In July 2013, Future of Music Coalition launched the Money from Music Quizzes, four online questionnaires that were designed to test how much musicians knew about money and music, and the copyright laws, licenses and agreements that frequently determine who gets paid, and how much. Today, we are publishing a report that analyzes the results over the first 18 months.
FMC’s goals with this project were twofold. We hoped to:
(1) educate musicians about some common – but often misunderstood – copyright and revenue stream issues in a fun and challenging way read more
Commercial soft rock radio stations around the country frequently play Whitney Houston’s version of “I Will Always Love You” – a song written by Dolly Parton. Who receives public performance royalties for this consistent terrestrial airplay of the song?
A. Dolly Parton and Dolly’s publisher
B. The estate of Whitney Houston, the performer
C. The record label that released Whitney’s recording (Arista)
D. All of the above: (1) Dolly, (2) Dolly’s publisher, (3) Whitney’s estate and (4) Arista read more
A major US orchestra’s performance of Stravinsky’s The Rite of Spring – recorded in 2012 and released by a major label – is for sale on iTunes. How are the orchestra members who participated in the recording session paid for digital sales?
A. The performers aren’t paid anything for sales. The income from sales goes to the orchestra management, just like ticket sales.
B. The performers aren’t paid directly for sales. Orchestra members who participated in the recording are entitled to participate in distributions made by the Sound Recordings Special Payments Fund.read more
A US-based band is recording an album of material they wrote, but wants one of the tracks to be a cover of The Rolling Stones’ song “Brown Sugar”, written by Mick Jagger and Keith Richards. The band sells all 500 vinyl copies of the album plus 500 downloads on iTunes to US customers. According to the current statutory rates, how much does this 4 minute, 30 second-long cover of “Brown Sugar” generate in mechanical royalties, based on these sales?
About a month ago, FMC launched a set of online quizzes. Ranging from “easy” to “expert”, these multiple choice quizzes were designed as a fun way to test musicians’ knowledge of common uses of copyrights and sound recordings, and to give us – as advocates and educators – a way to identify concepts and realities that are the most confusing.
In the last month, over 1500 quizzes have been completed. Based on 30 days of data, here are the questions that have proven most problematic for quiz takers: read more
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
Revenue streams, access to markets, and how musicians, labels and songwriters are compensated
Wednesday, April 15, 2015
How are recording artists paid when their fans buy downloads on iTunes? How are songwriters paid when their music is played on Pandora? Since our founding, Future of Music Coalition has provided musicians, managers and labels with the in-the-trenches details about how performers, songwriters and labels are each compensated when their music is either streamed or downloaded on an array of music services. read more