Overview

Music publishing is all about managing, promoting, and protecting the rights of musical compositions, ensuring that songwriters and composers receive proper payment whenever their music is used. It deals with the lyrics, melody, and harmony of the song, and not just the sound recording. Every time a song is played on the radio, streamed online, performed live, synced in a film or TV show, or sold physically or digitally, royalties are generated. Music publishing ensures that the people who created that song are paid accurately and fairly for these uses.

When a songwriter creates a new composition, they automatically own the copyright to that work. This copyright gives them legal control over how the music is used and allows them to earn income from it. The copyright is generally divided into two parts: the writer’s share and the publisher’s share. The writer retains the creative ownership of the composition, while the publisher handles the business side, which is registering the work with performance rights organizations (PROs), collecting royalties, licensing the music, and seeking new commercial opportunities for the song.

Music publishers play a central role in the success of a songwriter’s career. They act as administrators, managers, and business developers. They make sure that songs are registered properly with PROs such as ASCAP, BMI, SESAC (in the United States), or PRS and PPL (in the UK). These organizations track public performances and pay royalties when the song is broadcast, streamed, or performed live. 

Publishers also negotiate and license music for synchronization (sync) uses, such as in movies, advertisements, TV shows, or video games, which can be a significant source of income for songwriters.

There are several types of royalties involved in music publishing. Performance royalties are paid when a song is performed publicly or broadcast. Mechanical royalties are generated when a song is reproduced, such as through a digital download, CD, or vinyl. Sync royalties are paid when a song is licensed for use in visual media. Print royalties apply when sheet music is sold. Music publishers are responsible for ensuring that all these royalties are collected from the appropriate sources worldwide.

Different types of publishing deals are available depending on the songwriter’s goals. In a traditional publishing deal, the publisher often takes a certain percentage of the total revenue in exchange for their services. In a co-publishing deal, the songwriter retains a larger portion, while still benefiting from the publisher’s support. In administration deals, the publisher only manages the paperwork, registration, and royalty collection, and takes a smaller fee. Some creators choose to self-publish, meaning they handle all aspects of music publishing themselves, which gives them full control but requires more effort and industry knowledge.

In today’s global, digital-first music industry, proper publishing is more important than ever. With songs being streamed across borders and used in thousands of formats, a single composition can generate revenue from dozens of sources. If the song or a soundtrack is not published, much of that income can be lost or go unclaimed. Music publishers help ensure that royalties are tracked, accounted for, and paid out, even from international markets or niche uses.

Music Publishing empowers artists to earn from their creativity over time. A well-published song can become a long-term financial asset, producing revenue for decades. Publishing protects a song’s legacy, ensures that its use is authorized, and helps creators maintain ownership and control. Whether working independently or through a professional publishing partner, understanding and managing music publishing is essential for anyone looking to build a sustainable career in music.
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Music Distribution and Music Publishing

Music distribution and music publishing are two fundamental aspects of the music industry, but they serve very different purposes. Both help artists earn money from their music, yet they focus on different rights, activities, and sources of revenue. Knowing how they differ is important for any artist, songwriter, or label aiming to release and monetize music properly.

Music Distribution refers to the process of getting a finished audio recording into the hands of listeners. This is done by delivering the track to digital streaming platforms like Spotify, Apple Music, YouTube, Amazon Music, and many others. In some cases, distribution also includes physical formats like vinyl, CDs, or tapes. Distributors act as the link between the artist or label and the music platforms. Their job is to make sure the music is available for public consumption. They also collect income from streams, downloads, and physical sales, and then pass it on to the artist or label after deducting their fees. Music distribution is focused entirely on the master recording, which is the actual sound file produced in the studio.

Music Publishing is about managing and monetizing the composition of a song. This includes the melody, lyrics, harmony, and overall structure. Music publishing ensures that the artist gets paid whenever their song is played, performed, recorded, or licensed for use in various formats such as television, film, advertising, or live performances. A music publisher handles tasks such as copyright registration, royalty collection, and licensing. They work with performance rights organizations to track when songs are played on the radio, streamed online, or performed live, and then collect the associated royalties for the songwriter.

The rights involved in each area are also different. Music distribution is concerned with the rights to the sound recording, often referred to as the master rights. These are typically owned by the artist, producer, or record label, depending on the agreement. Music publishing focuses on composition rights, which belong to the songwriter and the publisher. An independent artist can own both the master recording and the composition, but in larger commercial releases, these rights are often split between multiple parties.

Another key distinction lies in the kind of revenue each one generates. Distribution income comes mainly from listeners who stream, purchase, or download music. Publishing income comes from a broader range of uses, including public performances, sync licensing, and mechanical royalties from reproductions. For this reason, even if a song is not streamed heavily, it may still earn significant revenue through publishing if it is licensed for a TV show, used in a game, or performed regularly on stage.

Music distribution is about making the recorded music available to the public, while music publishing is about protecting the song’s composition and making sure the songwriter is paid for its use. Both are essential for artists and songwriters who want to build a sustainable and profitable music career.
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Role of A Music Publisher

A music publisher plays an essential role in helping songwriters, composers, and music creators manage the business side of their compositions. Their primary responsibility is to protect the rights of a song and make sure that the creators receive all the income they are entitled to when their music is used. This includes registering songs with copyright offices and performing rights organizations, monitoring where and how the music is used, and collecting royalties from various sources. Without a publisher, it can be difficult for a music creator to keep track of everything involved in protecting and monetizing their work.

Music publishers also help secure licensing opportunities for songs. This includes placements in films, television shows, advertisements, and video games, often referred to as synchronization licenses. They negotiate these deals on behalf of the songwriter or composer and ensure that the terms are fair and beneficial. In addition, publishers can assist with creative development by introducing writers to potential collaborators or artists who may want to record their songs. They may also help promote songs to record labels, managers, and music supervisors.

Anyone who creates original music can benefit from a music publisher. Songwriters and lyricists need publishers to ensure their songs are properly registered and that royalties are collected accurately. Composers writing for media projects rely on publishers to handle licensing and administrative work. Producers and beatmakers also need publishing support to track their share of ownership and earnings. 

Independent artists who write their material often turn to publishers to handle the complex legal and royalty management aspects of their music. Even established artists with existing catalogs can work with publishers to find new opportunities for their music and ensure that older works continue to generate revenue.

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Role of Performance Rights Organizations (PROs) 

A Performance Rights Organization, or PRO, is a group that collects and distributes performance royalties on behalf of songwriters, composers, and music publishers. These royalties are generated whenever a song is performed or broadcast publicly. This includes radio airplay, TV broadcasts, live performances, streaming services, background music in venues, and more. In the United States, examples of PROs include ASCAP, BMI, and SESAC. 

When an artist registers with a PRO, they are ensuring that they get paid whenever their music is commercially used publicly. PROs monitor and track these performances using various tools and systems, and they collect licensing fees from businesses, broadcasters, venues, and streaming platforms. These fees are then distributed as royalties to the registered artists.

PROs only collect one type of royalty, known as performance royalties. They do not collect other types of income, such as mechanical royalties, which are earned when their song is reproduced through downloads, physical sales, or streaming platforms like Spotify and Apple Music. This is where a music publisher becomes necessary.

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Types of Music Royalties
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Music royalties are broadly categorized based on the type of usage. While the specific percentages and collection mechanisms vary by territory and organization, the fundamental categories remain consistent:

1. Public Performance Royalties:
   
   • Source: Generated when a musical composition is performed publicly, including radio broadcasts, TV broadcasts, live performances (concerts, venues), background music in businesses (shops, restaurants, gyms), public events, and digital streaming (interactive and non-interactive).
   • Collection: Collected by Performing Rights Organizations (PROs)/Collective Management Organizations (CMOs).
   • Split: Typically split 50/50 between the songwriter/composer (writer's share) and the music publisher (publisher's share). The writer's share is inalienable in many territories.
2. Mechanical Royalties:
   
   • Source: Generated when a musical composition is reproduced or distributed in physical or digital formats. This includes:
     
     • Physical Sales: CDs, vinyl records.
     • Digital Downloads: MP3s, etc.
     • Interactive Streaming: On-demand streaming services like Spotify, Apple Music, and  YouTube Music (where the user chooses what to listen to).
   • Collection: Historically collected by mechanical rights societies (e.g., Harry Fox Agency in the US, MCPS in the UK). In the US, the Mechanical Licensing Collective (MLC) now handles a significant portion of digital uses. For physical products, labels typically pay directly to publishers or their administrators.
   • Calculation: Often based on a statutory rate per unit (e.g., in the US, for physical and downloads, it's currently 9.1 cents per song per copy for compositions under 5 minutes). For streaming, it's a more complex calculation, often a percentage of revenue or a per-stream rate.
   • Split: The mechanical royalty is usually paid entirely to the music publisher, who then pays the songwriter/composer a negotiated percentage as part of their songwriter share of overall publishing revenue.
     
3. Synchronization (Sync) Royalties:
   
   • Source: Generated when a musical composition is "synchronized" with visual media. This includes:
     
     • Film: Feature films, documentaries.
     • Television: TV shows, commercials, promos.
     • Advertising: Commercials for products/services.
     • Video Games: Background music, soundtracks.
     • Online Video: YouTube videos, short-form content (though often covered by blanket deals with PROs for performance, separate sync licenses are needed for commercial use).
   • Collection: Directly negotiated and licensed by the music publisher with the production company, advertising agency, or game developer.
   • Payment: A one-time upfront "sync fee" is paid, often followed by performance royalties if the media is broadcast publicly (collected by PROs). The sync fee is typically split between the publisher and the writer based on their agreement.
     
4. Print Royalties:
   
   • Source: Generated from the sale of sheet music, songbooks, choral arrangements, lyrics in publications, and digital sheet music.
   • Collection: Licensed and collected by the music publisher from print music companies.
   • Payment: Typically, a percentage of the retail price of the printed material, split between the publisher and the writer.
     
     
5. Grand Rights (Dramatic Rights):
   
   • Source: Royalties generated from the live performance of a musical work in a dramatic context, such as a musical, opera, or ballet.
   • Collection: Directly negotiated and licensed by the music publisher with the theatrical production company.
   • Payment: Often a percentage of ticket sales or a flat fee, split between the publisher and the writer.

It's important to differentiate between publishing royalties (for the composition) and master recording royalties (for the specific sound recording). While a song may generate both, they are separate revenue streams managed by different rights holders (publishers for compositions, record labels/artists for master recordings).
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Rights Covered in Music Publishing

Music publishing is concerned with the ownership, control, and monetization of a musical composition. When an artist creates a song, they are granted a collection of rights under copyright law. These rights allow the artist to control how their work is used, licensed, and monetized. A music publisher helps manage these rights and ensure that the artist receives appropriate royalties. 

The key rights covered in music publishing include recording and re-recording, sales and distribution, reproduction, live performances, adaptation and translation, and synchronization.

1. Recording & Re-recording rights refer to the permission to record a musical composition for the first time or any subsequent versions. Although the actual sound recording is usually controlled by a label or artist, the composition itself must be licensed. If another artist wishes to create a cover or a new version of the original composition, they must obtain a mechanical license from the publisher. Re-recording also applies to remixes, acoustic versions, or reinterpretations of a song, and each of these uses must be properly licensed, generating revenue for the artist and publisher.
   
   
2. Sales & Distribution rights govern how the composition earns royalties when the song is sold or distributed commercially. This includes both physical formats like CDs and vinyl, and digital formats like downloads and streams. Although the recording earns revenue through the sale of the sound file, the underlying composition also earns mechanical royalties. The publisher ensures that every sale or stream is accounted for and that the songwriter receives a fair share from platforms, distributors, and digital service providers.
   
   
3. Reproduction rights allow the composition to be copied or stored in various formats. Any time a song is duplicated, it is considered a reproduction of the composition. These rights generate mechanical royalties, which are collected when a song is streamed on platforms like Spotify or downloaded from stores like iTunes. Publishers issue the necessary licenses and manage the collection and distribution of these royalties.
   
   
4. Live Performances involve the use of a musical composition in public settings. Whether performed by the original artist, a cover band, or in a karaoke bar, each performance triggers performance royalties. These royalties are tracked and collected by Performing Rights Organizations (PROs) such as ASCAP, BMI, or PRS, and distributed to publishers and artists. Even when songs are played in restaurants, malls, or gyms, those performances generate income for the composition’s rights holders.
5. Adaptation & Translation rights allow the original composition to be changed or transformed into new forms. This includes translating the lyrics into another language, rearranging the music for a new style, or adapting it for a stage musical. All such derivative works require permission from the publisher. Licensing these adaptations ensures that the original artist is credited and compensated for any version of their work.
   
   
6. Synchronization rights are needed when music is paired with visual media. This includes films, television shows, advertisements, video games, and online content. A sync license allows the musical composition to be timed with moving images, and publishers negotiate fees for this usage. Sync placements can be very lucrative and often increase the exposure and popularity of a song.

Decoding IPI, ISRC & ISWC

In the music industry, proper identification of creators and their works is crucial for ensuring accurate royalty collection and rights management. Three key identifiers used globally in music publishing and distribution are the IPI, ISRC, and ISWC. Each serves a unique purpose and applies to a specific aspect of a musical work or its contributors.
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IPI (Interested Party Information)

The IPI number is a unique international identification number assigned to songwriters, composers, publishers, and rights holders. It is managed by CISAC (International Confederation of Societies of Authors and Composers) and is used by Performing Rights Organizations (PROs) around the world to track royalty payments and rights ownership.

Each person or entity that is affiliated with a PRO is assigned an IPI number, which stays the same even if they work with different organizations globally. For example, if an artist registers with BMI in the United States or PRS in the UK, they will be issued an IPI number that helps connect them to their registered works across multiple territories.

Having an IPI number ensures that the correct individual or company receives royalties when a registered work is performed or used commercially.
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ISRC (International Standard Recording Code)

The ISRC is a unique identifier assigned to individual sound recordings and music videos. Unlike IPI or ISWC, which refer to the composition, the ISRC identifies the actual recording, for example, a studio version, live version, remix, or acoustic version of a song.

ISRCs are vital for digital distribution platforms like Spotify, Apple Music, and YouTube to track streams, downloads, and usage. When a track is streamed or downloaded, the ISRC is used to identify and log the usage data, which in turn determines royalty payouts to the rights holders of the recording.
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ISWC (International Standard Musical Work Code)

The ISWC is a unique code that identifies a musical composition, not the recording of it. This means the ISWC is tied to the melody, lyrics, and structure of the song, regardless of how or by whom it is recorded.

Each musical work, once registered with a PRO, is assigned an ISWC. This ensures that all royalties associated with the use of that composition, whether from performances, broadcasts, or syncs, are correctly tracked and distributed to the associated songwriters and publishers.


Artist Manager & Music Publisher: The Difference

An artist manager and a music publisher are both important figures in a musician’s career, but they serve very different roles. Understanding the distinction between the two is essential for any artist navigating the music industry. While both work to support and grow an artist’s career, their responsibilities, focus areas, and methods of contribution differ significantly.

An artist manager is responsible for overseeing the overall career of the artist. They act as the primary point of contact between the artist and the music industry. This includes coordinating with labels, booking agents, publicists, legal teams, and sometimes even the artist’s team. The manager’s role is to guide the artist’s professional journey, help make strategic decisions, secure opportunities, and ensure that the artist is moving forward in their career. Managers often help with branding, social media strategies, live performance planning, tour logistics, and negotiations. They are typically involved in day-to-day operations and serve as trusted advisors who help shape long-term goals and direction.

A music publisher focuses specifically on the financial and legal side of the music business. The publisher’s primary responsibility is to manage and monetize the musical compositions created by the artist, especially if the artist is also a songwriter or composer. Music publishers register songs with performance rights organizations, collect royalties from various sources, and seek licensing opportunities in film, TV, advertising, and other media. They ensure that whenever a song is played, streamed, sold, or synced, the songwriter gets paid accurately. Publishers may also help pitch songs to other artists, producers, or music supervisors, depending on the nature of the publishing deal.

Another key difference lies in their earnings model. Artist managers usually earn a commission based on the artist’s total income. This includes revenue from touring, merchandise, endorsements, streaming, and other sources. Their income is directly tied to the artist’s overall earnings. In contrast, music publishers earn a share of the royalties generated by a composition. 

The timing of when an artist might need each also varies. A manager is often one of the first people an artist brings on board, especially when their career begins to gain momentum and they need help managing growing responsibilities and opportunities. A music publisher becomes more relevant when the artist has started creating a catalog of original songs that are being commercially used and have the potential to generate royalties. For artists who are primarily performers and not songwriters, publishing may be less central unless they own or control compositions.

To sum up, an artist manager is like the CEO of the artist’s career, helping them navigate the entire industry and grow their brand. The music publisher is more like a financial and legal caretaker of the artist’s songwriting assets, ensuring those assets are properly registered, licensed, and monetized. Both roles are crucial, but they serve different purposes and specialize in distinct areas of the music business.
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An Overview of Music Publishing in India

One of the primary organizations managing music publishing rights in India is the Indian Performing Right Society (IPRS). IPRS is the official Performing Rights Organization (PRO) in India and is authorized to collect royalties on behalf of authors, composers, and publishers for public performances and broadcasts of musical works. It is a member of CISAC (International Confederation of Societies of Authors and Composers), which connects it to global rights networks.

IPRS represents music creators and publishers, collects performance royalties from broadcasters, digital platforms, event organizers, and public venues, and then distributes these earnings to its members. In 2017, after years of legal and structural challenges, IPRS was re-registered under the Copyright Act, making it fully compliant and operational for collecting both domestic and international royalties.

It is important to note that IPRS is not a music publisher. They are a collection society for performance royalties. An artist still needs a publisher or publishing administrator to handle global rights and other royalty streams.Artists need to register with IPRS to collect their performance royalties. To collect royalties from other streams and across the globe, they need to partner with a publishing administrator such as Madverse.