Cover of: Performers Read Online
Share

Performers" and performance rights in sound recordings Hearing before the Subcommittee on Intellectual Property and Judicial Administration of the Committee ... Congress, first session, March 25, 1993 by United States

  • 615 Want to read
  • ·
  • 35 Currently reading

Published by For sale by the U.S. G.P.O., Supt. of Docs., Congressional Sales Office .
Written in English


Book details:

The Physical Object
Number of Pages97
ID Numbers
Open LibraryOL7371131M
ISBN 10016043677X
ISBN 109780160436772
OCLC/WorldCa30048863

Download Performers" and performance rights in sound recordings

PDF EPUB FB2 MOBI RTF

And, just as performances fixed in sound recordings enjoy the additional benefit of an extra year protection, they also receive additional remuneration rights, such as the ‘20% fund’ measure (see, sections HA(1), HA(2) and HB(3)): this provision requires record producers and companies to pay organisations representing performing. Subsection 6 was added in in order to allow owners of sound recordings the exclusive right to perform their work publicly. Before , the owners of copyright in sound recordings in the United States did not enjoy any rights of public performance but after the amendment a limited right of public performance by means of a digital audio. Get this from a library! Performers' and performance rights in sound recordings: hearing before the Subcommittee on Intellectual Property and Judicial Administration of the Committee on the Judiciary, House of Representatives, One Hundred Third Congress, first session, Ma [United States. Congress. House. Committee on the Judiciary. The Digital Performance Right in Sound Recordings Act of While the DPRA expanded the sound recording’s performance right, performers have still criticized the DPRA’s comparative inequity because composers still have a much wider performance right than ive: Feb 1,

International Protection of Performers Rights book. Read reviews from world’s largest community for readers. With the development of technology such as f International Protection of Performers Rights book. Read reviews from world’s largest community for readers. sound recordings and the Internet, performers have lost control over the Ratings: 0. Full text of "Performers' and performance rights in sound recordings: hearing before the Subcommittee on Intellectual Property and Judicial Administration of the Committee on the Judiciary, House of Representatives, One Hundred Third Congress, first session, Ma " See other formats. Establishing a performance right for sound recordings would require that compensation be paid to artists and rights holders whenever music is broadcast by AM/FM radio. Inequity Overseas In addition, U.S. artists are being deprived of income from overseas because the U.S. does not have a performance right reciprocal to those in other countries. With the development of technology such as films,sound recordings and the Internet, performers have lost control over the exploitation of their performances. The perceived need to protect performers on an international basis - that is, in states in which they are foreigners – has led to provisions being included in three international Cited by: 2.

  This guidance includes information on performer’s rights, the duration of them and specific additional rights in relation to sound recordings. Published 16 October Explore the topicAuthor: Intellectual Property Office. The PRA would also improve the royalty rights of the nonfeatured performers on sound recordings (both vocalists and musicians). Under current law, when a statutory royalty applies to a digital audio performance, a specific portion of that royalty is set aside for nonfeatured performers. But while other copyright owners enjoy the exclusive right to perform their works in public, sound recording owners do not. Currently the United States is one of the few countries in the world that do not recognize a full public performance right for sound recording owners. Full Description: "At last--a manual that takes the chore out of cataloging sound recordings! The author clarifies the AACR2 rules (Anglo-American Cataloging Rules, 2nd edition) and literally steps through the thought process used in cataloging a sound recording, beginning with what to use as the source for the title, through the physical description and series information.