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This means if the musical or play is based on a book, it is important that the rights to the book have been acquired before the musical or play can be produced on Broadway or in London. In 2010, this became a problem in the Broadway production of the musical Fela!. Carlos Moore is said to be the only official biographer of Fela Anikulapo Kuti.
In the United States, broadcasters can pay for their use of music in one of two ways: they can obtain permission/license directly from the music's copyright owner (usually the publisher), or they can obtain a license from ASCAP, BMI, SESAC to use all of the music in their repertoires. ASCAP, BMI and SESAC are the three performing rights ...
While the DPRA expanded the sound recording’s performance right, performers have still criticized the DPRA’s comparative inequity [5] [6] because composers still have a much wider performance right than performers.
Music licensing is the licensed use of copyrighted music. [1] Music licensing is intended to ensure that the owners of copyrights on musical works are compensated for certain uses of their work. A purchaser has limited rights to use the work without a separate agreement.
If no rights ever applied to the music, [1] possibly because the music predates the existence of intellectual property, as is the case for most folk music, [citation needed] or because it is otherwise ineligible for protection, as is the case for music performed by the various ensembles of the US military.
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United States copyright law gives copyright owners the exclusive right to publicly perform their works. [1] Performance rights organizations (PROs), such as ASCAP, BMI, SESAC and Acemla, administer public performance rights for songwriters and composers, providing blanket licenses to venues allowing them to play music for their customers.
There’s a moment in David Adjmi’s play “Stereophonic” when a discordant, mid-’70s band-on-the rise hears one of its songs played back to them in the recording studio for the first time ...