In tune with Ivan Chandler of Musicalities.
When cover by the BBC blanket licence is not so cosy.
The BBC has ongoing music licensing agreements with PRS (The Performing Right Society), MCPS (the Mechanical-Copyright Protection Society) - jointly known as PRS for Music - and PPL (Phonographic Performance Limited) giving the broadcaster effectively blanket coverage to use whatever music they like.
Through reciprocal arrangements with similar songwriter and publisher societies around the world, PRS for Music offers the BBC the right to use a vast repertoire of thousands of songs and other musical compositions of every conceivable genre.
In tune with Ivan Chandler of Musicalities.
Music is everywhere and apart from the traditional methods such as radio, television, film, home and in-car stereo systems, we can listen via YouTube, mobile phones, iPods, iPads, iTunes, Mp3 players and websites including Spotify, Jango and Grooveshark.
Given the omnipresence of music people assume, often as a result of 'free' downloads sites, that music is 'free'. Music is free to listen to, but it is not free to use.
CC Considers IMR role for Copyright Standards.
Earlier this year the Consultative Committee (CC) of the International Music Registry (IMR) has decided to prepare a report entitled, 'Analysis Report on Function Requirements for the International Music Registry'. The IMR purpose is to facilitate faster, easier access to music, sound recording and music videos information, and its licensing in the context of the digital environment by providing a network of reliable information about the music. The IMR is a collaboration of the worldwide music industry, with WIPO (World Intellectual Property Organisation) acting as the facilitator.
One of the copyright anomalies seems to becoming to an end. The EU has ratified a draft directive that the copyright in musical performances will be extended from 50 to 70 years. In addition, if a record label fails to offer a record to the public insufficient quantities then the draft directive allows for the rights to revert to the performer.
There has been a sustained campaign to make this change. Many musical performances from the 1960s were at risk of falling out of copyright and as some of these performers now face their dotage they wish for the royalties to continue and serve as a pension.
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