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Business Report
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Contemporary Music Publishing

Introduction

Many problems have affected the performance of music publishers in the music industry where

the artist grants all or part of the rights. Music is an indispensable part of people's lives as this is

expressed with no limits and does not follow any guidelines. In this report, the study covers more

about music and how one can use it as a tool for economic gain, and the same music people use

can manipulate in ultimate ways (Steiner, 2018). Most composers send their messages through

songs based on what happened or will happen to them. This report presents the latest

developments in contemporary music publishing. It demonstrates knowledge of the basic

principles of music publishing, including key concepts of copyright, collectors' associations,

publishing houses and publishing contracts (Palmer, 2017).

Music publishing is a promotion and earning money from musical works: Music publishers

ensure that composers receive royalties and create opportunities to perform and copy them. The

publishing house is the oldest vertical industry in the music industry. It existed long before the

first albums were released, and in the early 20th century, publishing scores almost fueled the

music business (Palmer, 2017). The publisher is responsible for writing the work, compiling a

collection of songs, distributing them to stores, and providing the author with compensation for

the commercial use of the author's work.

Recent Development in The Contemporary Music

The music industry has grown rapidly over the past 30 years and has changed how we listen, buy

and even produce music. The global internet connection enables the distribution of music in a

quick and immaterial form. Every day, millions of people use social networks Facebook,
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Google+, Twitter, YouTube, and other tools to interact with the music industry and its dedicated

platforms (such as Sound Cloud, Mix Cloud, Spotify, digitally imported, etc.). Everything is at

hand, and cloud computing is a piece of next-generation music, video and image storage and

playback technology (Steiner, 2018). Sharing and distribution allow Internet users immediate

access to large data sources worldwide, in homes, offices or mobile telecommunications devices

(smartphones, tablets, smartwatches).

The recent development of the Internet has led to expanding social networks and online

distribution via digital music platforms. SoundCloud allows working with these platforms and

effectively help sell audio content to people interested in music that cannot be found in classic

formats such as CDs, vinyl and cassettes. Those who use online payment to buy music online can

enjoy products with the highest sound quality at a very favourable price as each downloaded

audio content costs from € 0.99 to € 3 (Palmer, 2017). This possibility has become very

convenient for business users, and the industry has undergone a fundamental change for speed

and ease of use. SoundCloud introduces audiovisual content on social platforms like Facebook or

Twitter, blogs, and the web structure.

"Music publishers account for more than a quarter of £ 2.5 billion in music exports" (Palmer,

2017). On its basis, "music publishing refers to the creation of copyrights and the protection of

intellectual property rights." It's just about the songs, the life and soul of the industry. Music

publishing is essential as a security and income measure for artists and as an activity itself that

provided over 1,000 jobs for the UK music industry (Kjus, 2016). The complexity of the music

publishing industry will be discussed in detail, with particular emphasis on PRS and MCPS, the

role and responsibilities of distributors, and the future of music publication and copyright as a

whole (Fry, 2019).

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The Performing Rights Society (PRS) pays royalties to its members are broadcast on TV or radio

and presented to the public (live and recorded) and when to download or stream a song (Fry,

2019). The Mechanical-Copyright Protection Association (MCPS) pays its members royalties for

creating music, streamed or downloaded and used on TV, film or radio. In some cases, money is

collected together and then divided amongst the PRS and MCPS. The Music Publishers

Association (MPA) has detailed how commercial agencies since 1881 (initially to prevent

unauthorised results) works as a principal part of the British music publishing industry (Palmer,

2017). Over the years, with the help of the MPA, the music publishing industry has grown and

adapted to the most relevant and ever-changing artists. Digital world. The development of the

MPA aims to promote the creativity of artists and the creation of the BBC and ensure the rights

of artists and their sources of income.

"The International Standard Registration Code (ISRC) is a worldwide recognised system for

recorded music and music videos." By adding ISRC for each recorded song or music video

recorded in the PPL Repertoire Database, one makes sure to get more accurate payments."

Logically, ISRC codes are just as important in music publishing as artists who do not have them,

and people will not pay for works that have been created and performed in public (Kjus, 2016).

The software's ISRC code will detect when the song is playing, playing, streaming, etc.,

incorporated into the piece and notify the relevant collectors association. It must pay the

copyright holder of the work - these payments are paid to the copyright holder where the PRS is

issued four times a year and MCPS four times a month (Fry, 2019).
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Principles of Music Publishing

Demonstrate An Understanding Of Music Copyright

Copyright

Copyright in music means rich ownership of musical works and recordings, and this exclusive

property implies the right to redistribute and copy the work. Copyright also applies to licensing

rights so that copyright owners can earn income called royalties (Hesmondhalgh and Meier,

2018). There are two forms of copyright to music, namely primary copyright and composition

copyright. All recorded music has two copyrights: creative music and another to the recording

itself.

Copyright to Composition

This law covers music producers, content creators, visual arts and film producers whose original

scripts must be protected against piracy (Hesmondhalgh and Meier, 2018). The copyright covers

the text of the song, the arrangement of notes, and the specified chord order.

Copyright for Recording On Main Tape

This right covers certain recordings made by recording or performing artists which express

certain forms of principal musical works as copyright serves as a label for the artist to whom that

right belongs (Hesmondhalgh and Meier, 2018). In this case, the law requires the composer and

artist to be different persons. In some cases, the composer and artist are one person, but

copyright law treats each person separately.

When to Create Copyrights?

Newly hired composers need to know that copyright begins when the music becomes tangible in

tweets, scripts, or written music. According to the US Copyright Office, this law is accepted

when music is recorded and transmitted with a perceptible sound and redistribution. This
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copyright law applies to content stored on disks, digital tracks, tapes or other forms perceived

and owned by composers or artists.

The future composer must know that the original copyrights were created when the piece of

music was arranged (Hesmondhalgh and Meier, 2018). It, therefore, needs to take further steps to

determine whether copyright is enforced. This law varies by country/region: in the United States,

one must register with the appropriate copyright authority to be protected by copyright. In

Europe, once a piece of music is confirmed, copyright will be used without additional

registration.

Show How Music Publishing Company Practices Are Reflected In Their Legal Agreements

With Songwriters And Composers

Copyright and Exclusive Rights Owners

Future composers must know and understand the following exclusive rights.

The Right to Copy Copyrighted Works

The copyright owner (Hesmondhalgh and Meier, 2018) has the right to reproduce any

copyrighted work on CDs or vinyl records. In this way, copyrighted works can be obtained

through streaming services. An example of a streaming service is YouTube. Every time an

individual presses the play button for any song, the original file (master file) and music

composition will start playing. In this case, YouTube must obtain permission from the copyright

owner to play any song on its platform. Leading copyrighted musicians get paid when their

content is played online, whilst composers get mechanical copyright.

The Right to Disseminate Works Protected by Copyright to The Public

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This law protects authors and copyright owners. The author has the sole right to record and

create new music files, whilst the copyright owner can market and sell the author copied the

audience (Cooper, 2017). The following composers need to understand the production and

recording rights that are included in streaming media costs.

The Right to Perform in an Open Place

Most composers and artists take full advantage of this right to maximise revenue. Recently, the

crown epidemic has hit all musicians who cannot exercise this right because they cannot sing in

the open (Cooper, 2017). The laws are not limited to those who live on stage during the show but

also protect the dead who play music in bars, casinos, clubs, TV and radio stations, as it also

protects musicians who play music on stage without being there in person.

The Right to Publicly Display the Work

Copyright owners rarely exercise this right, but it helps art creators to present their work in the

open where the artist has the moral right to add his name to the exhibition (Cooper, 2017). It

includes literary and artistic works. This right does not apply to recordings as they cannot be

viewed publicly. This law applies if the part is in print and may be displayed to the public.

Identify Mechanical And Performance Royalty Collection Societies And Evaluate Their Roles

Collection Societies

There must be an agency that manages the music rights. When individual sign a contract with

any debt collection association, one transfers the rights to them and thus sell people a non-

exclusive license. For example, every time the boss wants to play a certain piece of music on his

program, the owners of TV and radio stations must spend time searching for the copyright

owner. It will be costly and time-consuming (Cooper, 2017). The existence of a debt collection
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association addresses this challenge as follows: Represent the interests of performers - TV and

radio stations, record companies and authors. There are many data collection associations

worldwide, namely the UK PRS, the Nigerian Copyright Society (MCSN) and the American

Society for Collective Rights.

PRS in Great Britain

It is a British music group made up of two collectors' associations, MCPS known as the

Machinery Copyright Protection Association and the Prefabrication Rights Association, or PRS

for short. PRS charges many companies the typical annual fee of hundreds of pounds in the UK.

The license varies depending on the nature and type of business. For example, in a 25-seat unit,

there will be a daily charge of $ 14.99 for music playback in stores and restrooms (Pereverzeva

et al., 2018).

American ASCRL

Rightsholders and authors formed an association to collect foreign fees for visual works

authorised by foreign law and then distribute these fees to ASCRL members. US visual artists

must join the ASCRL to be eligible for reprint funding as required by law within 90 days from

the expiry of the damaged window, and the funds will be released in the preferred form of

payment (Pereverzeva et al., 2018). The artist may also appoint a fundraising agent as their

representative, so the company needs to request payment without the consent and consent of the

owner of visual works legally allowed and used in other countries.

Understand And Explain Music Publishing Company Practices

Publishing Companies

These companies will manage the songs and make sure one get all the royalties due. Instead, the

company will get a certain percentage of the revenue from the tracks. It is important not to
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confuse publishers with music publishers. Music publishers offer a complete service to

composers (Cooper, 2017). Some publishing houses are involved in everything an artist does as

they provide feedback on scripted songs and guide the best songwriting style. The company also

has the task of selecting composers who wish to collaborate with other composers to obtain the

best possible results (Fry, 2019).

Type of Publishing Companies

There are different types of publishing companies that work with other publishers to target the

interests of future composers and musicians.

Main Companies

These big companies work with international artists such as DJ Khaled, Chris Brown and Jason

Derulo. These big boys work with three major music publishers: Warner Music Group, Universal

Music Group and Sony BMG (Bartleet et al., 2019).

Main Affiliate

These publishers are independent and collaborate with major publishers on license management.

This is the place for any future artist as these main affiliates work with future artists and are

widely known (Bartleet et al., 2019).

Independent Companies

Independent publishing companies raise their funds without the help of large companies, and

writers and publishers do not directly receive a fair share of composers (Bartleet et al., 2019). If

there is a lot of work, writer editors can hire others to manage their songs.

Correctly Identify And Evaluate Key Terms In Music Publishing Contracts

Publishing Contracts
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When signing a contract, composers and composers need to understand certain legal definitions.

In the context of this publishing agreement, different terminology is used, and legal language is

often misused. The contract may cover all works created within a specified period or a single

work (Cooper, 2017). Below are the four terms of the publishing agreement.

Cooperative Publishing Agreement

It is the term most frequently used in publishing contracts where the composer and publisher

own the music in this agreement. Composers are called joint owners, and music publishers share

royalties in agreed proportions. The composer offers the publisher a 50/50 percentage of the

royalties, which means that the author transfers half of his rights to the publisher (Bartleet et al.,

2019).

Singsong Assignment

This type of contract is an agreement between the composer and the music publisher. The

composer will grant certain label rights to one or more songs (Bartleet et al., 2019). In this

contract, the composer receives only a one-time payment.

Exclusive Songwriter License

In this agreement, composers award revenue shares to all music publishers. Once upon a time,

music publishers provided composing services that disclose that the musical creation completed

during this period belongs to the music publisher (Bartleet et al., 2019). This license gives the

distributor the certainty of a return on investment as he holds a record of the composer's

successful works. The composer will come back to reach the same agreement and negotiate

advance payments for other royalties in the future.

Collection Assignment
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It's like an administrative publishing contract where the composer retains the copyright provided

that the publisher does not fulfil certain operational functions, e.g. becomes an accountant or

company manager (Bartleet et al., 2019). In this agreement, the publisher only collects and pays

disposable royalty income.

Show How Contemporary Issues In Music Publishing Present Opportunities For Songwriters

Important Contemporary Issues

The problems that have recently hit the music industry for which no solution has been found.

Sometimes, these current issues can affect a large geographic area, creating problems and

controversy in the music industry. These three problems today have created the biggest problem

in the music industry, and if they are not resolved, the industry could collapse.

Coronavirus

The outbreak hit the music industry hard, impacting live performances where most musicians

earn their money. Over the past six months, the music industry has lost a total of $ 10 billion

from various sponsors worldwide (Pereverzeva et al., 2018). The pandemic affected music sales,

streaming, advertising and distribution, and the industry is struggling with a new mechanism to

solve this problem. One of the best ways to deal with the pandemic effect is to popularise live

programs on the Internet, some of which have attracted close to 30 million live viewers.

Following the discovery of the coronavirus vaccine, an upward trend was adopted to improve the

source of income for musicians (Fry, 2019).

User and Service-Oriented Licensing

This contemporary issue has caused controversy recently, focusing mainly on artists and record

labels and their impact on the music industry after their implementation. The licensing model

assumes that subscriptions generate less than a 30% reduction in service revenue, collected and

distributed based on the artist's drama across the site (Fry, 2019). This model favours only
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experienced artists and punishes future composers. Fraud and abuse occur in the pay-per-stream

model; it does not reward future artists. The best solution for this model is the subscriber

payment model or subscriber sharing model. This model allocates royalties according to the

listening habits of each subscriber (Pereverzeva et al., 2018).

Copyright Issues On the Internet

This is an issue that the music industry is currently grappling with, namely the performance of

copyrighted works without the copyright owner's consent. Music played on the Internet may be

copyrighted, such as anything one comes across in a library or bookstore (Fry, 2019). This will

remain a complex issue as the Internet provides a safe place for copyright infringement.

Copyright infringement issues can be resolved as follows; first, the plagiarism of someone else's

music can be resolved in court. The question is, what percentage of the original work should not

be copied without the consent of the artist. Second, the ownership of the music should be

contractually stipulated to avoid infringement issues. Third, stealing the site content, how much

does one need to protect the site content and how it should look similar to other site developers

as it is best to settle this in court (Pereverzeva et al., 2018).

Trends and Future Perspectives in The Music Industry 

The future of music publishing is unpredictable, but a few points are technological advances,

large record companies, and copyright forecasts. In recent years, there will be less and less of

them where the artist signs a contract with a publishing house, thanks to which they obtain 100%

of the song's income can be earned on their own (Clarke and Doffman, 2017). This is how they

decided to register in the mechanical company directly to collect personal income and promote

personal income music free and more open. On the other hand, the role of music publishers is

always there in terms of growth, and it may be too much work that a person cannot do as a
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composer. In the era of digital streaming, music publishers face the problem of sharing finance

of music streaming services; creating fewer finances from the works for the copyright owners -

streaming seems to grow, evolve and develop to financial turmoil between the media platforms

and publishing companies need to exist to get music on the avant-garde of conversation (Arditi,

2018).

5G technology will change mobile devices' use worldwide (fifth-generation cellular networks or

wireless systems) (Clarke and Doffman, 2017). The term has not been officially used by major

telecommunications companies (Telekom, Orange, Vodafone, Verizon, Sprint, etc.) or by

standardisation bodies such as 3GPP, WiMAX Forum and ITU-R. The fifth-generation

communication system is expected to become a true wireless network, capable of supporting

applications developed specifically for the Wireless World Wide Web (WWWW). It will be an

intelligent technology that can unlimitedly connect all systems in the world. Digitisation will not

disrupt the music business world, but it will balance new revenue streams (Arditi, 2018). The

implementation of 5G technical standards may last until 2020. Regarding information

transmission, the 5G standard exceeds all 4G networks' expectations in offering IT and

telecommunications).

Conclusion

Of course, the problems of music publishing and contemporary music can be solved

A good source of income for music artists. Strategies used by composers to earn money

Technological changes are needed to adapt to future changes: marketing strategies and the

constant development of technology are an important part of the entire music industry. Future

musical or visual artists need to work out new, long-term sustainability, profit and growth

strategy.
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Sometimes visual artists can be criticised as follows: observing an artist's work, critically

analysing his work, providing results and evaluating music streaming channels are increasing,

whilst CD sales and digital downloads are declining. In this article, research shows that YouTube

is the best place to sell and how artists use this channel to earn revenue. The study also discussed

various collection methods, such as CD Baby, booking and ticketing, by which experienced and

future artists can promote themselves. When a music artist understands today's problems in the

music industry and their possible solutions, he will be able better to drive sales during a

pandemic through day-to-day business activities.

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References

Arditi, D., 2018. Digital subscriptions: The unending consumption of music in the digital

era. Popular Music and Society, 41(3), pp.302-318.

Bartleet, B.L., Ballico, C., Bennett, D., Bridgstock, R., Draper, P., Tomlinson, V. and Harrison,

S., 2019. Building sustainable portfolio careers in music: insights and implications for

higher education. Music Education Research, 21(3), pp.282-294.

Clarke, E.F. and Hoffman, M. eds., 2017. Distributed creativity: Collaboration and

improvisation in contemporary music. Oxford University Press.

Cooper, V.L., 2017. The house of Novello: practice and policy of a Victorian music publisher,

1829–1866. Routledge.

Fry, G.K., 2019. The Growth of Government: The Development of Ideas about the Role of the

State and the Machinery and Functions of Government in Britain since 1780. Routledge.

Hesmondhalgh, D. and Meier, L.M., 2018. What the digitalisation of music tells us about

capitalism, culture and the power of the information technology sector. Information,

Communication & Society, 21(11), pp.1555-1570.

Kjus, Y., 2016. Musical exploration via streaming services: The Norwegian experience. Popular

Communication, 14(3), pp.127-136.

Palmer, F.M., 2017. Vincent Novello (1781–1861): music for the masses. Routledge.

Pereverzeva, M., Anufrieva, N., Shcherbakova, A. and Anufriev, E., 2018. USA music is a

reflection of the national socio-cultural values. Economic and Social Development: Book

of Proceedings, pp.840-846.
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Steiner, A., 2018. The global book: micropublishing, conglomerate production, and digital

market structures. Publishing Research Quarterly, 34(1), pp.118-132.