.
      5. A non-dramatic rendition of a musical composition, that was not originally part of an opera, operetta, musical comedy, play, or like production, in a television program, motion picture, videogram or like work.
      6. A dramatic rendition of a musical composition, that was not originally part of an opera, operetta, musical comedy, play, or like production, in a television program, motion picture, videogram or like work.
      7. A non-dramatic rendition of a musical composition, that was originally part of an opera, operetta, musical comedy, play, or like production, in a television program, motion picture, videogram or like work.
      8. A dramatic rendition of a musical composition, that was not originally part of an opera, operetta, musical comedy, play, or like production, in a television program, motion picture, videogram or like work.
      9. Recent Court Cases
    4. Frank Music Corp. v. MGM Grand Hotel
    5. Gershwin v. the Whole Thing Co.
  6. Grand Right in a Person's Life Story?
  7. Broadcast of An Entire Album
    1. Operas
    2. Musical Plays
    3. Other Albums
  8. Dramatic Adaptation Rights
    1. Legal Background
    2. Popular Songs
    3. Show Tunes
    4. Music Videos
    5. Separate Adaptation License Required
    6. Dramatic Adaptation Right is not a Grand Right
  9. Determining Who Has the Right to License These Uses
    1. Non-dramatic Performances
    2. Dramatic Performances
    3. Dramatic Adaptations
    4. Grand Performances
  10. Licensing Considerations
    1. Considerations in Granting and Clearing Dramatic Performance Licenses
    2. Considerations in Granting and Clearing Adaptation Licenses
    3. Considerations in Granting and Clearing Grand Performances
  11. Summary

Forms

  • Form 16.1 License to Perform Music in a Live Stage Production
  • Form 16.2 License to Perform Music in a Live Stage Performance of Choreography
  • Form 16.3 Collaboration Agreement Among Writer of a Musical Play

Chapter 17 The Digital Sampling Controversy
  1. Technical Background
  2. Recent Recording Practices
  3. Legal Background
    1. Multiple Copyright Infringement
      1. Infringement of the Music
        1. Clearly Infringing Samples
        2. Clearly Non-Infringing Samples
      2. Infringement of the Sound Recording
    2. No Fair Use
    3. Permission Required
  4. Considerations in Granting and Clearing
    1. Music Licensing
      1. Applicability of Compulsory License Provision
      2. Alternatives Available to the Music Copyright Owner
        1. Do Nothing
        2. Refuse to License
        3. Grant a Mechanical License for a One-Time Flat Fee
        4. Grant a Mechanical License for a Royalty
        5. Grant a Mechanical License for a Royalty and Take a Share in a Percentage of the Performance Royalties of the New Composition
        6. Seek a Co-Ownership Interest in the New Composition
        7. Seek an Assignment of the Copyright in the New Composition
    2. Sound Recording Licensing
      1. Flat Fee Licenses
      2. Royalties
    3. Where Sampling Artist's Additional Musical Material is Owned by Another
  5. Conclusion

Forms

  • Form 17.1 Letter in Lieu of Mechanical License for Use of Digital Sample From a Musical Composition for Flat Fee
  • Form 17.2 Side Letter for Use of Digital Sample From a Musical Composition - To Be Used in Conjunction With Mechanical License (see Forms 7.1, 7.2, and 7.3)
  • Form 17.3 Letter Agreement for Co-Ownership of a Musical Composition Containing a Digital Sample From Another Musical Composition
  • Form 17.4 Short Form Licensing and Co-Publishing Agreement for a Musical Composition Containing Sampled Material Taken From Another Musical Composition
  • Form 17.5 Long Form Licensing and Co-Publishing Agreement for a Musical Composition Containing Sampled Material Taken From Another Musical Composition
  • Form 17.6 Short Form Master License for Use of Sound Recording Sample on Flat Fee Basis
  • Form 17.7 Long Form Master License for Use of Sound Recording Sample on Flat Fee Basis
  • Form 17.8 Master License for Use of Sound Recording Sample on Royalty Basis

Chapter 18 The Split Copyright Syndrome
  1. Undivided Co-Ownership of Copyright
  2. The Problem - An Illustrative Example
  3. The Music Clearance Indutry - A Partial Solution
  4. Legal Background
  5. Tip on Clearing Licenses from Multiple Co-Owners
  6. Copyright Administration
  7. Curing the Split Copyright Syndrome
    1. Compulsory License
    2. Exclusive Administration Rights
    3. Co-Publishing Agreement
    4. Administration Agreement
  8. Conclusion

Forms

  • Form 18.1 Co-Publishing Agreement With Exclusive Administration Rights Granted to one Co-Owner
  • Form 18.2 Alternative Co-Publishing Agreement With Exclusive Administration Rights Granted to One Co-Owner, Subject to Certain Restrictions
  • Form 18.3 Administration Agreement
Circulars
    Circular 18.1 U. S. Copyright Office Circular R22 - "How to Investigate the Copyright Status of Work"

Chapter 19 Typical License Fees
  1. Print License Fees
    1. Standard Publishing Agreement Between Songwriter and Music Publisher
    2. Agreement Between Music Publisher and Independent Print Publisher
    3. Printing of Lyrics
  2. Mechanical License Fees
  3. Electrical Transcription Fees
  4. Synchronization Fees
    1. Television Synchronization License Fees
    2. Theatrical Motion Picture Synchronization License Fees
    3. Non-Theatrical Film Synchronization License Fees
    4. Synchronization License for Music Videos
  5. Videogram Fees
    1. For Motion Picture Videograms
    2. For Music Videos
    3. Video Yearbooks
    4. Corporate Video Synchronization License
  6. Commercial Advertising License Fee
    1. Television Commercial Synchronization License
    2. Radio Commercial Electrical Transcription License
    3. Print Advertising
  7. Music Boxes and Commerical Product License Fees
  8. Computer Software, Multi-Media, and New Media Product Fees
    1. Video Arcade Games
  9. Performance License Fees
  10. Living Stage Performance License Fees
  11. Sampling License Fees
    1. Music
    2. Sound Recording Index
  12. MIDI Software Fees

Circulars

  • Circular 19.1 The ASCAP Survey and Your Royalties

To order, call
1-800-638-8437
 To order by fax, send fax to
1-301-695-7931

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Comments: RobtKohn@aol.com
Copyright © 1995 Bob Kohn
A Theoria Publication
(1/15/96)