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MusicinSport

–

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Guidancefor

Athletes

2021

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1

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Contents

A. Musicinsportandmusicrights.................................................................................................2

1. Introduction.....................................................................................................................2

2. Lawfulsourcesandrelevantauthorisations....................................................................3

3. Athlete’sobligationstothecompetitionorganisers.......................................................3

4. Informationtobeprovided.............................................................................................3

5. Wheretofindtheinformation........................................................................................5

6. Speciallycommissionedmusic.........................................................................................7

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7. Wheretofindhelp...........................................................................................................8

8. Ethicsandmoralcompliance...........................................................................................8

B. WhatmustIdoifIwanttoalteratracktouseitinmyroutine?.............................................9

1. Introduction.....................................................................................................................9

2. Clearingadaptations........................................................................................................9

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APPENDIX

COLLECTIVEMANAGEMENTORGANISATIONS–BY

TERRITORY

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Musicinsport–guidanceforathletes

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A. Musicinsportandmusicrights

1. Introduction

Areyouawarethatartists,composersand producershaverightsinthe musictheycreate?

This allows them to receive payment when the music is played, such as on the radio,

duringaneventorontelevision.

So,whenyouuseapieceofmusicforaroutine,youshould

beawarethatthemusicislike

apieceofpropertywithmultiple“owners”.Thisisn’tobvious:itisn’tjusttheartistthatsung

thesong.Infact:

 thecomposerofthemusic,thewriterofthelyricsandtheproducerthatrecordedit

may each have a legal right

 over the way in which the music is used – called a

“copyright”;and

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 theperformersofthemusichavetheirownrightstoo–called“performerrights”.

Thoserights‐holdersareusuallyentitled:

1. todecidehowthemusicisused;and

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2. tobepaidfortheuseofthemusic.

If the music is used without their prior approval, or without payment of relevant fees or

royalties,thereisaseriousriskthatthiswouldinfringetheirrights.

This applies  to any sports discipline where music is a core element of the routine, suchas

artistic,rhythmicandacrobaticgymnastics,figure

skating,artisticswimming,equinedressage

orbreaking.Allathletesusingmusicintheirroutinesneedtorespectthelegalrightsthatare

associatedwiththemusicused.

This guidance, together with other resources such as the musicinsport.info website, are

intended to provide athletes with enough information so that you can avoid the negative

consequencesthatcouldoccurifyoudonotrespectlegalrights.Suchconsequencescould

taketheformofalawsuitforfinancialcompensationand/orbanningyouruseofthemusic.

Sohowdoyougoaboutavoiding

thatandgettingitright?

Remember,youwouldn’twanttohaveworkedhardonaroutinetoaparticularpieceofmusic,

onlytodiscoverlateronthatyoucan’tuseit!

Soitreallyisimportanttoidentifyandclearthetrackinadvance,andthisguidancewillhelp

youworkouthowtogoaboutdoingthat.

NB:thisguidanceisprovidedforgeneralinformationpurposesonlyandisnotlegaladvice.

Werecommendthatyoutakeyourownexpertadviceonyouractualuseofmusic.

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2. Lawful sources and relevant authorisations

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The first step is to obtain a

recording of the music from a

reliableandlawfulsource,suchasa

CD shop or legitimate online store

(or directly from the actual record

producerifyouhavecommissioned

themusic).

Youshouldthenobtainanynecessaryauthorisationsfromtherights‐holders

tousethemusic

–includingtherighttoeditthemusic,ifyouplantouseanextractinyourroutine.

WeexplainfurtherhowtoobtainthenecessaryauthorisationsinsectionBbelow.

MusicthathasbeenuploadedtoplatformssuchasYouTubebymembersofthegeneralpublic

– i.e. not by the music rights‐holders themselves – may well have infringed the rights of

themusicrights‐holders.Theinformationassociatedwithsuchuploadsisalsohighlyunlikely

tobecompleteor

accurateandcannotbereliedon.

Forthesereasons,YouTubeshouldneverbeusedtosourcemusicortoconfirmmusicdetails

orperformerinformationunderanycircumstances.

3. Athlete’s obligations to the competition organisers

Athletes must provide details of the music they use to the organiser of the sporting

competition,sothattheorganisercan

complywithitsowncorrespondinglegalobligations

andrelevantroyaltiescanbepaidtotheappropriatemusicrights‐holders.Usually,themusic

rights‐holderswillhave authorisedcollective management societies – known as “CMOs” –

to collecttheroyaltiesontheirbehalf.

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Broadcastersoftheeventalsoneedtoreceivethisinformation,astheymustalsoprovideit

totheCMOsintheirrespectiveterritories.Usingthisinformation,theCMOscanthencollect

allrelevantroyaltiesfromtheorganiserandbroadcastersanddistributetheroyaltiestothe

correctmusicrights‐holders.

4. Information to be provided

What

informationshouldyouprovide?

Toidentifythemusiceffectively,youneedtoprovidethefollowinginformation:

1) Tracklist:alistofalltracksthatyouintendtouse,inthesameorderthattheyappear

intheroutine(includingwarm‐uptracks,ifany).

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2) Trackdetails:foreachtrack,youshouldprovidethefollowingdetails:

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a. Title:the full official track title (as stated in the tracklisting of the record).

Thismustbeprovidedinwesternfont/characters.

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 It is theorganiser’s responsibility to provide this information to therelevant local CMOs,

whichmanagetherightsofmostmusicrights‐holders.

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Someexamplesoflawful/unlawfulsources

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 Donotdownloadillegally

 DonotsourcemusiconYouTube

 DonotuseYouTube“converter”websites

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b. Durationofuse:thelengthofeachsectionofthetrackasusedinyourroutine

(minutesandseconds).Itisnotthelengthoftheentiretrack.

c. Artist/s:thename/softhesinger,band,orchestraorotherartistthatperforms

themusicontherecordingthatyouintendtouse.

d. Record label: the name of the record label or, if there is none, the name of

theowneroftherecording,alsoknownas

the“masterrightsowner”.Thiscould,

forexample,bethenameoftherecordproducer.

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e. Year of release: the year when the actual recording was first released to the 

generalpublic,e.g.whenitfirstwentonsale.Iftherecordingisunreleased,state

theyearwhentherecordingwas firstproduced.Thisconcernsonlytheparticular

recording that you intend to use: it does not apply to any other recording of

thesamemusic(ifthereisanotherone).

f. Writer/s:the name/s of the writer/s of the  music and the lyrics.Theyare also

referredtoasthecomposer/sandtheauthor/s.

g. Arranger/s:

i. If the original song/composition credits an arranger as well as

composer/author/s, the arranger’s name  is

 required and must be

provided.

ii. If you have engaged your own arranger to alter and/or re‐record a

pre‐existing song/composition that is still in copyright, the name of

thearrangershouldnotbeprovided,becauseyourarrangerisnotarights‐

holder of the song/composition (and so will not receive a share of any

royalties).

iii. If you have engaged your own arranger to alter and/or re‐record a

song/composition that is in the public domain throughout the world,

thenameofyourarrangerisrequiredandmustbeprovided.

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iv. Ifthereisnoarranger,state“N/A”.

h. Publisher/s:thename/softhepublisher/softhesong/composition.Itiscommon

fortheretobe morethanonepublisher.Thenameofeverypublishermustbe

included.Ifthesong/compositionisunpublished,e.g. ifithasnotbeenassigned

to

apublisherorisinthepublicdomain,state“Unpublished”.

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i. Specially commissioned(yes/no): specify as relevant.Commissioning a track

involvesaskingsomeonetocreateanewandoriginalpieceofmusicfromscratch

ORtoadapt(e.g.toarrangeorremix)anexistingpieceofmusic.

j. On‐line reference (URL, link) : Please provide a link (URL) to

 the CD / album /

platform from which the sound recording has been sourced (link to the

commerciallyavailablerecordingonaretailerorstreamingplatformlikeAmazon

/iTunes/Spotifyetc.).Itisherebyremindedthat thesoundrecordingmustbe

obtainedlawfullyandthat–notably–sourcingfromYoutubeisnotanoption.

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 The original sound recording of a musical performance, e.g. taken froma CD, MP3 or other sound format,

isprotectedbycopyright,andtherights‐holderisusuallyarecordlabel.

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 Copyright duration is often hard to assess, as countries have differing lengths of copyright duration and

differingrulesonco‐writers.ItisbesttocheckwithyourlocalPRO:seetheCMOlistintheappendix.

 The composition is the piece of music embodied in the recording, i.e. the instrumental piece or song

inquestion,includinganylyrics,andisusuallyownedbyamusicpublisher.

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5. Where to find the information

Wherecanyoufindtheinformation?ItcanoftenbeobtainedfromthepackagingoftheCD

containing the track, or from the information appearing in the online music store where

youobtainedit.

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 OntheCDpackaging:

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 OniTunes:

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

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 OnSpotify:

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6. Specially commissioned music

Whatifyouspeciallycommissionmusicfromsomeoneelse?Youmustensurethattheperson

creating the music either assigns the rights in the music to you in writing (if authorised

todoso)orgrantsyouawrittenlicencetousethemusicinconjunctionwiththeevent.

Itisimportanttonotethatthewrittengrantofrightsmustrefertotheuseof:

1. thesong/composition,and



2. thesoundrecordingthatembodiesit.

Inparticular,youmustensurethatyouarelegallypermitted:

1. tomakeacopyofthemusic(soundrecordingandsong/composition)to

usewithyour

performance;

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2. toincludethereproductionofthemusicinyourperformanceattheevent;and



3. to permit the organiser to allow the broadcast of the event, including the music,

viaallforms of television and online media, throughout the world, in perpetuity,

i.e.for the full life of copyright of the sound recording and the song/composition

andbeyond.

The appropriate way to  do this is by way of a written assignment or licence agreement.

Theagreementmustbesignedbyboththemusicprovider/rights‐holderandyou.

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

The music provider/rights‐holder must provide you with all the necessary information

thatyou need to deliver to the organiser of the event (writer(s); artist(s); record label;

publisher(s)etc.–seeaboveatsection4).

Please note: if the music provider has “arranged” a pre‐existing song and/or “remixed” a

pre‐existing recording, separate licence agreements will be required from each respective

rights‐holder(usuallythepublisher/sforuseofthesong/composition,andusuallyarecord

labelforuseoftherecording).PleaseseesectionBbelowforfurtherdetails.



7. Where to find help

Ifyouencounterdifficultyinfindingtheinformationrequired,youcancontactthenational

federationofyoursport,whichmaybe abletohelpyouthroughthisprocess.Youmayalso

be able to seek further assistance from local organisations such as CMOs (please see

theattachedlist in the

appendix to this guidance),orguilds/unionsthatrepresentwriters,

performersandproducers,orinternationalbodiessuchasCISACandIFPI.

Youcouldalsoconsiderengagingamusic‐rightsspecialistwhocould,workingonyourbehalf,

identifyallof therelevantrights‐holders,seekpermissionfromthem,negotiate anyfeeor

royaltiesthatyouwouldneedtopay,andreviewlicenceagreementsandanyotherapplicable

paperwork.



8. Ethics and moral compliance

Finally,itisimportantthatathleteschooseandusemusicthatdoesnotcauseanyharmor

offence.Forinstance,themusicselectedhastobeappropriateforaninternationalaudience

and a mixed age‐group (including children and young adults) and should not convey any

inappropriatemessagesorlanguage(overtorimplied).





9



B. WhatmustIdoifIwanttoalteratracktouseitinmyroutine?

1. Introduction

Asanathleteusingmusicasakeyelementinyourroutinethatwillbewatchedlivebythe

publicandbroadcastontelevisionandviatheinternet,youhavevariouslegalobligationsthat

affecthowyoushouldobtain andreportthemusic–andalsohowyoucanlawfully

useit.

Inparticular, you cannot freely alter or modify the music, as the song/composition is

protected by copyright law, andso is the recording itself.The rights‐holder/s are entitled

todecidehowandwheretheirworkisused,andcanrefusepermissiontoalterit.

So, before re‐arranging, re‐mixing or otherwise adapting the music, you must obtain the

relevantpermission/stodoso.

NB:a“straight”coverofasong/compositionoramere,unalterededitofarecordingisunlikely

torequiresuchpermission,andsoitwouldusuallybesimplertoavoidadaptionsaltogether.

Thisguide,togetherwithotherresourcessuchasthe musicinsport.infowebsite,isintended

toprovideyouwithenoughinformationthatyoucanavoidthenegativeconsequencesthat

could occur if you do not respect legal  rights.Those could include lawsuits for financial

compensationand/oracourtordertopreventyoufromusingthemusic.

NB: you might be working with a music producer to

 help put together your backing track,

andtheproducer mightbeabletohelpwithclearance.Butyoumuststilltakeresponsibility

forensuringclearance,andthissectionassumesthatyouwillbedoingsopersonally.

Pleasenote:ifyouuseanextractfromasong/compositionorarecording–evenofjustafew

seconds–thisisconsideredas“sampling”,i.e.youhavetakenaprotectablepartofthemusic.

itcouldalsooccurwhenyoucopyoradaptasong/composition(inpartorinwhole).

2. Clearing adaptations

Youwillneedtoobtainpermissionfromtherights‐holder/softhemusicthatisbeingadapted.

Youwillusuallyneedtoclearthreesetsofmusicrights:

1. Publishingrights:theseconcernthesong/composition.Publishingrightsareusually

owned/controlledbyamusicpublisher.



2. Master rights: these are the rights in the sound recording (which is also known as

the“master”).Masterrightsareusuallyownedorcontrolledbyarecordlabel.



3. Performerrights:these are the rightsofthe performersintheperformancesof the

song/compositionthatisembodiedinthesoundrecording.Therelevantrecordlabel

will often have acquired the core reproduction and adaptation rights, but in some

countriesperformers’unionsmayalsoexpecttochargere‐usagefees.

Theremaybeexceptions–suchaswherethecompositionisinthepublicdomainworldwide.

Butyoushouldcheckcarefullyforallthreesetsofrightsinallcases,asoneormoreelements

arelikelytobeprotectedbycopyrightorrelatedrights.

Itisoftenagoodideatobeginwiththepublisher,aschangestothesong/compositionwould

usually need tobe cleared,evenif you are re‐recordingit (andso not using the masteror

theoriginalrecordedperformances).

10



2.1Howtofindthemusicpublisher

If you have bought an official recording of the song/composition, either as a physical

recording such as a CD or vinyl record, or as a digital recording, such as a download,

orifyouhaveperhapsacquiredacopyofthe“sheetmusic”(i.e.

awrittenmanuscript/score),

itwillprobablyincludea“copyrightnotice”.

Forexample,hereispartofsomesheetmusicforNeutronStarCollisionbyMuse.Thetitleof

thesongandthewriter(i.e.thecomposerandauthor)areincludedatthetopofthepage

inthecredit“Words

andMusicbyMatthewBellamy”:



Thepublisherinformation,“Warner/ChappellMusicPublishingLtd”,isincludedatthebottom

ofthepage:



Thatisenoughinformationforyoutobegin.

Mostmusicrights‐holders(inthiscase,thepublisher)willhaveanonlinepresence.Youcan

usually search for the music publisher

 onlineand contacttheir “licensing” department via

theirwebsite–oftenbycompletinganonlineform.Withlargerpublisherswithapresence

in more than country, it will probably  make sense to contact the publisher’s local office;

e.g.ifyouareinAustralia,youshouldstartbycontactingthepublisher’s

Australianoffice.

Whenyoucontactthepublisher,youshouldincludefulldetailsofthesong/compositionthat

youwouldliketoadapt.Youshouldprovidethepublisherwithasmuchdetailaspossible:

1. thesongtitleandthewriter/s(i.e.composer/s,author/sand,ifrelevant,arranger/s);

2. howmuchof

ityouwanttosampleorcopyinyouradaptation,e.g.inseconds;

3. whichsectionyouwouldliketosample/copy;

4. whetherand,ifso,howyouintendtoalterit;and

5. how and where you intend to use it – including that it will be broadcast as 

part of

youreventontelevisionandviatheinternet.

NB: you should ask the publisher to confirm how much of the song/composition they

own/controlandinwhichterritories.Sometimes,particularlywherethereismorethanone

writer,publishersmightonlyown/controlapercentageofit.Similarly,differentpublishers

mightown

a songindifferentterritories.Youareresponsibleforobtainingpermissionfor

100%ofthesong/composition,acrosseverycountryintheworld.

Once the publisher has a full understanding of your intended use and has no further

questions,thepublisherwilloftenneedtocontactthewriter/stoaskfor

their approvalof

yourintendeduseofthesong/composition.

11



Please note that the publisher may not be allowed to give you permission on its own.

Thepublisher is often contractually required to ask the writer/s (or their representatives)

fortheirapproval.Insuchcases,thewriter/sareentitledtorefuseyourrequestiftheyso

choose.So you must allow

 for the possibility that the writer/s may refuse your request

forapproval.Theremayalsobenosettimelimitforwriterstorespondtoapprovalrequests.

Soyoumustallowplentyoftime(i.e.weeks,notdays)toreceivearesponsetoyourapproval

request,rememberingthatthewriter/s

mightrefuseyourrequest.Arefusalmightbemore

likelyifyouareproposingtomakesubstantialchangestothesong/composition.

Forthesereasonsitisessentialthatyouhaveanalternativechoiceoftrack/sasaback‐up,

inordertoavoidbeingleftwithoutanymusicforyourroutine.



2.2Howtofindtherecordlabel

Ifyouhavere‐recordedasong/compositionandnotcopiedanypre‐existingsoundrecording,

youdonotneedtocontacttherecordlabel.

If, however, you have“sampled”, “remixed” or“re‐edited” a pre‐existing sound recording,

youmustcontacttherights‐

holderoftherecordingtoobtainpermission.

Tofindtherights‐holderoftherecording,agoodstartingpointisthecopyrightnoticeonthe

CDcover.Yetpleasebeawarethataphysicalproduct(suchasaCD)mayincludeout‐of‐date

information – particularly with older recordings –

 and the current rights‐holder may differ

fromtherights‐holderthatisstatedontheCDpackaging.

NB:somerecordlabelsmaythemselveshavelicensedapre‐existingrecordingtoincludeiton,

say,acompilation albumor on a filmsoundtrackrelease.Thismeansthatthe recordlabel

thatreleasedthecompilationorsoundtrackalbummightnotbetheultimaterights‐holderof

eachoftheindividualtracksonthealbum.

Anotherwaytoidentifythe rights‐holderoftherecordingistocheckwithanonlineretailer.

For example, Apple Music will include a copyright notice as illustrated

 in the following

example:



In this example, the  copyright notice (at the bottom) clearly states that the rights‐holder

ofthe recording is Parlophone Records Limited, and also that Parlophone Records is itself

ownedbytheWarnerMusicGroup.

12



Once you have identified the record label that owns the sound recording,you can usually

searchforitonlineandsubmitanenquirytoitslicensingdepartmentviaitswebsite.

Fromthatpoint,theprocessismuchthesameaswithamusicpublisher:youshouldprovide

allthedetailsof

yourintendeduseto therecordlabel,describinghowyouintendtoadapt 

therecordingandhowyouintendtousetheadaptation,includingthatitwillbebroadcast

aspartofyoureventworldwideontelevisionandviatheinternet.

Aswithpublishersandwriters,recordlabelsoftenneed

tosubmitsampleapprovalrequests

totherecordingartists.Theartistsarenotobligedtoapproveasample/adaptationrequest

andhavetherighttorefusepermission.Thereisalsonosettimeframeforthemtorespond.

Allofthisshouldbetakenintoaccount–soallowplentyoftime

(weeks,notdays).

Iftherearemultiplerecordingsofthesong/compositionconcerned,youshouldensurethat

youlicensethecorrectrecording.Youcould,forinstance,sendtherecordlabelalinkto the

actualrecordingthatyouintendtouse(e.g.alinktoalicensedmusicwebsite)tocheck

that

itisinfacttheirrecording.

2.3Performerrights

Onefurtherconsiderationforadaptationofasoundrecordingisthe“performerrights”.

In certain countries (such as the USA and UK) some recordings might attract additional

“newuse”or“re‐use”feesthatarepayableto“performerunions”(e.g.the

AFMintheUSA

ortheMUintheUK)forsessionperformers(ifany)ontheoriginalrecording.

The record label should be able to confirm to you whether or not the use of the sound

recordingwouldrequireyoutopayanysuchunionfees.Re‐usefees

aremorelikelytoapply

to recordings of large ensembles based in the country concerned, andoften apply within 

thecontext of specific industry‐level agreements between the union and the record label,

orbetweentheunionandfilmproducersorotherusers,andsomightnotalwaysapplytoyou



personally.

InthecaseofUSperformer‐unionfees,certainrecordlabelsareauthorisedtocollectthefees

onbehalfoftheperformerunion.

YoucandeterminewhetherornotanysuchfeeswouldbeduefromyoutotheMusicians’

UnionintheUKbycontactingthemdirectlyand

providing:

1. thetitleoftherecording;

2. therecordingartist;

3. theyearofrelease;and

4. theISRC.



IfyoudonotknowtheISRC,therecordlabelcanconfirmit.

NB:ifyouarerequiredtopayre‐usefee/sandthosewouldprovetobecostly,youmayfindit

moreconvenienttousetrack/sforyourroutinethatwouldnotneedtobeadaptedat

all.

AsnotedinsectionAabove,youcouldalsoconsiderengagingamusic‐rightsspecialistwho

could,workingonyourbehalf,identifyalloftherelevantrights‐holders,seekpermissionfro m

them, negotiate any fee or royalties that you would need to pay, and review licence

agreementsandanyother

applicablepaperwork.



AnISRCisthe“InternationalStandardRecordingCode”.Itisauniqueidentifiercodeforarecording.



APPENDIX

COLLECTIVEMANAGEMENTORGANISATIONS–BYTERRITORY

Pleasenote:thefollowinglistof CMOsisintendedas informationonly.Itis notanexhaustive list,

norshouldanyofthe listingsbe interpretedas recommendations.Itis incumbenton each athlete

toidentifyaccuratelyalltherights‐holdersfortheir

intendedmusicusesandtoobtainanynecessary

permissions.

KeytotypesofCMO:

MRO Mechanical‐rightsorganisation–dealingwithcompositionsandlyrics(reproduction)

NB:“mechanicalrights”areoftenadministeredbyPROsalongsidethe“performingright”

PPO Phonographicperformanceorganisation–dealingwithrecordingsand/orrecordedperformances

NB:PPOsoftendealwithother“neighbouringrights”too

PRO Performing‐

rightorganisation–dealingwithcompositionsandlyrics(communication)

NB:PROsoftendealwith“mechanicalrights”aswell(asisthecaseformanyCMOsjustlistedas“PROs”below)

Other CMOrepresentingothermusicrights

NB:someotherCMOsarelistedbelow,astheymaybeabletohelpor

toprovideadviceonlocallicensing



NB:eachCMOlistedbelowwilladministerveryspecificmusicrights,andso,ifitdoesnotcontroltherightsthatyouneed,

theCMOshouldbeabletoadviseyouonwhichotherCMOorotherorganisationmightbeappropriatefortheterritory.



NB: if your home country is not listed below, pleaseconsider whether you could obtaina licence froma CMO in another

relevantcountryforyou,suchasadifferentcountryinwhichyoutrainorotherwiseregularlyvisit.



No. Region / country CMO Full name (if different) Type

A ASIA

1 Azerbaijan COPAT Copyright Agency of Azerbaijan Republic /

Azәrbaycan Respublikası Müәllif Hüquqları Agentliyi

Other

2 Brunei BeAT Brunei Authors and Composers Association (BeAt) Berhad PRO

BRUMUSIC BruMusic Sdn Bhd PPO

3 China MCSC Music Copyright Society of China PRO

4 Georgia GCA Georgian Copyright Association PRO / PPO

5 India IPRS Indian Performing Rights Society PRO

PPL India Phonographic Performance Limited (India) PPO

6 Indonesia WAMI Wahana Musik Indonesia PRO

7 Hong Kong CASH Composers and Authors Society of Hong Kong PRO

8 Japan JASRAC Japanese Society for Rights of Authors, Composers and Publishers PRO

RIAJ Recording Industry Association of Japan PPO

CPRA Center for Performers' Rights Administration PPO

9 Kazakhstan KazAK Kazakhstan Authors' Society PRO

10 Macau MACA Macau Association of Composers, Authors & Publishers PRO

11 Malaysia MACP Music Authors' Copyright Protection PRO

PPM Public Performance Malaysia PPO

RPM Recording Performers Malaysia Berhad PPO

12 Mongolia MOSCAP Mongolian Society of Composers, Authors and Publishers PRO

13 Nepal MRCSN Music Royalty Collection Society Nepal PRO

MPSN Music Producers' Society of Nepal PPO

PSN Performers' Society of Nepal PPO



No. Region / country CMO Full name (if different) Type

14 Philippines FILSCAP Filipino Society of Composers, Authors and Publishers PRO

SOUNDSRIGHT Sound Recording Rights Society PPO

15 Russia RAO Российского Авторского Общества (Russian Authors’ Society) PRO

RUR Российский Союз Правообладателей (Russian Union of Rightholders) MRO / PPO

VOIS Всероссийская Организация Интеллектуальной Собственности

(Russian Organization for Intellectual Property)

PPO

16 Singapore COMPASS Composers and Authors Society of Singapore PRO

17 South Korea KOMCA Korea Music Copyright Association PRO

RIAK Recording Industry Association of Korea PPO

FKMP Federation of Korean Music Performers PPO

18 Sri Lanka ACPOSL Author Composers & Publishers Organization of Sri Lanka PRO

19 Taiwan MÜST Music Copyright Society of Chinese Taipei PRO

ARCO Association of Recording Copyright Owners PPO

20 Thailand MCT Music Copyright (Thailand) PRO

21 Vietnam VCPMC Trung Tâm Bảo vệ Quyền tác giả Âm nhạc Việt Nam PRO

B AFRICA

22 Ghana GHAMRO Ghana Music Rights Organisation PRO

23 Kenya MCSK Music Copyright Society of Kenya PRO

KAMP Kenya Association of Music Producers PPO

PRISK Performers Rights Society of Kenya PPO

24 Mauritius MASA Mauritius Society of Authors PRO

25 Nigeria COSON Copyright Society of Nigeria PRO

26 South Africa SAMRO Southern African Music Rights Organisation PRO

CAPASSO Composers Authors and Publishers Association MRO

SAMPRA South African Music Performance Rights Association PPO

27 Uganda UPRS Uganda Performing Right Society PRO

28 Tanzania COSOTA Copyright Society of Tanzania Other

29 Zimbabwe Zimura Zimbabwe Music Rights Association PRO

C EUROPE

30 Albania ALBAUTOR – PRO

AKDIE Agjensia e Administrimit Kolektiv e te Drejtave te Artisteve

Interpretues/Ekzekutues

PPO

31 Austria AKM Autoren, Komponisten und Musikverleger PRO

LSG Wahrnehmung von Leistungsschutzrechten Ges.m.b.H. PPO

32 Belarus NCIP National Center of Intellectual Property PRO

33 Belgium SABAM Société d'Auteurs Belge – Belgische Auteurs Maatschappij PRO

SIMM Social Impact of Making Music PPO

PlayRight – PPO

34 Bulgaria MUSICAUTOR – PRO

PROPHON – PPO

35 Croatia HDS-ZAMP Hrvatsko društvo skladatelja PRO

ZAPRAF Udruga za zaštitu, prikupljanje i raspodjelu naknada fonogramskih prava PPO

HUZIP Hrvatskoj udruzi za zaštitu izvođačkih prava PPO

36 Cyprus PRS PRS for Music (NB: UK-based PRO) PRO

CNR Cyprus Neighbouring Management PPO



No. Region / country CMO Full name (if different) Type

37 Czech Republic OSA Ochranný svaz autorský pro práva k dílům hudebním PRO

INTERGRAM Nezávislá společnost výkonných umělců a výrobců zvukových a

zvukově obrazových záznamů

PPO

38 Denmark KODA Komponistrettigheder i Danmark PRO

NCB Nordisk Copyright Bureau

NB: NCB represents KODA, STEF, STIM, TEOSTO and TONO

MRO

GRAMEX GRAMEX DENMARK PPO

39 Estonia EAÜ Eesti Autorite Ühing PRO

NCB Nordisk Copyright Bureau

NB: NCB represents KODA, STEF, STIM, TEOSTO and TONO

MRO

EFÜ Eesti Fonogrammitootjate Ühing PPO

EEL Eesti Esitajate Liit PPO

40 Finland TEOSTO Tonsåttares Internationella Upphovsråttsbyrå PRO

NCB Nordisk Copyright Bureau

NB: NCB represents KODA, STEF, STIM, TEOSTO and TONO

MRO

GRAMEX GRAMEX FINLAND PPO

41 France SACEM Société des auteurs, compositeurs et éditeurs de musique PRO

SCPP Société civile pour l’exploitation des droits des producteurs

phonographiques

PPO

SPPF Société civile des producteurs de phonogrammes en France PPO

ADAMI Société pour l’administration des droits des artistes et musiciens

interprètes

PPO

SPEDIDAM Société de perception et de distribution des droits des artistes

interprètes de la musique et de la danse

PPO

42 Germany GEMA Gesellschaft für musikalische Aufführungs- und mechanische

Vervielfältigungsrechte

PRO

GVL Gesellschaft zur Verwertung von Leistungsschutzrechten mbH PPO

43 Greece AUTODIA ΑΥΤΟΔΙΑΧΕΙΡΙΣΗ PRO

GEA GRAMMO-ΕΡΑΤΩ-ΑΠΟΛΛΩΝ

NB: GEA represents the three Greek PPOs listed below

PPO

GRAMMO – PPO

ERATO ΕΡΑΤΩ PPO

APOLLON ΑΠΟΛΛΩΝ PPO

44 Hungary Artisjus Artisjus Egyesület PRO

MAHASZ Magyar Hangfelvétel-kiadók Szövetsége Közös Jogkezelő Egyesület PPO

EJI Előadóművészi Jogvédő Irodát PPO

45 Iceland STEF Samband Tonskålda og Eigenda Flutningsrettar PRO

SFH Samband flytjenda og hljómplötuframleiðenda PPO

46 Ireland IMRO Irish Music Rights Organisation PRO

PPI Phonographic Performance Ireland PPO

RAAP Recorded Artists Actors Performers PPO

47 Italy SIAE Società Italiana degli Autori ed Editori PRO

SCF Società Consorzio Fonografici PPO

ITSRIGHT – PPO

NUOVO IMAIE Nuovo Istituto Mutualistico Artisti Interpreti Esecutori PPO



No. Region / country CMO Full name (if different) Type

48 Latvia AKKA/LAA Autortiesību un komunicēšanās konsultāciju aģentūra /

Latvijas Autoru apvienība

PRO

NCB Nordisk Copyright Bureau

NB: NCB represents KODA, STEF, STIM, TEOSTO and TONO

MRO

LaIPA Latvijas Izpildītāju un producentu apvienība PPO

49 Lithuania LATGA-A Asociacija LATGA PRO

NCB Nordisk Copyright Bureau

NB: NCB represents KODA, STEF, STIM, TEOSTO and TONO

MRO

AGATA Lithuanian Neighbouring Rights Association PPO

50 Luxembourg Sacem Luxembourg Société des auteurs, compositeurs et éditeurs de musique PRO

51 Malta PRS PRS for Music (UK-based PRO) PRO

52 Montenegro PAM CG Organizacija za zaštitu prava autora muzike Crne Gore PRO

53 Netherlands Buma/Stemra Vereniging Buma / Stichting Stemra PRO

SENA Stichting ter Exploitatie van Naburige rechten PPO

NORMA – PPO

54 North Macedonia ZAMP Macedonia Musical Copyrights Society of Macedonia PRO

55 Norway TONO Norsk Komponistforenings Internasjonale Musikbyrå PRO

NCB Nordisk Copyright Bureau

NB: NCB represents KODA, STEF, STIM, TEOSTO and TONO

MRO

Gramo – PPO

Norwaco – PPO

56 Poland ZAiKS Związek Autorów i Kompozytorów Scenicznych PRO

ZPAV Związku Producentów Audio-Video PPO

SAWP Stowarzyszenie Artystów Wykonawców PPO

STOART Stowarzyszenie Związek Artystów Wykonawców PPO

57 Portugal SPA Sociedade Portuguesa de Autores PRO

AUDIOGEST Associação para Gestão e Distribuição de Direitos Entidade de

Gestão Coletiva do Direito de Autor e dos Direitos Conexos

PPO

GDA Gestão dos Direitos dos Artista PPO

58 Romania UCMR-ADA Romanian Musical Performing and Mechanical Rights Society PRO

UPFR Uniunea Producatorilor de Fonograme din Romania PPO

CREDIDAM Centrul Român pentru Administrarea Drepturilor Artiștilor Interpreți PPO

59 Serbia SOKOJ Organizacija muzičkih autora Srbije osnovana PRO

OFPS Organizacija proizvođača fonograma Srbije PPO

PI Prava Interpretatora - Organizacija PPO

60 Slovakia SOZA Slovenský ochranný zväz autorský PRO

61 Slovenia SAZAS Združenje SAZAS PRO

62 Spain SGAE Sociedad General de Autores y Editores PRO

AGEDI Asociación de Gestión de Derechos Intelecuales PPO

AIE Artistas Intérpretes o Ejecutantes, Sociedad de Gestión de España PPO

63 Sweden STIM Svenska Tonsättares Internationella Musikbyrå PRO

NCB Nordisk Copyright Bureau

NB: NCB represents KODA, STEF, STIM, TEOSTO and TONO

MRO

IFPI Sweden International Federation of the Phonographic Industry Sweden PPO

SAMI Swedish Artists' and Musicians' Interest Organisation PPO



No. Region / country CMO Full name (if different) Type

64 Switzerland SUISA – PRO

SWISSPERFORM – PPO

65 Ukraine UACRR Ukrainian Agency of Copyright and Related Rights PRO

ULCRR Ukrainian League of Copyright and Related Rights PPO

UMA Ukrainian Music Alliance PPO

66 United Kingdom PRS PRS for Music PRO

PPL Phonographic Performance Limited PPO

D MIDDLE EAST

67 Armenia ARMAUTHOR – PRO

68 Egypt SACERAU Society of Authors, Composers and Music Publishers of the

Republic of Egypt

PRO

69 Israel ACUM Authors, Composers and Music Publishers in Israel PRO

70 Turkey MESAM Türkiye Musiki Eseri Sahipleri Meslek Birliği PRO

E NORTH / CENTRAL

AMERICA

71 Antigua & Barbuda ECCO Eastern Caribbean Collective Organisation for Music Rights PRO

72 Bahamas PRS PRS for Music (UK-based society) PRO

73 Barbados COSCAP Copyright Society of Composers, Authors and Publishers PRO

74 Bermuda PRS PRS for Music (UK-based society) PRO

75 British Virgin Islands ECCO Eastern Caribbean Collective Organisation for Music Rights PRO

76 Canada SOCAN Society of Composers, Authors and Music Publishers of Canada PRO

CSI CMRRA-SODRAC Inc.

NB: CSI represents the repertoires of CMRRA and SODRAC

MRO

CMRRA Canadian Musical Reproduction Rights Agency MRO

SODRAC Society for Reproduction Rights of Authors, Composers and Publishers

in Canada

MRO

CONNECT (f/k/a AVLA) PPO

ACTRA PRS ACTRA Performers’ Rights Society PPO

ARTISTI – PPO

MROC Musicians' Rights Organization Canada PPO

77 Cayman Islands PRS PRS for Music (UK-based society) PRO

78 Costa Rica ACAM Asociación de Compositores y Autores Musicales de Costa Rica PRO

79 Cuba ACDAM Agencia Cubana de Derecho de Autor Musical PRO

80 Dominica ECCO Eastern Caribbean Collective Organisation for Music Rights PRO

81 El Salvador SACIM Salvadoreños Autores, Compositores e Intérpretes Musicales PRO

82 Grenada ECCO Eastern Caribbean Collective Organisation for Music Rights PRO

83 Guatemala AEI Asociación de Autores, Editores e Intérpretes de Guatemala PRO

84 Honduras AACIMH Asociación de Autores, Compositores, Intérpretes o Ejecutantes

Músicos de Honduras

PRO

85 Jamaica JACAP Jamaica Association of Composers, Authors and Publishers PRO

JAMMS Jamaica Music Society PPO

86 Mexico SACM Sociedad de Autores y Compositores de México PRO

87 Panama SPAC Sociedad Panameña de Autores y Compositores PRO

88 Puerto Rico ACEMLA – PRO

89 Saint Kitts & Nevis ECCO Eastern Caribbean Collective Organisation for Music Rights PRO

90 Saint Lucia ECCO Eastern Caribbean Collective Organisation for Music Rights PRO



No. Region / country CMO Full name (if different) Type

91 Saint Vincent and the

Grenadines

ECCO Eastern Caribbean Collective Organisation for Music Rights PRO

92 Trinidad & Tobago COTT Copyright Music Organisation of Trinidad & Tobago PRO

93 USA ASCAP American Society of Composers, Authors and Publishers PRO

BMI Broadcast Music Inc. PRO

SESAC – PRO

GMR Global Music Rights PRO

ACEMLA – PRO

HFA Harry Fox Agency MRO

SoundExchange – PPO

AARC Alliance of Artists and Recording Companies PPO

AFM & SAG-AFTRA AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund PPO

F SOUTH AMERICA

94 Argentina SADAIC Sociedad Argentina de Autores y Compositores de Música PRO

95 Bolivia SENAPI Servicio Nacional de Propiedad Intelectual Other

96 Brazil ECAD Escritório Central de Arrecadação e Distribuição

NB: ECAD represents the Brazilian PROs listed below

PRO

ABRAMUS Associação Brasileira de Música e Artes PRO / PPO

AMAR

Associação de Músicos Arranjadores e Regentes PRO

ASSIM Associação de Intérpretes e Músicos PRO / PPO

SBACEM Sociedade Brasileira de Autores, Compositores e Escritores de Música PRO

SBAT – PRO

SOCINPRO Sociedade Brasileira de Administração e Proteção de Direitos

Intelectuais

PRO / PPO

UBC União Brasileira de Compositores PRO / PPO

97 Chile SCD Sociedad Chilena de Autores e Intérpretes Musicales PRO

98 Colombia SAYCO Sociedad de Autores y Compositores de Colombia PRO

ACINPRO Asociación Colombiana de Intérpretes y Productores Fonográficos PPO

99 Ecuador SAYCE Sociedad General de Autores y Compositores Ecuatorianos PRO

100 Paraguay APA Autores Paraguayos Asociados PRO

101 Peru APDAYC Asociación Peruana de Autores y Compositores PRO

102 Uruguay AGADU Asociación General de Autores del Uruguay PRO

103 Venezuela SACVEN Sociedad de Autores y Compositores de Venezuela PRO

G OCEANIA /

AUSTRALASIA

104 Australia APRA AMCOS Australasian Performing Right Association /

Australasian Mechanical Copyright Owners Society

PRO

PPCA Phonographic Performance Company of Australia PPO

105 Fiji FPRA Fiji Performing Rights Association PRO

106 New Zealand APRA AMCOS Australasian Performing Right Association /

Australasian Mechanical Copyright Owners Society

PRO

PPNZ PPNZ Music Licensing PPO

