Join Sonet↗Thirty essential terms for understanding the rights, identifiers and royalty systems behind a song.
SONET KNOWLEDGE / A–ZA licence that authorises use of a broad repertoire rather than requiring a separate agreement for every work. Collective management organisations commonly issue blanket licences to broadcasters, venues, businesses and digital services within a defined scope.
A collection of musical works or recordings owned, controlled, represented or administered by a person or business. The exact meaning depends on context, so a contract should specify whether it refers to compositions, masters or both.
A common name for an organisation that collectively licenses rights, collects revenue and distributes royalties to represented rightsholders. The rights covered and legal structure vary by society and territory.
An organisation authorised to manage copyright or related rights collectively for multiple rightsholders. A CMO may monitor use, negotiate licences, collect fees and distribute royalties according to its mandate and distribution rules.
The underlying music and lyrics of a song. It is a separate copyrighted work from any particular recorded performance of that song, even when the songwriter and recording artist are the same person.
A digital platform that makes music available to listeners, such as an interactive streaming, download or online radio service. DSP usage can engage both recording and composition rights under different licences.
The international identification system used to distinguish people and legal entities with an interest in creative works, including songwriters and publishers. An IPI identifies a party, not a song or recording.
A unique, permanent identifier for a musical work. It identifies the composition and is connected to descriptive information such as the title and identified creators, but it does not identify a particular sound recording.
A unique and permanent identifier for a specific sound recording or music video. It does not identify the underlying composition, release product or performer, and a materially different recording should have its own ISRC.
Permission to reproduce and distribute a musical work within an agreed scope. Depending on the territory and use, the licence may be granted or administered by rightsholders, publishers, collective organisations or statutory systems.
An organisation that administers mechanical rights in musical works for represented rightsholders. Its functions can include licensing reproduction, processing usage information and distributing mechanical royalties.
Publishing income connected to authorised reproduction or distribution of a composition. It can arise from physical copies, downloads and certain streaming uses, with rates and collection routes varying by market.
Structured information describing music and the parties connected to it. Publishing metadata can include titles, writer names, ownership shares, identifiers, roles and links between compositions and recordings.
The business of managing rights and income associated with musical compositions. Publishing work can include registration, licensing, royalty collection, rights protection, accounting and catalogue administration.
Rights related to copyright that commonly protect performers, sound-recording producers and broadcasters. They are separate from the songwriter rights in the underlying composition, and their scope differs between legal systems.
A disagreement or data inconsistency in which incompatible parties claim control of the same work or share. Conflicts can delay licensing or royalty distribution until the claims and supporting evidence are reconciled.
Publishing income generated by eligible public performances or communications of a composition. Sources can include broadcasts, live performances, public venues and digital transmissions, subject to local law and licensing arrangements.
An organisation focused on licensing and administering public-performance rights for represented songwriters and publishers. The term is common in some markets, while CMO or collecting society is used more broadly elsewhere.
Use of a musical work in a context treated as public performance or communication to the public under applicable law. It can include live venues, broadcasts, businesses and some online transmissions.
The portion of publishing income allocated to the publisher side of a composition. Who receives it depends on ownership, society rules and any publishing or administration agreement covering the work.
A person or company authorised to manage defined publishing functions for a catalogue, such as registrations, licensing, collection and accounting. Administration does not automatically mean ownership of the copyright.
An agreement through which rights organisations represent defined rights in one another's repertoires or territories. These arrangements help royalties move internationally, although the exact mandate and deductions vary.
A specific recorded performance of music, often called the master. It is legally and commercially distinct from the composition contained in the recording and is identified by an ISRC rather than an ISWC.
A written record of the contributors to a composition and the ownership percentages they agreed. It can help prevent later disputes, but it is not a substitute for completing the necessary registrations and contracts.
A publisher appointed to represent and administer works in a specified foreign territory or market. A sub-publisher may handle local registration, licensing and collection under the appointing agreement.
The licensing of music for timed use with visual content such as film, television, advertising, games or online video. Using an existing recording can require separate permission for the composition and the master.
The country, region or group of markets in which rights are granted, represented or administered. Territory clauses matter because the same work can have different representatives in different places.
Royalties connected to reported music use that cannot yet be linked confidently to the correct work or rightsholder. Missing identifiers, incomplete registrations and conflicting ownership data are common causes.
The submission of a composition and its ownership information to a publisher, administrator or rights organisation. Accurate registrations usually include the title, writers, shares, roles, affiliations and available identifiers.
The portion of publishing income allocated to a composition's author or composer side. Payment treatment varies by society and agreement, so it should not be assumed that every administrator collects this share directly.
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