Copyrights by countries

May 6, 2025 4 Min Read

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I. How Music Copyright Works (Globally)

When you create an original piece of music, it is automatically protected by copyright — a legal right that grants you control over how your work is used. But to enforce those rights and get paid (for streams, broadcasts, performances, etc.), you must register with the appropriate organizations.

Music copyrights are typically split into two main components:

1. Composition (Publishing Rights)

Covers the melody, harmony, lyrics, arrangement — the actual “song” as written.

Royalties collected:

• Public performance (radio, clubs, concerts)

• Mechanical (CDs, downloads, streaming)

• Synchronization (use in film, TV, ads)

2. Sound Recording (Master Rights)

Covers the specific recorded version of the song (the audio file or record).

Royalties collected:

• Neighboring rights (when recordings are broadcast publicly)

• Digital performance (online radio, streaming)

• Reproduction (e.g. vinyl/CD pressing)

To fully protect your work, you must register your music with both publishing (PROs) and neighboring/master rights organizations (CMOs or neighboring rights societies).

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II. Global Copyright Collection Societies by Country

Here’s a list of major Performing Rights Organizations (PROs) and Collective Management Organizations (CMOs) by region:

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North America

United States

• ASCAP – American Society of Composers, Authors and Publishers

• BMI – Broadcast Music, Inc.

• SESAC – Private PRO (invite-only)

• SoundExchange – Collects digital performance royalties for master rights

Canada

• SOCAN – Society of Composers, Authors and Music Publishers of Canada (publishing rights)

• Re:Sound – Collects neighboring rights for master recordings

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Europe

France

• SACEM – Société des Auteurs, Compositeurs et Éditeurs de Musique

• SPPF / SCPP – Neighboring rights organizations (for master recordings)

Germany

• GEMA – For composers and publishers

• GVL – For performers and producers (neighboring rights)

United Kingdom

• PRS for Music (combination of PRS + MCPS) – For songwriters and publishers

• PPL – For performers and recording owners

Italy

• SIAE – Società Italiana degli Autori ed Editori

• SCF – For neighboring rights

Spain

• SGAE – Sociedad General de Autores y Editores

• AIE / AGEDI – Neighboring rights societies

Netherlands

• BUMA/STEMRA – Buma = performing rights / Stemra = mechanical rights

• SENA – Neighboring rights

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Latin America

Brazil

• UBC / ECAD – ECAD centralizes rights collections; UBC is one of several societies under it

• ABRAMUS – For performers and producers (neighboring rights)

Argentina

• SADAIC – Authors and composers

• CAPIF – Neighboring rights

Mexico

• SACM – Sociedad de Autores y Compositores de México

• AMPARO – For performers and producers

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Asia & Oceania

Japan

• JASRAC – Japanese Society for Rights of Authors, Composers and Publishers

• RIAJ – For recording rights

South Korea

• KOMCA – Korea Music Copyright Association

• FKMP / KOSCAP – Alternatives to KOMCA

China

• MCSC – Music Copyright Society of China (publishing)

• ISRC China – Administers recording rights

Australia

• APRA AMCOS – Songwriters and publishers (performing + mechanical rights)

• PPCA – Neighboring rights for sound recordings

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Africa

South Africa

• SAMRO – South African Music Rights Organisation

• CAPASSO – Mechanical rights

• RISA – Recording Industry of South Africa (neighboring rights)

Nigeria

• COSON – Copyright Society of Nigeria

• MCSN – Alternative PRO

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Middle East

Israel

• ACUM – Authors, Composers and Publishers

• (No central system for neighboring rights — usually managed internationally)

Lebanon / Egypt / UAE

• Copyright protection often limited — artists usually register abroad via SACEM, PRS, etc., or digital distributors like CD Baby, DistroKid that manage collections internationally.

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III. Additional Key Points

International Reach

Many of these organizations have reciprocal agreements. For example, if you register with PRS, they can collect royalties for you in France (via SACEM), or the US (via ASCAP).

Metadata is Critical

Make sure your songs are properly tagged with ISRCs (for recordings) and ISWCs (for compositions).

Incomplete metadata means lost income — especially for streaming and international collections.

Digital Distribution Services

Platforms like DistroKid, TuneCore, CD Baby often offer publishing administration and auto-registration with global PROs (for an extra fee).

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IV. How to Protect Yourself as a Musician

1. Register every song with your local PRO and, if applicable, neighboring rights society

2. Use music distributors that collect from streaming platforms

3. Ensure all your releases have accurate metadata, including writer shares, ISRCs, and publishing info

4. Use platforms like Songtrust, Sentric, or TuneCore Publishing if you don’t have a publisher but want to collect worldwide

5. Consider affiliating with YouTube Content ID, Facebook Rights Manager, and TikTok rights management via your distributor