NMPA_International_Survey_12th_Edition

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NMPA INTERNATIONAL SURVEY TWELTH EDITION THE YEAR IN REVIEW: NMPA AND THE MUSIC PUBLISHING INDUSTRY 38 NMPA CAPITOLCONNECT NMPA announced the addition to its website (www.nmpa.org) of “NMPA CapitolConnect,” a service that provides users with a more active tool for legislative purposes. The system allows users to not only contact their Representatives or Senators via e-mail,letter,phone call or fax,but to also view key bills and votes that NMPA is tracking, see pertinent biographical information on elected officials and view Committee and Subcommittee information. Also included are guides to races and candidates in upcoming elections; a guide to past Congressional votes and current bills; the ability to look up federal,state and local elected officials using a mailing address or zip code, providing photos, office locations, contact information,legislative staff,education,prior experience, voting history (U.S. Congress only) and Federal Electoral Commission campaign reports. EDUCATIONAL AND COMMUNICATIONS ACTIVITIES NMPA’s prestigious Music Publishers’ Forums marked their 24th year in 2002. Following the format of a series of panel discussions which focus on issues of interest to the music publishing community, the Forums are held several times per year in New York, Nashville, Los Angeles and Atlanta. In addition to this Survey, NMPA publishes a newsletter,“News & Views,”which is circulated internationally,and it maintains a comprehensive website,www.nmpa.org. NMPA 2003 BOARD OF DIRECTORS Irwin Z. Robinson, CHAIRMAN Famous Music Publishing Martin Bandier EMI Music Publishing Freddy Bienstock Carlin America, Inc. Helene Blue Anna Teresa Music Beebe Bourne Bourne Co. Arnold Broido Theodore Presser Company John Eastman MPL Communications, Inc. Nicholas Firth BMG Music Publishing Lance Freed Rondor Music International Al Gallico Mainstay Music Donna Hilley Sony Music Publishing Dean Kay Demi Music Corp. STATUTORY ROYALTY RATE INCREASE On January 1, 2002, the statutory mechanical royalty rate applicable to phonorecords made and distributed in the United States increased to 8.0 cents per song, or 1.55 cents per minute of playing time—or fraction thereof—whichever is greater. The rate applies to all phonorecords made and distributed on or after January 1,2002,regardless of the date upon which the recording was first released, unless other contractual arrangements apply. The next increase (to 8.5 cents/1.65 cents per minute) will take place on January 1, 2004. THE HARRY FOX AGENCY The Harry Fox Agency, Inc., the licensing subsidiary of The National Music Publishers’ Association, provides an information source, clearing house and monitoring service for licensing musical copyrights, and acts as licensing agent for more than 27,000 music publisher principals, who in turn represent the interests of more than 160,000 songwriters. Maxyne Lang Williamson Music Leeds Levy One Four Three Music, Inc. Evan Medow Windswept Holdings, LLC Stanley Mills September Music Jay Morgenstern Warner/Chappell Music Ralph Peer II peermusic
Categorization of Music Publishing Revenues APPENDIX A PERFORMANCE-BASED INCOME Performance-based royalties consist mainly of those paid for the broadcast and public performance of copyrighted music, within a responding territory, regardless of the origin of the repertoire being performed. These royalties are principally collected by the major performing rights societies: ASCAP,BMI and SESAC in the U.S.,for example; SACEM in France, BUMA in Holland, and PRS in the U.K. RADIO In the U.S., performance societies use a system of “sampled” survey recordings or logs detailing what has been played at a local station during a defined period and/or statistical sampling, to create payment models for their member affiliates. Typically, the stations are authorized to use copyrighted musical compositions under blanket licensing agreements with the collective administrative societies. RATES Royalty fees are calculated as a percentage of a station’s annual advertising revenues, and distributed by a weighting process, as described earlier. TELEVISION Television stations generally keep logs,or cue sheets, detailing the use and playtime of every musical composition aired.These cue sheets are forwarded to the collecting societies, which calculate payments according to usage and broadcast range (local or network). RATES Like their radio counterparts, television broadcasts are covered typically by blanket licensing agreements between the copyright owners and the stations. The blanket fee is typically calculated as a modest percentage of the stations’ annual gross advertising revenues. CABLE/SATELLITE TRANSMISSIONS Cable and satellite TV transmissions are also licensed by the major performing rights societies,much the same way that broadcast TV is licensed. Rates are usually determined by size of the audience (transmission range) and usage. LIVE PERFORMANCE AND RECORDED This category refers to recorded or live music played in a public place: nightclubs,bars,hotels,arenas,amusement parks, theaters, health clubs, etc. RATES Typically,royalty fees are set according to the type of venue and whether the performance is of live or recorded music; a wide number of other variables also help determine fees. For example, for a nightclub, live performance royalties can be determined by the club’s annual live entertainment costs, while in some countries, performing rights societies collect performance fees from theater exhibitors based on a percentage of box office receipts. NMPA INTERNATIONAL SURVEY TWELTH EDITION APPENDIX A: CATEGORIZATION OF MUSIC PUBLISHING REVENUES 39
Page 1: 12th e d i t i o n NATIONAL MUSIC P
Page 4 and 5: Preface The National Music Publishe
Page 6 and 7: Executive Summary This is the NMPA
Page 8 and 9: Following a solid 14% growth in rev
Page 10 and 11: Table 6 Master Survey Data 2001 INT
Page 12 and 13: Table 7 Flat Exchange Rates 2001 IN
Page 14 and 15: Chart 4 22 Other Countries Ireland
Page 16 and 17: REPRODUCTION-BASED INCOME In 2001,
Page 18 and 19: NMPA INTERNATIONAL SURVEY TWELTH ED
Page 20 and 21: International Year in Review:2002 C
Page 26 and 27: LATIN AMERICA NMPA INTERNATIONAL SU
Page 42 and 43: APPENDIX A NMPA INTERNATIONAL SURVE
Page 44 and 45: APPENDIX B International Involvemen
Page 46 and 47: APPENDIX C U.K., JAPAN, GERMANY, FR
Page 48 and 49: APPENDIX C NMPA INTERNATIONAL SURVE
Page 50 and 51: APPENDIX C The Main Organizations o
Page 52 and 53: APPENDIX C The Main Organizations o
Page 58 and 59: APPENDIX C ITALY UPDATE NMPA INTERN
Page 60 and 61: APPENDIX C SPAIN UPDATE NMPA INTERN
Page 62 and 63: APPENDIX D GLOSSARY OF TERMS INTERN
Page 64 and 65: NMPA: A Brief History As technology
Page 66: n m pa NATIONAL MUSIC PUBLISHERS’

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