Music Industry Notes PDF

MUSIC INDUSTRY NOTES *****STUDY WITH AI QUZZES “The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side.” Hunter S. Thompson All media is in flux – digital distributio...

MUSIC INDUSTRY NOTES *****STUDY WITH AI QUZZES “The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side.” Hunter S. Thompson All media is in flux – digital distribution and computers have disrupted all traditional media forms Access to media versus owning a physical item – one medium has escaped, but is still only 4.5% of total sales Genres cross-pollinate each other Everything, everywhere, all at once Live performances - the last “old school” stream of money The history of the process: Arts patrons and royalty vs the public at large; private concerts and limited sheet music If you have a computer, some relatively cheap production software, and a connection to the Internet, you can bypass the entire industry Radio is no longer the place to discover music, as most radio stations play as few as 10 or 12 new songs Live performance, movie synchronization, and commercial uses are the current lucrative areas for performers (assuming they wrote the material they record); see Tame Impala Once again: everything, everywhere, all at once How (why?) to record an album: The people involved: Composers, Performers/studio musicians, Producers, Publishers, PROs, Recording companies, Concert promoters Composers: No song, no recording, right? Modern composers mostly all write lyrics and music; but, see Willie Nelson Songs are like “little movies” Common situations make listeners appreciate the songwriter Some writers are very prolific – Dianne Warren, for instance Dolly Parton wrote “Jolene” and “I Will Always Love You” on the same day Most country artists are not songwriters – Nashville is a songwriters haven Performers: singers or an instrumentalists Popularity leads many writers to pitch songs to artists; Col. Tom Parker (managed Elvis) introduced a new wrinkle to songwriters – see Dolly Parton (again) In a recording company situation, the artist receives advance $, sometimes that must pay for recording; mechanical royalties for the number of physical copies pressed; and gets paid a percentage of sales after the advance and expenses are recouped A young artist may get a 12% deal, which is 9% after paying for a producer Often promotional money, tour support, and the advance must be paid out of the artist’s percentage before any money is made by the artist – see TLC Producers: Have a bit in common with Movie and TV producers Music producers are responsible for “producing” an album Some producers are strictly “sound-centric” while others participate in the creative process with artists Administers the recording process Budgets for facilities, engineers, food, gear, other personnel Typically paid a per-song rate and a percentage of sales (2-4% or higher) Music Publishing: The key to REAL money in the music industry Traditionally, sheet music Now, music publishers administrate compositions for writers License to record labels (mechanical royalties) - Harry Fox Agency Shop and license composition to other artists to record Synch licenses for movie or television producers Karaoke And still, sheet music In the music publishing world, each song consists of 2 100% pies The publisher's share – can be solely the publisher's money, or can be split with the writer (co-pub) The writer's share – always goes to the writer Some music publishers only collect and account for writers – copyright administration PRO – performance royalty orgs If your composition is played in a public place, you are owned a performance royalty; PROs collect, account and distribute that money to publishers ASCAP, BMI, SESAC, SOCAN, SoundExchange (streaming) Radio stations, television stations, movie theatres, bars/restaurants, college campuses, sports arenas Any country that has a music industry has one performance royalty organization (or more) Recording Companies More or less a bank with TERRIBLE loan terms: Traditionally record, manufacture, and distribute product – more about access today, however Music labels still have power, of course, but once again the Internet has disrupted the business When a song is sampled, the publishing company administers the composition, white the record company administers the sound recording Concert promoters: Pretty much the only traditional way of making money in the music industry - but consider streaming live concerts: The most viewers for a music concert live stream is 756,000 people from 107 countries, and was achieved by BTS; Fan club members paid $24 each; non-members paid $32 each; using a 50% 50% mix: $9,072,000 from club members; $12,852,000 from non-members – plus commercials (3) were shown in the 90 minute show - $21,000,000+ for 90 minutes of work; plus re-streams from fans – holy schneikes! Back to reality, now – with tours and live appearances yielding SO much more money than albums or streaming, many artists never recoup the money to make an album – makes 360 deals more attractive to labels Concert promoters gamble – from a show at The Thirsty Hippo to a show at Smoothie King Arena, you have to weigh the potential for profit versus the associated costs – a promoter typically makes 10% or an arena show after expenses; often a club date is an 80/20 split – 80% to the artist, 20% to the promoter or some variation of that Huge liabilities for promoters – tempermantal/unstable performers, violence at a venue – Dimebag Darrel (RIP), injuries in the venue, weather, finicky crowds – all play a part in the income of a promoter Money Problems: Famous musicians that have filed bankruptcy: Michael Jackson MC Hammer (Stanley Kirk Burrell) Kool and the Gang TLC Willie Nelson The deck is stacked against people in the music industry. Some people have decided it was best to go it alone – some have been successful, others not so much Wilco – dBPM (label) is owned by Jeff Tweety Chance the Rapper – 3 big tours, streaming releases, estimated net worth $18 million – any owns no money to any recording company Legal issues important for these players Composers copyright (did you pinch someone’s song; did someone pinch your song); publishing contracts/royalties/accounting; performance royalties; mechanical royalties; compulsory license Performers management contracts; recording company contracts/advance/accounting; booking agent contracts; merchandise; labor issues (for teamsters in union towns); inter band agreements Producers: P not much; possibly labor issues in union shops Publishers copyright, again; song holds/users; record contracts/payment/accounting; synch licenses; performance royalties; mechanical royalties; compulsory licenses PROs venue licenses; foreign PROs and payment Booking Agents contracts with performers; contracts with promoters/venues Concert promoters: union issues; insurance; accounting; contracts with booking agents #1: AI-generated art cannot be copyrighted under U. S. law, as ruled by a Washington D. C. court. The decision stated that only works created by human authors are eligible for copyright protection. This follows a rejected application by computer scientist Stephen Thaler for his AI system, DABUS. Thaler has faced similar challenges in obtaining patents for DABUS-generated inventions in the U. S. and other countries. Despite disagreeing with the court's decision, Thaler plans to appeal. The use of generative AI in artistic creation has brought up new copyright issues, with the Copyright Office rejecting applications for AI-generated art copyrights. The court emphasized the importance of human authorship in copyright law, highlighting its role in promoting creativity and innovation. #2: Create a company profile to view all jobs. For employers, post job listings by joining and logging in. AI-generated content is not protected by U. S. copyright laws at the moment. AI-generated content refers to text, video, code, and other media produced by generative AI tools trained on data. The lack of copyright protection for AI content stems from the way AI systems are trained to replicate patterns in data. Collaborative work between humans and machines raises questions about copyright eligibility. In September 2022, the U. S. Copyright Office granted registration for an AI-generated graphic novel but later partially canceled it due to non-human authorship. Federal courts have also ruled that AI-created artwork cannot be copyrighted. Lawsuits against generative AI companies are rising, with creators and companies claiming copyright infringement. Approaches are being taken to address these copyright issues, such as developing tools to protect artists' work from being copied by AI generators. The future of AI copyright laws may involve court decisions and legislative actions to protect creators' rights. #3: How Will AI Impact The Future of Music? We spoke to artists, AI experts, and music industry professionals to find out how artificial intelligence could impact music in the coming years By Michael EpsteinMarch 22, 2023AI is a hot topic in many industries, especially in music and the arts The impact of AI on music is a topic of concern for many, with fears of job loss, diminished human creativity, and evolving business models MUSIC INDUSTRY NOTES *****STUDY WITH AI QUZZES As AI becomes more prevalent in the music industry, we sought insights from experts like Mike Epstein, EVP of Digital Marketing at Cinematic Music Through discussions with AI specialists, industry professionals, and music creatives, we explored the potential effects of AI on the future of music Cherie Hu – Founder, Water & MusicCreative AI has the potential to disrupt the music industry, reminiscent of the Napster era In 2023, various AI models have been introduced, allowing users to create custom music tracks instantly Off-the-shelf music AI tools like Boomy have led to an influx of AI-generated songs on streaming platforms This shift challenges traditional notions of creativity, ownership, and attribution, as the barrier to creating music has been significantly lowered Cooperation between artists, rights holders, and AI developers will be crucial in navigating the evolving landscape of generative AI in music Rob Abelow – Founder, Where Music's GoingGenerative AI is set to impact music creation in several ways, leading to an abundance of average, unoriginal music Music libraries and production companies may increasingly rely on AI, potentially displacing musicians The focus on originality and authenticity in artists' work may become more pronounced, with those leveraging AI effectively standing out Adapting to AI-driven changes in music creation is key for artists Justice Baiden – Co-founder and Head of A&R, LVRNAI presents both opportunities and challenges in music creation While AI tools can aid in idea generation and collaboration, excessive reliance on AI may hinder creativity and authenticity in music production The evolving relationship between technology and creativity emphasizes the importance of maintaining human touch in artistic endeavors Ashley Maass – Creative DirectorAI technology raises questions about the impact on music creation, distribution, and marketing The debate centers on AI's role in facilitating or hindering creative expression, and its potential to democratize music production The future implications of AI on music creation remain uncertain, highlighting the need for continued exploration and discussion Tao Romera – COO of SoundrawAI is poised to transform the creator industry, leading to a shift from specialized roles to more holistic creative processes Collaborations between AI tools and creators may enable individuals to produce work beyond their usual capabilities Addressing copyright concerns and fair compensation for artists in AI-generated music are critical considerations for the industry AI's influence on streaming services may see an increase in AI-generated music, particularly in certain genres like lo-fi, emphasizing the importance of niche-focused content creation Overall, the integration of AI in the music industry has the potential to revolutionize how music is created, distributed, and consumed Embracing AI as a tool for innovation while preserving human creativity and authenticity will be essential in shaping the future of music #4: The Recording Industry Association of America (RIAA) is engaged in a battle with Discord over a server called “AI Hub” where users generate deepfake tracks mimicking famous musicians o The RIAA claims that using AI to imitate musicians' voices is copyright infringement and has demanded that Discord shut down the server o The server's 145,000 members were sharing copyrighted music, including songs by artists like Shakira, Mariah Carey, Ludacris, Stevie Wonder, and Ariana Grande o The RIAA subpoenaed Discord to share user details and shut down the server, threatening legal action if demands are not met by June 30 o This issue highlights the ongoing debate surrounding AI and copyright infringement in the music industry o The US Copyright Office is exploring policy issues raised by AI and artistic work, seeking input from various stakeholders o Meanwhile, the music industry is taking steps to protect itself, with initiatives like the Human Artistry Campaign advocating for human creativity over AI-generated music o The campaign emphasizes the need for authorization, licensing, and compliance with relevant laws when using copyrighted works or the voices of performers o Despite calls for regulation, AI music generation software continues to proliferate, raising concerns about the potential risks associated with powerful AI systems o Some industry leaders are even calling for a complete halt in the training of AI systems due to their emergent capabilities o This ongoing conflict between AI technology, creativity, and copyright protection remains a complex and evolving issue in the music industry #5: Summary: "The Mechanics of Recording Industry: A Brief History & Its Functions" by Dmitry Pastukhov Difference between Music Industry & Recording Industry: o Music Industry: Broad term including streaming services, sync licensing, artist/booking managers, and promoters. o Recording Industry: Focuses on music production, promotion, and distribution. Record labels play a key role, represented by organizations like the RIAA in the U.S. Brief History of Sound Recording: o Early 20th century: Sheet music dominated; phonographs became popular in the 1920s, leading to the rise of record labels (Columbia, Victor, Edison). o 1930s: The Great Depression and radio's rise shifted the industry's focus. Labels merged with radio companies (e.g., RCA bought Victor). o Technological changes over time: From vinyl to streaming, tech advancements reshaped the industry's landscape. Record labels adapted, often working with hardware/software makers like Apple (iTunes). Structure of the Recording Industry: o Historically, labels, manufacturers, distributors, and retailers each played specific roles in getting music to consumers. o Today, the digital shift has simplified distribution and production, but labels remain essential for financing promotion and marketing. Functions of the Recording Industry: 1. Scouting for Talented Artists (A&R): § A&R teams find and sign artists. The shift towards digital means artists often self-record and build initial followings via social media before being scouted. § A&R also helps with creative direction and artist development. 2. Producing the Record: § Recording costs have decreased due to technology, making the process more accessible. § Labels still finance production when needed but focus more on promotion. 3. Promotion and Marketing: § Labels prioritize promotion, building campaigns, and securing media coverage. Relationships with media still play a critical role. 4. Distribution: § Digital platforms like Spotify have replaced physical distribution networks. Distributors now focus on increasing music visibility on digital platforms. Licensing and Sync: Involves integrating music into other media, such as movies or video games, which can serve as both revenue and promotion. Questions: 1. How has the role of A&R departments evolved with the rise of social media and digital recording tools? 2. What impact did technological shifts (like streaming and digital downloads) have on the traditional record label business model? #6: Summary: "As New Threats Arise, The Music Community Must Continue Standing Together in 2023" by Mitch Glazier Introduction: o The music industry thrives when it stands united, as demonstrated in the recovery from the Napster era. o New challenges in 2023, such as AI, piracy, and undervaluation of music, require collective action. Recent Industry Achievements: o 2018 Music Modernization Act: Modernized streaming rights and supported legacy artists. o 2021 EU Copyright Directive: Strengthened fair pay for artists across all platforms. o Support during the Pandemic: Helped sustain artists and small venues through relief programs. o Major Labels' Recent Actions: Waived unrecouped balances for certain legacy performers, allowing them to earn streaming royalties. Challenges and Opportunities: o Artificial Intelligence & Piracy: Emerging technologies pose risks to human authorship and creativity, making it crucial to establish fair rules. o Streaming Economy: Growing revenue opportunities for independent artists while the top acts take a smaller share compared to the CD era. o Distribution & Rights: Ensuring fair compensation for creators across all platforms and tackling new forms of piracy, like stream manipulation. Call to Unity: o The music community must remain united to address new threats and support the creative economy. Collaboration between artists, labels, and platforms is key to sustaining growth and innovation. Questions: 1. How has AI influenced the need for unified policies in the music industry? 2. What impact have streaming services had on revenue distribution between major and independent artists? Key Points: "As New Threats Arise, The Music Community Must Continue Standing Together in 2023" by Mitch Glazier MUSIC INDUSTRY NOTES *****STUDY WITH AI QUZZES Unity in the Music Industry: The music community must continue working together to address emerging challenges like artificial intelligence (AI), piracy, and undervaluing of music. Past Successes: o Music Modernization Act (2018): Updated streaming rights and ensured fair compensation for songwriters and legacy artists. o EU Copyright Directive (2021): Strengthened artist rights and fair pay. o Pandemic Relief: Supported small venues and artists with public policies. o Label Initiatives: Major labels waived unrecouped balances for legacy artists, ensuring immediate royalty payments. Ongoing Challenges: o AI and Piracy: AI poses a threat to human authorship, while new forms of piracy (e.g., stream manipulation) undermine the creative economy. o Evolving Business Models: Streaming and DIY distribution have expanded artist reach, with independent labels growing rapidly. o Revenue Sharing: Artists now receive a smaller portion of revenue compared to the CD era, though songwriters and publishers' shares have grown in the streaming era. Future Focus: o Standing Together: The music industry must unite to ensure creators get full value across all platforms, while supporting diversity, wellness, and equality. o AI and Human Creativity: The industry must develop responsible policies that protect human creativity in the face of AI advancements. #7: Key Points: "How Music Copyright Lawsuits Are Scaring Away New Hits" by Amy X. Wang Boom in Copyright Lawsuits: The music industry has seen a surge in copyright infringement lawsuits, starting with the 2015 “Blurred Lines” case, which expanded copyright protection to vague elements like a song’s “vibe” and feel, beyond lyrics and melody. Impact on Musicians: High-profile cases, like those against Katy Perry and Ed Sheeran, have led to confusion and fear among artists. Musicians now worry that any new song could lead to litigation. Insurance and Risk Management: To mitigate legal risks, some artists are purchasing errors-and-omissions (E&O) insurance, costing up to $250,000 annually, while others hire musicologists to vet songs for potential issues. Legal and Financial Strains: Many lawsuits target successful songs for potential financial gain. Smaller songwriters and independent artists face significant vulnerability due to the high cost of defense. Common Concerns: The widespread use of similar music software and finite musical structures (e.g., notes, chords) increases the risk of unintentional similarities, further complicating copyright disputes. Future Uncertainty: The ongoing Led Zeppelin “Stairway to Heaven” case could clarify or further complicate copyright boundaries. The industry is awaiting rulings that might address this ambiguity. #8: Key Points: "Independent vs Signed: What’s Best for Your Music Career?" by Ditto Music Changing Landscape: While signing to a major label was once the ultimate goal for musicians, many now choose to stay independent due to increased scrutiny of label contracts. Benefits of Being Independent: o Creative Control: Independent artists have full control over their music, branding, and release schedules. o Ownership of Music: Independent artists retain all rights to their music and earn a higher percentage of royalties. o Easier Distribution: Advances in technology and access to distribution platforms like Spotify and Apple Music make it easier for independent musicians to reach audiences. Challenges of Independence: o Hard Work: Independent artists often lack the financial backing of a label and must handle their own marketing, distribution, and management, which requires significant effort. o Limited Industry Connections: Without a label’s support, independent artists may struggle to access bigger platforms, collaborations, or large-scale promotion. Pros of Signing to a Label: o Industry Connections: Record labels provide resources, connections, and funding to promote artists and help them reach larger audiences. o Financial Support: Labels typically cover production, marketing, touring, and other costs that independent artists would have to manage themselves. Cons of Signing to a Label: o Lack of Creative Freedom: Artists may lose control over their music and image if the label's vision does not align with theirs. o Long Contracts and Financial Debt: Artists often don’t see royalties until they’ve repaid advances, which can take years. Conclusion: The decision between staying independent or signing with a label depends on an artist's goals. Independent routes offer control and ownership, while signing with a label may provide greater exposure and resources, though with potential downsides. #9: Key Points: "5 Famous Independent Artists Who Made It Big All On Their Own" by Amit Sher Shift in Music Industry: Historically, signing with a major record label was the ultimate goal for musicians. However, the rise of streaming services and DIY promotion has made independent success more feasible. Successful Independent Artists: 1. Macklemore: Achieved major success with his track "Thrift Shop," going #1 on the Billboard charts without a label’s backing. His album "The Heist" won multiple Grammy Awards, proving independent success is possible. 2. Boyce Avenue: The band gained popularity on YouTube, with 16 million subscribers, and generates over $4 million annually. They left Republic Records due to slow progress and remained independent. 3. Chance the Rapper: First artist to win a Grammy without selling physical copies, relying on streaming with his album "Coloring Book." He has rejected multiple record deals to stay independent. 4. Mýa: After a successful mainstream career, Mýa became independent, created her label (Planet 9), and released multiple successful albums, touring globally. 5. Frank Ocean: After leaving Def Jam Records, he released his album "Blonde" independently, which hit #1 on the Billboard 100, earning over $1 million in profits. Key Takeaway: Independent artists now have more opportunities for success through streaming platforms and self-promotion, allowing them to retain creative control and profit from their music without needing major label support. Final Advice: While success as an indie artist is possible, it requires persistence, diligence, and motivation. With determination, artists can thrive independently in today's music industry. #10: Key Points: "Music Agent" Overview from Berklee College of Music Role of a Music Agent: A music agent secures live performances, tours, and media appearances for artists, negotiates fees and contracts, and coordinates logistics. This includes building relationships with promoters, talent buyers, and venue managers. Career Path: Music agents often start in entry-level roles like internships or assistantships at talent agencies, working their way up. Some may eventually establish their own booking agencies. Major Agencies: Prominent agencies in this field include United Talent Agency, William Morris Endeavor, and Creative Artists Agency, though smaller regional agencies also provide opportunities. Skills Needed: o Professional Skills: Knowledge of music venues, marketing, contracts, and negotiations. o Soft Skills: Strong communication, organization, multitasking, and interpersonal skills. Work Environment: Music agents work long hours, often balancing desk work with attending live performances. The role requires adaptability and the ability to handle fast-paced, high-pressure environments. Networking and Associations: Building a strong network is critical, and associations like the Association of Talent Agents can provide support. Successful agents often grow their connections through frequent interactions in the industry. Educational Paths: Degrees in Music Business or Music Management from institutions like Berklee College of Music can prepare individuals for this career. #11: Key Points: "Concert Promoter" Overview from Berklee College of Music Role of a Concert Promoter: Concert promoters organize, market, and produce live music events, including concerts, tours, and festivals. They handle tasks such as booking talent, securing venues, setting ticket prices, and arranging logistics. MUSIC INDUSTRY NOTES *****STUDY WITH AI QUZZES Responsibilities: o Budgeting: Promoters must carefully plan budgets and manage financial risk for live events. o Contracts and Negotiations: Securing artists and negotiating contracts with venues and talent. o Marketing: Designing promotional strategies to attract audiences, often involving ticketing and media campaigns. o Production Oversight: Coordinating travel, hospitality, and technical elements like lighting and sound. Career Path: Promoters may start by producing small, local events or working as interns at major companies like Live Nation or AEG Presents. Many promoters progress by building a reputation for successful, well-attended events, eventually booking larger acts and venues. Skills Required: o Professional Skills: Budgeting, marketing, event production, contracts, and negotiation. o Soft Skills: Detail orientation, multitasking, and strong interpersonal skills for networking and negotiations. Work Environment: Concert promotion is a demanding, time-intensive job that requires both office work and frequent attendance at live shows. Promoters often work evenings and weekends, continuously networking and scouting for talent. Networking: Building connections is key, with professional associations like the International Entertainment Business Association and the Concert Promoters Association offering valuable resources. #12: Key Points: "What Are Mechanical Royalties?" by Liane Bonin Starr Definition: Mechanical royalties are payments to songwriters or publishers when their music is reproduced or sold, either physically (e.g., vinyl, CDs) or digitally (e.g., streaming, downloads). Song Ownership: Songs are divided into two halves: o Composition: Includes lyrics and melody, typically controlled by songwriters and publishers. o Master Recording: Usually owned by the label or distributor. Sources of Mechanical Royalties: These royalties come from: o Physical sales (vinyl, CDs) o Digital streams/downloads (Spotify, Apple Music) o Other uses like ringtones, film soundtracks, and karaoke recordings. Rates: o Physical/download royalties: 12.4 cents per song under five minutes or 2.39 cents per minute for longer songs. o Streaming rates are based on platform revenue and vary. Royalty Collection: o It's essential to track where your music is played to collect royalties. o Using a publishing administrator like Songtrust helps artists manage global collections. Conclusion: Mechanical royalties are an important revenue stream for songwriters, and efficient collection through services like Songtrust can maximize earnings. #13: Key Points: "Mechanical vs Performance Royalties" by Henry Schoonmaker Types of Royalties: o Mechanical Royalties: Earned when a song is reproduced or sold, either through physical formats (CDs, vinyl) or digital platforms (Spotify, Apple Music). o Performance Royalties: Earned when a song is publicly performed, such as through radio, live shows, streaming, or TV/film placements. Mechanical Royalties: o Generated from physical sales, digital downloads, and streaming (interactive platforms like Spotify). o Collected by organizations like The Mechanical Licensing Collective (MLC) and music publishers. o YouTube also generates "micro-sync" royalties, which are a form of mechanical royalties for audiovisual content. Performance Royalties: o Earned from live performances, radio, TV, and both interactive and non-interactive streaming. o Collected by Performing Rights Organizations (PROs) like ASCAP and BMI, or Collective Management Organizations (CMOs). o Paid out in two halves: a writer's share and a publisher's share, typically split 50/50. Collection and Administration: o Independent artists should work with publishers or publishing administrators to collect both mechanical and performance royalties. o Organizations like Songtrust help manage the collection process globally, ensuring all royalties are tracked and received. Additional Sources of Royalties: o Other overlooked sources include ringtones, covers, film soundtracks, and karaoke. Key Advice: Keep track of how and where your songs are being used, register with collection societies, and utilize publishing services to ensure you're collecting all due royalties. #14: Key Points: Definition: Music publishing is the business of acquiring, protecting, and promoting song copyrights. Purpose: Ensures fair payment to songwriters for the use of their musical works. Royalty Sources: o Mechanical Royalties: Paid by record labels. o Performance Royalties: Paid by radio stations, bars, and restaurants. o Sync License Fees: Paid by film studios and advertising agencies. Payment Structure: Only songwriters receive royalties, not performing artists or recording owners. Related Terms: Royalties, publishing administrator, major publishers, independent publishers. Resources Available: Guides, articles, and industry news related to music publishing. Explore Songtrust Services, Pricing + FAQs, and Learn about Music Publishing. It involves acquiring, protecting, and promoting song copyrights to ensure fair payment for songwriters when their works are used by companies like record labels, radio stations, bars, film studios, etc. Royalties only go to the songwriters, not performing artists or recording owners. Related terms include Royalties, Publishing Administrator, Major Publishers, and Independent Publishers. For more information, check out our Modern Guide to Music Publishing. Sign up for Music Publishing Tips, Product Announcements, and Industry News.