True or false: Songs/compositions must be registered with the US Copyright Office before they can be released commercially.
How about this one: A classical composer’s music is streamed on Spotify. Her publishing company is a member of the Harry Fox Agency in the US. As the composer, what should she expect to receive in royalties when her compositions are streamed by user request on this interactive service?read more
Away from the aisles of brick and mortar retailers, independent game sellers have been experimenting with new marketing models. Some of their sales strategies may even prove valuable for musicians and record labels. Product bundling — along with strategic timing, live and variable pricing and charitable giving — are providing a range of incentives for potential customers to support artists and developers.read more
The first time I saw singer/songwriter Alexandra Niedzialkowski perform under the moniker Cumulus was six years ago at the small town artist space/venue where we both lived. It was an auspicious debut, highlighting her disarmingly intimate voice and a spark of charisma that more than outshone any beginners’ nervousness. read more
On Thursday, May 16, the House Judiciary Subcommittee on Intellectual Property, Competition Policy and the Internet held a hearing entitled “A Case Study for Consensus Building: The Copyright Principles Project.”
Witnesses included Pamela Samuelson (University of California at Berkeley Law School); Jon Baumgarten (former General Counsel of the U.S. Copyright Office); Laura Gasaway (University of North Carolina Law School); Daniel Gervais (Vanderbilt Law School Intellectual Property Program); and Jule Sigall (Assistant General Counsel for Copyright at Microsoft). All of the panelists contributed to the Copyright Principles Project and its 2010 report [PDF].
FMC’s written testimony, which was submitted to the Committee for the official record, makes the basic point that creators must be included in future hearings, as their perspectives will help inform any apparaisal of the impact of existing (or proposed) rules.
This post co-authored by FMC Communications Intern Olivia Brown
The big music biz news this week is all about the launch of Google’s new subscription streaming music service. But that’s not the only development in the world of streaming. Last week, at the annual NARM (National Association of Recording Merchandisers) Convention, one of the first such services, Rhapsody, announced that it would be the first major digital music service to join the Recording Academy’s new “Give Fans The Credit” initiative. The campaign aims to make songwriter, performer, producer, and other credits widely available to digital music consumers at a time when physical media sales — along with liner notes — are on the wane.
Casey Rae is the deputy director of the Future of Music Coalition, and an independent musician/producer. I asked him about whether indie musicians have the ability to build an audience that matched their ability to distribute digitally.
“We have tremendous access to audiences, but as musicians we might not have leverage in the new marketplace that’s comparable to the folks who always had leverage in the marketplace,” Rae said.