AMPAL General Manager, Jeremy Fabinyi, was among the speakers at an APRA|AMCOS information day for publishers and artist managers recently held in Melbourne and Sydney.
The European Commission has adopted a proposal for a directive on collective rights management and multi-territorial licensing of rights in musical works for online uses.
"The NSW Government wants to cut funding to TAFE arts programs, a move that risks impoverishing our culture, gutting the workforce for cultural industries and leaving students in the lurch."
Musicals are known in the industry as Grand Rights works, and they are licensed directly by a music publisher rather than through APRA/AMCOS. Publishers also license the performance of musical works in a theatrical context (known as Small Rights in a Dramatic Context).
Most artists and publishers wouldn't even dream of having more than 30 million people sing their song each week, but the considerable export success of many Australian Christian and gospel songwriters have made this dream a reality for some.
Rather than bemoaning the impact of digital technology on the music industry, three of Australia’s top publishers are quite happy to bring on the next widget – so long as they can license the way in which it uses music.
Research, negotiation and tracking down a 1920s Hawaiian ukulele piece are all part of a day in the life for Kim Green, Norman Parkhill and Gary Seeger.
There has been considerable talk about the Creative Commons movement and what it means for copyright owners in music, but few people are clear about how it actually works and what the implications are of making work available in this way.
