The International Confederation of Music Publishers (ICMP), of which AMPAL is a member, has today revealed the honouree for the 2015 ICMP Ralph Peer II Award for Outstanding Contribution to Global Music Publishing. Irwin Robinson, who the ICMP notes 'is one of music publishing’s most respected and innovative leaders', was selected from nominees submitted by ICMP member organisations in over 70 countries. The Award, initiated by ICMP in 2013, and named after its first honouree Ralph Peer II, recognises visionaries in the field of music publishing, whose roles have helped develop, protect and value the music of composers and authors around the world. Robinson has served as both a National Music Publishers' Association board member for over 40 years and as its Chairman for the last 30. Robinson also serves as Publisher Vice Chairman of the ASCAP Board, of which he has been a member for over 40 years, as a board member of The National Academy of Popular Music and as a custodian for The Songwriters' Hall of Fame. Congratulations Irwin Robinson.
AMPAL board director Ian James has been nominated for the Music Publisher award at the International Music Industry Awards to be announced at MUSEXPO on 29 April in Los Angeles. Ian is the Managing Director of Mushroom Music Publishing (Australia). For more information see: http://www.allaccess.com/net-news/archive/story/137762/musexpo-announces-nominees-for-international-music Congratulations Ian!
Music Talks Is a new series of talks, seminars, and panels and discussing topical issues in music. They are future focused with many geared to the independent sector. All feature expert presenters and speakers, and each targets a particular professional audience. Panel sessions include a skilled Chair with expert speakers, moderated discussion, and questions from the floor.
Music Copyright – the Artist and the Internet
Our second Music Talks seminar takes a look at Copyright. We are delighted to present Music Copyright – The Artist and the Internet sessions in Brisbane, Melbourne and in Sydney, each presented with local partners.
About the Seminar:
This Q&A/Panel Discussion looks at the latest developments to enhance protection for composers and creators from their content being used on the internet without authority. Our expert panel explains what is happening here and overseas, unpacks the terms involved, and answers your questions. Attend this seminar to understand what a ‘safe harbour’, a ‘takedown notice’ and ‘web blocking’ is, and the copyright issues involved for musicians and music makers.
- Chris O’Neill – Panel Chair, National Team Leader – Writer Services APRA AMCOS
- Vanessa Hutley – General Manager, Music Rights Australia, Music Rights Advocate
- Rick Chazan – Manager, GROUNDCONTROL Music Management (AUS)
- Matt McCormick – McCormick Lawyers
- Michael Smellie – Chair, Music Australia, Panel Chair
- Vanessa Hutley – General Manager, Music Rights Australia
- Lindy Morrison – Artist
- Fiona Phillips – Executive Director, Australian Copyright Council
The Music, The Artist and The Internet - The Latest in Digital Rights
Date: Friday 14th November 2014
Time: 2.40 – 3.40pm
Location: The Arts Centre Melbourne, 100 St Kilda Rd
Presented By: Music Australia and Face the Music
This lively discussion brings together users, artists and experts to look at the future of digital music rights in Australia. The Government’s recent Online Infringement discussion paper is a hotbed for discussion for rights advocates and artists who want the right to choose how their music is used, and those who make their living from composition or recorded music. From the latest developments for composers and right holders, to artists wanting to know more about sampling to media and users who want to understand fair dealing, we've got you covered. We'll explore and demystify copyright as our expert panel explain developments here and overseas, unpack the terms involved, and answers your questions.
- Nicholas Jones – Tone Deaf: Moderator
- Vanessa Hutley – General Manager, Music Rights Australia, Music Rights Advocate
- Frank Rodi – Deputy Director Writer Services, APRA AMCOS
- Ben O'Hara – Head Of Music Business, Box Hill Institute / Business Writer thebiz.com.au
- Artist - To be announced
Support Act's crowd funding campaign to raise funds for its important work in supporting music industry professionals in need is proving to be a big success - with some great rewards on offer. Details on Bandwagon can be found here: http://supportact.org.au/bandwagon/
Once again AMPAL is sponsoring the $10,000.00 second prize for the Vanda & Young Songwriting Competition.
The winning songwriter/s will take home a cash prize of $50,000 and join the illustrious company of past Vanda & Young Songwriting Competition winners – Megan Washington (2009), Kimbra (2011) and The Preatures (2013).
This unique charity fundraising songwriting competition is the largest of its kind in the world. It supports emerging songwriters and uses the power of music to help people with developmental disorders such as Autism Spectrum Disorder, Rett Syndrome and Angelman Syndrome and disabilities such as Cerebral Palsy, Down Syndrome, Dyspraxia and Spina Bifida.
All proceeds go to Nordoff-Robbins Music Therapy Australia.
Please visit www.apraamcos.com.au/vandayoungsongcomp to enter for more information and terms and conditions.
The Australian Children’s Music Foundation’s (ACMF) National Songwriting Competition is an initiative to encourage creativity and self-expression through songwriting. AMPAL is one of the sponsors of the competition. It is a free entry annual competition for every Primary, Secondary and Specific Purpose School, across Australia. More info on the competition can be found here:
In accordance with the Australasian Music Publishers' Association Limited (AMPAL) constitution, nominations for the position of board director can be received up to 60 days prior to the date of the annual general meeting (AGM).
The date for the 2014 AMPAL AGM is Thursday 13 November 2014. Accordingly, nominations for the position of AMPAL board director must be received by the company secretary by no later than 5pm Sunday 14 September 2014.
Details of nominees will be provided to all eligible full members prior to the AGM and in accordance with the AMPAL constitution. You can read the constitution at http://www.ampal.com.au/ampal-constitution/.
For a copy of the AMPAL board Nomination Form and to discuss your eligibility for nomination, please contact the AMPAL Company Secretary, Matthew O’Sullivan, email firstname.lastname@example.org.
APRA have announced that this year's recipient of the Ted Albert Award for outstanding service to the music industry is Lindy Morrison. Lindy has been a tireless campaigner on behalf of musicians. Lindy was the drummer with the Go-Betweens. she is also the National Welfare Coordinator of Support Act Limited and a long time performer director of PPCA. More info can be found here: http://www.apra-amcos.com.au/news/allnews/LINDYMORRISONOAMTORECEIVETEDALBERTAWARDFOROUTSTANDINGSERVICESTOAUSTRALIANMUSIC.aspx
CueSongs has been appointed to carry out all individual sync licensing activity on behalf of MCPS mandated members. MCPS is the UK mechanical right society and is managed by PRS for Music. CueSongs was co-founded by Peter Gabriel and digital music veteran Ed Averdieck. Jane Dyball, CEO of MCPS, says: “CueSongs is totally focused on the business of sync licensing and is already a MCPS trusted partner in other areas of business, so we are looking forward to seeing rapid results. More details can be found here: http://www.prsformusic.com/aboutus/press/latestpressreleases/Pages/cuesongs-appointed-by-mcps-for-individual-sync-licensing.aspx
The UK Government planned to change UK Copyright Law to allow private copying from June this year. The changes would permit consumers to copy their lawfully acquired music files onto their music player of choice for their personal use. However the changes have been temporarily put on hold while further consideration is given to how such changes fit with European law. Changes to allow parodies are also being reviewed. The changes arise from the Hargraves Review of Intellectual Property.
The proposed changes are a long way short of the recent proposals by Australian Law Reform Commission to introduce an exception to copyright infringement for the "fair use" of copyright material. The "fair use" concept was specifically rejected by the Hargraves Review. The UK changes mirror 2005 changes to Australian Copyright Law. Apart from private copying, they also introduce a number of other exceptions including for archiving. Details of the proposed UK changes can be found here: http://www.ipo.gov.uk/types/hargreaves/hargreaves-copyright/hargreaves-copyright-techreview.htm
An article on the delay can be found here: http://www.theregister.co.uk/2014/05/08/govt_yanks_copyright_exceptions/
Emmanuel Legrand has posted an interesting blog on the US synch market, following a recent trip to MusExpo in LA. Emmanuel is a freelance journalist who also co-ordinates the biennial CISAC Copyright Congress.
Part 1: Understanding the market, can be found here: http://legrandnetwork.blogspot.fr/2014/04/synchs-part-1-understanding-hollywood.html
Part 2: 10 tips for an efficient synch business, can be found here:
The Trans-Pacific Partnership (TPP) Agreement is currently being negotiated between Australia, the US, Canada, Japan, Mexico, Peru, Vietnam, Malaysia, Brunei, Chile, New Zealand, and Singapore, aimed at simplifying trade between the 12 nations. A leaked version of the chapter on Intellectual Property has caused concern in some quarters that the US have been pushing for tougher IP provisions in the agreement. An interesting analysis of the leaked section can be found here: http://works.bepress.com/kimweatherall/27/
The December 2013 edition of the APRA|AMCOS Newsletter, APRAP, contains an article from AMPAL General Manager, Jeremy Fabinyi, on publishing "Tips of the Trade". The article can be found here: http://aprap.apra-amcos.com.au/2013/tips-of-the-trade-publishing-deals-the-dos-and-donts/ and is reproduced below:
Tips of the Trade: Publishing Deals – the Dos and Don’ts
This month we spoke to Jeremy Fabinyi, the General Manager of the Australasian Music Publishers’ Association (AMPAL) about what you should consider in terms of publishing deals and what you need to know about publishers. Jeremy has been with AMPAL since returning to Australia in 2012 after ten years overseas – he had three years with the international authors’ trade associations, BIEM and CISAC in Paris, before becoming Managing Director of the UK’s mechanical right society, MCPS. He went on to hold a number of roles within the MCPS/PRS organisation including a stint as acting CEO of PRS for Music.
What should I expect from a publishing deal? What will publishing companies do for my music and my career?
Publishers assist writers by providing financial assistance, professional and creative advice, commercial exploitation and making sure that the money flows.
What should an songwriter consider before approaching a publisher? What are the basics that every songwriter should have before they approach a publisher? What are the best ways to attract interest from potential publishers?
Music publishing is a competitive business. Writers compete to get the attention of publishers and publishers compete to sign the writers with the greatest potential. There are some publishers who just need to hear the music to be inspired to sign a writer, but it is a good idea to have a clear idea of the market for the music before approaching a publisher. Of course it helps if the writer has already created music that has found an audience. Different publishers specialise in different genres of music and some research is required to find the right publisher to pitch music to.
Who should be looking for publishing deals and at what stage does a publishing deal become a priority? I’ve been in the industry for a while and have a good set of contacts and networks. Do I need a publishing deal?
Music publishing isn’t rocket science but it does come with its own jargon and business practices. Writers who are prepared to spend the time to get an understanding of the industry and the royalty and rights flow should be able to manage their own affairs. However once the pressure comes on – for example through significant international success – it becomes much harder for writers to deal with the complexities of the industry on their own.
Is it more important for writers/musicians to have a record deal before a publishing deal? Can a publisher help me secure a record deal if I don’t already have one?
Music publishers in Australia have a long tradition of helping writers get their first record deal. However in the current environment, many people are looking to work without the help of a record company through self releasing their material. In these circumstances, it can be very useful for writers/artists to have music industry-savvy advisers such as music publishers on their team, to help them get what is due to them.
Should I expect an advance with my publishing deal or are they not a guarantee?
Advances aren’t what they used to be – the industry has tightened up considerably in the last few years. However there is nothing wrong with seeking a healthy financial commitment from a publisher – though often the more money upfront, the less attractive the royalty rates and other terms and conditions of the deal.
I want to have creative control on where and whom my music is licensed to. Does a publishing deal reduce my say on this?
Publishers are commercial animals and will want to encourage writers to exploit their songs widely, but a good publisher will always recognise the desire for creative control and will work with their writers to support their moral rights.
Who should I be speaking to before I sign a deal?
A publishing contract is an important legal document. Advice from a lawyer who is familiar with the idiosyncrasies of the music industry is essential.
To find out more information about AMPAL and music publishers head to www.ampal.com.au
The Australia Council for The Arts have three separate grants that are open to artists & songwriters. The deadline for each of them is May 5th.
International Pathways (up to $20,000) - to support international touring by Australian musicians performing predominantly original Australian music.
Presentation and Promotion (up to $30,000) to support one-off projects that present, publish, distribute or market quality music of any style within Australia
New Work (up to $20,000) - to support one-off creative projects of Australian music, sound art or media art, including songwriting.
Public service broadcasters, composers/songwriters, music publishers and collective management organisations have launched a forward-looking industry initiative to facilitate licensing in the digital environment. The parties’ respective European umbrella organizations, EBU, ECSA, ICMP and GESAC have agreed on a Recommendation that sets the principles which will encourage the aggregation of rights for the licensing of certain broadcast-related online activities on a cross-border basis.
The Recommendation establishes common principles that strike a balance between the stakeholders’ interests and objectives to lead to the cross-border licensing of public service broadcasters. This will simplify the basis on which licences of musical works in the context of "broadcast-related online activities", i.e. additional online content related to their regular broadcasting services will be implemented within the European Union. As well as promoting a voluntary re-aggregation of rights, the Recommendation also promotes high levels of transparency for authors/composers and publishers, fair compensation and efficient, modern and non-discriminatory administration arrangements.
Speculation abounds that Amazon is about to launch a streaming music service within its Prime offering. Initial plans are for the US only. An interesting article on the subject can be found here: http://www.digitalmusicnews.com/permalink/2014/04/07/amazonpublishers
The recent decision by the US rate court setting Pandora's rate with ASCAP at 1.85% may have significant repurcussions for the global music publishing industry. A report on the decision by Billboard Magazine can be found here: http://www.billboard.com/biz/articles/news/publishing/5944618/why-publishers-lost-big-against-pandora-analysis
A survey of AMPAL members has valued the Australian and New Zealand Music Publishing Industry at more than $AUD 200 million a year. Although the survey included data from the industry collective management societies APRA|AMCOS, it only related to royalties flowing through music publishing companies and did not include money paid directly to songwriters and composers. The survey will be used as a base line for comparisons going forward. AMPAL members provided confidential information to auditors Rosenfeld & Kant who aggregated the data.
AMPAL's General Manager, Jeremy Fabinyi, has been elected to the Board of Directors of the International Confederation of Music Publishers (ICMP). It is the first time that a representative from this part of the world has been elected to the Board.
ICMP acts on behalf of music publishers across the world to safeguard their creative and economic interests and to help them meet new and emerging challenges in the music business.
ICMP's members include national, regional and international music publishing associations from Europe, Middle-East, North and South America and Asia-Pacific, as well as representatives of the major multinational music publishing companies.
12 UK copyright collecting societies (Collective Management Organisations - CMOs) have launched an independent review of how their codes of conduct are working.
The British Copyright Council developed a policy framework to establish a common set of principles of good practice which provided a set of minimum terms to be used by UK CMOs. Fifteen CMOs have adopted codes of practice, including Printed Music Licensing Limited (PMLL), PRS for Music and Phonographic Performance Licensing (PPL).
The purpose of these codes was to set the standards the CMOs applied in terms of their dealings with members and licensees and in the operation of their internal governance processes and to provide members and licensees with core information about the CMOs.
In recent years, collective rights management has attracted increased attention from policymakers. The review will be undertaken by an independent reviewer who has issued a call for evidence. Details of the Review can be found on its website: http://www.independentcodereview.org.uk/