2.T5 - OBRAS: REPRESENTACIÓN INTERNACIONAL

Módulo 12: Derecho de Autor en Argentina - Obras Musicales SADAIC Clase Teórica Número 5

Introducción a las Sociedades de Gestión Colectiva

• En esta clase se abordará el tema de las sociedades de gestión colectiva de derecho de autor, continuando con la discusión sobre autoría y derechos relacionados con obras musicales.

• Se mencionan los diferentes tipos de derechos que poseen los autores, incluyendo derechos de ejecución pública, reproducción mecánica y sincronización.

Clasificación de Sociedades de Gestión Colectiva

• Se introduce el término "performing rights organizations" (PRO), que se refiere a sociedades que recaudan exclusivamente derechos de ejecución pública.

• La confusión puede surgir debido a la predominancia del modelo estadounidense en internet, donde estas organizaciones operan como empresas competitivas sin obligación compulsiva para afiliarse.

Derechos Mecánicos y su Recaudación

• En EE.UU., existen organizaciones como Harry Fox Agency (HFA) que se encargan de recaudar derechos mecánicos generados por plataformas digitales y ventas físicas.

• El Music Modernization Act (2018) introdujo cambios significativos al establecer una entidad llamada Mechanical Licensing Collective (MLC), encargada de otorgar licencias mecánicas automáticamente.

Implicaciones para Autores Internacionales

• La MLC otorga licencias compulsivas para el uso mecánico, asegurando que los autores reciban regalías cuando sus obras son utilizadas en EE.UU.

• Es crucial que los autores fuera de EE.UU. se dirijan a su sociedad local para reclamar regalías si sus obras son populares en ese país.

Convenios Internacionales y Reciprocidad

Understanding Collective Management Organizations

Affiliation and Rights Collection

• The speaker discusses the implications of being affiliated with a collective management organization (CMO) like SADAIC, emphasizing that if one is part of such an entity in their country, they cannot be considered a fully self-administered composer.

• It is highlighted that SADAIC manages licensing and collects royalties on behalf of its members, which means composers lose some autonomy over their works when they affiliate.

• The speaker mentions various CMOs across Europe and Latin America, noting that these organizations collect all types of rights and have agreements for synchronization rights.

Role of CMOs in Rights Management

• Collective management organizations (CMOs) are defined as entities responsible for collecting royalties from mechanical rights and other forms of usage.

• The discussion includes the importance of reciprocity agreements between CMOs to ensure international representation for authors' works.

Mechanisms for Collecting Mechanical Rights

• The speaker explains how mechanical rights can be collected through publishing services, stressing the necessity for composers to associate with publishers to avoid losing out on potential earnings.

• A significant point made is that since 2018, musicians can become self-administered but must still affiliate with local entities to effectively manage their rights collection.

Challenges in International Rights Collection

• There are limitations noted regarding affiliations; if a composer does not register with a local CMO or publisher, they risk missing out on collecting mechanical rights internationally.

• The speaker emphasizes the need for awareness about local regulations and services available in different countries concerning royalty collection.

Modernization Needs in CMO Practices

• The role of CISAC (International Confederation of Societies of Authors and Composers) is introduced as it regulates practices among CMOs to ensure reciprocal assistance in managing authors' rights globally.

• Current practices require modernization to improve efficiency in royalty collection processes across borders.

• Authors typically register their works with their local CMO, which then facilitates international revenue collection through bilateral agreements.

• Proactivity from composers is crucial; they must actively report performances or usages abroad to claim owed royalties effectively.

Understanding International Music Rights Management

Overview of International Organizations

• The discussion begins with the mention of "bien de larga" and "emme," which refer to international organizations that encompass all entities responsible for collecting mechanical rights, including SADAIC as part of CISAC.

Repertoire Definition and Importance

• The term "repertorio" is defined as the collection of registered works within a management society. When referring to SADAIC managing its repertoire, it indicates the totality of registered works, each assigned a unique identification code.

Unique Identification Codes

• Each work is given an international code known as ISWC (International Standard Musical Work Code), which facilitates the transfer of funds and rights claims between societies. No two works share the same code globally.

Responsibilities in Metadata Management

• It is clarified that producers or artists uploading music do not need to manage these codes themselves; they can consult databases to find their songs' codes without being responsible for their assignment.

Accessing Public Information on Works

• Artists can search public databases from various management societies to find information about their registered works, including authorship details and whether a work has an associated publisher.

Licensing Requirements in Different Jurisdictions

• Understanding where a song is registered is crucial since licensing requirements differ by country. For example, if a song is registered in the U.S., specific licenses are needed for cover recordings.

Consulting Societies for Information

• To obtain accurate information regarding a particular work's registration status or licensing needs, one should utilize online resources provided by management societies like BMI or ASCAP in the U.S., or contact them directly via email.

Conclusion on International Management Societies