FAQs

Here you’ll find answers to the most common questions we are asked about music publishing.

What is Music Publishing?

  • The Business of Music Publishing

    The business of music publishing is concerned with developing, protecting and valuing music. The business is extensive and demands a variety of skills. Music publishers play a vital role in the development of new music and in taking care of the business side, allowing composers and songwriters to concentrate on their creative work.

    The role of a music publisher involves:

    • Finding new and talented songwriters and composers, and encouraging and supporting them as they develop their skills, providing them with the facilities they need to produce music or offering advice and guidance in writing for particular markets.
    • Securing commissions for new works
    • Registering the works of songwriters and composers with all appropriate collecting societies and agencies, e.g. PRS for Music in the UK
    • Producing demo recordings and, in the case of contemporary classical music, performance materials (score and parts etc.)
    • Producing and licensing the production of printed music
    • Producing promotional materials, including demos, electronic press-kits, sampler CDs, study scores, brochures etc.
    • Promoting composers and songwriters and their music to performers, broadcasters, record companies and others who use music on a commercial basis, both nationally and internationally
    • Licensing the use of music, whether directly in the case of individual and special usages (eg. synchronisation deals) or via the collecting society network
    • Responding to new licensing opportunities that flow from technological developments
    • Monitoring and tracking the use of the music they represent and ensuring that proper payment is made for all licensed uses
    • Making royalty payments to songwriters and composers in respect of the usage of their music

    Taking appropriate action against anyone using music without the necessary licence.

  • Music Publishing & Copyright

    The business of music publishing is dependent upon there being a strong copyright framework in place. The control of copyright enables a publisher to recover their investment in songwriters and composers and to ensure that writers are properly credited and rewarded for their creative work.

  • Partnership with Writers

    The relationship between a music publisher and a songwriter/composer is supported by a negotiated publishing contract setting out the rights and obligations of each to the other. Under these contracts, songwriters and composers assign or license the copyright in their music to the music publisher in return for a commitment to promote, exploit and protect that music. The publisher agrees to pay the songwriter/composer royalties earned by their compositions after deducting an administration fee.

  • How is a Music Publisher Different to a Record Company?

    A music publisher invests in songwriters and composers and controls musical compositions, whereas a record company invests in artists and controls master recordings. Not all songwriters and composers are recording artists and many recording artists don’t write their own songs. Money is collected separately for songs and for master recordings.

    For example, Ed Sheeran co-writes his own songs but also writes for other artists such as One Direction. Therefore he has a music publishing agreement as well as a record deal.

    Some of the writers that Ed Sheeran co-writes with on songs that he records are not recording artists. Therefore their only source of income will be from their music publishing royalties.

Becoming a Music Publisher

  • How Do I Form a Music Publishing Company?

    Music publishers come in a variety of different guises: pop, classical, production (or library) music and print, with a range of combinations, specialisations and variations in between. You’ll know where your experience and, just as important, your passions lie. Play to your strengths!

    The Formalities
    One of the first decisions will be what structure the business will take. For example, are you a sole trader, partnership or limited company? As you will be acquiring intellectual property (copyright in this case but also comprising patents and trademarks) it may be appropriate from the word go to vest these rights in a limited company. This affords protection from infringement claims and gives you the flexibility to deal with such assets separately, but there are costs and government regulations to consider.

    Financing
    Acquiring copyrights and building a stable of songwriters will take money. Other costs include legal fees, demo costs, promotion and office expenses (even if your office is a virtual one). If you’re starting out from scratch and don’t have the capital to acquire an existing catalogue then patience is needed, along with the money to keep a roof over your head while you’re playing it. It could well be 2 years from setting up before you start to see any income. Banks may be willing to lend you money and if you go down this route it’s important to find a lender that has an understanding of the business. Even if you are not seeking external finance writing a business plan focuses the mind on your strengths and weaknesses and the opportunities and threats of the publishing market – the so-called SWOT test.

    Getting started – finding and signing talent
    Well-tuned ears and a passion for music are prerequisites. If you don’t have them, your first employee should. There will always be new talent to be found – it’s a renewable resource – but there’s no guaranteed formula for finding it. Getting out to gigs is still very important, Soundcloud, Bandcamp and YouTube are also key. Building up your contacts in the industry is valuable as well and there are plenty of networking events to attend. The value of building a good reputation within the industry cannot be overstated.

    Agreements
    There is no standard form publishing agreement. Various types of the agreements include single song assignment, exclusive agreement for future works and sub-publishing agreement. Have a lawyer draw up your contracts and ensure that the composer has been advised to seek independent advice. Sub-publishing arrangements will allow you to offer songwriters global representation. Choose your sub-publishers carefully and don’t tie yourself into lengthy deals – two or three years is normal. Remember that you can also act as a sub-publisher for other catalogues in your own territory.

    Making Money
    Music is globally ubiquitous – online and offline. Collective licensing is an efficient way of ensuring that such uses are licensed and rights owners remunerated for such use. Investigate membership of both MCPS and PRS. It is crucial that you register your songs quickly and accurately. An increasingly important source of income for all varieties music publishers is synchronisation licensing. Cultivating contacts and building a reputation in this area is vital again.

    There are currently minimum requirements to join PRS and MCPS as a publisher. These are:

    MCPS

    You can join if your music has been:

    • commercially released by a record company
    • recorded and used by a radio or TV programme
    • recorded and used for an audio-visual or multimedia production
    • used online

    PRS

    • 15 works in your catalogue
    • Evidence of your status as a publisher (a signed publishing agreement)

    For more information
    The MPA runs an induction course several times a year. It is an essential introduction to the music publishing industry and covers many facets of music publishing; agreements and money, the writer’s perspective, copyright & related rights, the work of the collecting societies and the users’ perspective. Find the next course here.

  • What are the Different Departments of a Music Publisher?

    A&R (Artists & Repertoire) / Promotion

    • Actively search for new talent at concerts and gigs plus via social media & word of mouth
    • Listen to demos received
    • Match songwriters/composers and lyricists/librettists
    • Produce demos for promotional purposes
    • Pitch songs to record companies for artists to record
    • Develop and maintain press and promotional contacts
    • Oversee the career development of composers/songwriters
    • Look at marketing tie-ins and other opportunities

    HR/ IT / Finance

    • General Human Resource support
    • General IT Support
    • General finance support (examples below)
    • Preparation and analysis of profit and loss statements and balance sheets
    • Payroll and credit administration
    • Provision of statistics for a variety of purposes

    Marketing & Sync

    • Develop and maintain wide-ranging music user contacts with a view to exploiting your copyrights, e.g. record companies, broadcasters, concert promoters, film/AV production companies, performers and others
    • Negotiate music user licences

    Rights Administration – Copyright / Legal / Business Affairs Departments

    • Negotiate and draft publishing agreements with composers/songwriters
    • Negotiate sub-publishing agreements
    • Register new works and catalogues acquired with the collecting societies (eg. MCPS, PRS)
    • Oversee the protection of rights and take action when these are infringed.
    • Sample clearances
    • Oversee agreements with digital service

    Royalty Administration

    • Tracking of all uses of works and collecting in royalties and fees for such uses
    • Managing royalties collected and distributing them on to composers and songwriters

    Sales & Marketing / Hire / Distributions (Hire and Printed Music Publishers)

    • Devise and implement retail/promotional campaigns designed to highlight new printed music products
    • Liaison (direct and indirect) with dealers and, in some cases, educational institutions
    • Attend and organise promotional events
    • Circulate information and product to media
    • Manage the hire library and the loan of scores and materials to performing organisations
    • Control and monitor the use of hire materials
    • Process orders and oversee the physical movement of product from publisher to customer
    • Handle invoicing, stock control and warehousing

    Production & Editorial (Particularly for Classical & or Printed Music Publishers)

    • Consider manuscript scores received and whether revisions/rewrites are required
    • Convert edited manuscripts into printed music and oversee style, design and origination
    • Liaise with typesetters/designers and printers and deal with proofs
    • Proofread and edit music and text
    • Commission and publish new music
    • Contribute to and monitor catalogue development
  • What is the Difference Between a Music Publisher and a Printed Music Publisher?

    A music publisher invests in intellectual property – in other words, it is only exploited when it is played, performed, copied or heard. One medium of exploitation is by sheet music. Not all music publishers produce their own sheet music, most sublicense those rights to 3rd parties who specialise in producing sheet music and songbooks. The companies that still make sheet music and songbooks are known as printed music publishers or print publishers. Most print publishers are also music publishers, but only a few music publishers are also print publishers.

  • How Can I Find Out More About a Career in Music Publishing?

    Although the industry does not employ a great number of people, it caters for a wide range of interests and, in many companies, staff flexibility is essential. Often, a lively interest and willingness to accept any job available may be the key. You can then survey the music publishing business from the inside, and learn which particular department best suits you. Practical experience, as well as formal education or training, is important in the majority of vacancies that occur. Keep an eye on the jobs section of our website for the latest vacancies within our member companies.

    Music publishing jobs tend to fall into a number of broad categories, the majority of which require musical knowledge/experience.

Using Music

  • How Can I Use Music Published by a Music Publisher?

    With certain limited exceptions, to use any work that is in copyright, you must first get permission. The type of permission required depends on how you wish to use the work.

    • Many licences are issued on publishers’ behalf by MCPS which is administered by PRS. To see the full range of licensing schemes offered, please go to PRS for Music.
    • For permission to synchronise music into a film, TV production, commercial or other audiovisual production please contact us via email and we can either negotiate a licence for you or pass the information on to the correct music publisher(s).
    • For permission to photocopy printed music our subsidiary Printed Music Licensing Ltd offers photocopying licences for schools, which is paid for by the Department of Education. PMLL is developing further photocopying schemes so please check their website. For other uses of photocopied printed music, the MPA can help to direct you to the copyright owner. You should provide as much information about the music as possible, including the title, composer, lyricist (if any), any arranger or editor and the date of publication or copyright line (usually inside the front cover or at the bottom of the first page of the music), together with the name of any publisher that you have for the edition. Click here for more about printed music.
    • For permission to arrange works, the MPA can help to direct you to the copyright owners. You should provide as much information about the music as possible, including the title and writer/s.
    • For permission to record music, you should contact MCPS (via PRS for Music).
    • For permission to perform music live you should contact PRS for Music.
    • For permission to broadcast music or include it in a cable programme service, you should contact PPL and PRS for Music.
    • For permission to perform a musical, opera or ballet you should contact the copyright owner/s directly. Again the MPA can help to direct you.
    • For permission to play a recording of music in any public place, you should contact PRS for Music and PPL.

    For any other use not mentioned above, you should contact the copyright owners directly. The MPA can help to direct you.

  • What is Production Music and How Can I Use it?

    Production music is the term used to describe music which is created with the intention of it being used as background music for trailers, movies, TV programmes, computer games and other uses. Typically production music is made in advance and an audiovisual producer will ask for a type of music using descriptive terms e.g. 'something loud and rocky' or 'something romantic'.

    Those descriptive terms can get very detailed. Production music libraries will then pitch music that they have in their catalogue for use. Production music publishers tend to represent the master recording right as well as the publishing right as there is no 'recording artist' as such.

    Find out more about using MCPS Production Music libraries here

  • Using Copyrighted Music

    Before using a musical work that is still in copyright you must first seek the permission of the rights owner. Remember, in the UK the copyright in a musical work lasts for 70 years from the death on the last remaining author.

    Before you sample another recording you must first seek the permission of the rights owner in the work, and, if the recording being sampled was first released within the last 50 years you should also seek the permission of the rights holder in the recording or their agent PPL.

    For detailed information on the dos and don’ts of copying printed music please refer to PMLL.

Information for Composers & Songwriters

  • It All Starts With the Song

    At the heart of everything we do is the musical work and its author. For this reason, the business of music publishing is above all a partnership between publisher and writer. A songwriter or composer will, when signing a publishing contract, assign the copyright in their music to the publisher. In return, the publisher commits to promote, exploit and protect that music, and agrees to pay them a percentage of any income earned from such exploitation as royalties.

    The MPA exists to serve the needs of its music publisher members, so we are unfortunately unable to provide advice to individual writers and composers. Other organisations you may wish to investigate include the Ivors Academy and the Musicians Union. If your works are being performed or broadcast in public, and you have not already done so, you should look at joining PRS for Music.

    The MPA does offer a wide range of training events and seminars, many of which are open to non-members. If you are considering self-publishing then our 'MPA The Publishing Effect - A 101 of Music Publishing' course provides an invaluable overview of what that might involve.

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