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Summary
The music industry has its own language. From copyright and publishing to recording, licensing, royalties, and distribution, understanding the basic terms can help you understand how music is created, used, credited, and paid for.
This glossary brings together some of the key terms used across the music industry, copyright, music publishing, recording, licensing, distribution, and creator payments.
These are simplified educational definitions. The applicable law, actual rights and agreement determine the result. References below distinguish Indonesian law from international terminology; no definition establishes a particular publisher's services or authority.
Before getting into copyright, it helps to understand the people and businesses that make the music industry work.
A person who contributes creatively to a musical work, performance, or sound recording.
Roles include songwriters, performers and production contributors. A job title or credit alone does not establish authorship or ownership of a composition or recording.
A person who contributes to the creation of a song.
A songwriter can be a composer, lyricist, or someone who contributes to both the music and lyrics.
A creator who writes or contributes to the musical elements of a musical work.
A creator who writes or contributes to the lyrics of a song.
A songwriter who creates a vocal melody and/or lyrics, often over an existing musical track or production.
A contributor who develops a musical backing track. Whether the contribution involves songwriting, recording production, or both depends on the work actually created and the agreements.
A creator who adapts or develops an existing musical work into a particular musical arrangement.
A person who contributes to the creation and production of a sound recording.
The exact creative role of a producer can vary from project to project.
A person who performs or presents a musical work.
This can include singers, instrumentalists, and other performers.
A person who performs music, usually by playing an instrument or contributing musically to a recording or live performance.
A musician hired to perform on a recording or other musical project, usually for a specific session or assignment.
A performer or creator who contributes music spontaneously rather than entirely from a predetermined composition or arrangement.
A person who selects, mixes, and/or performs recorded music.
A creator who creates a new version of an existing sound recording or musical work through remixing.
A person or company that administers or exploits rights in musical works within rights it owns or is authorized to manage. Its mandate may be limited by work, share, right, territory and term.
A business involved in sound recordings and their release, marketing or exploitation. A label does not necessarily own every recording it releases; the agreement determines its rights.
A service or company that helps deliver sound recordings to digital platforms and/or physical retailers.
A service primarily focused on digital distribution of sound recordings to digital platforms.
A digital platform that provides music streaming, downloads, or other digital music services.
Examples include Spotify, Apple Music, Deezer, Amazon Music, and YouTube.
A platform where users can upload and share content.
Examples include YouTube, TikTok, Instagram, and SoundCloud.
An organization that collectively manages specified rights under the mandates it receives. Repertoire, rights, collection and licensing roles vary by territory and agreement.
One of the most important distinctions in the music business is that the song and the recording of the song are not necessarily the same thing.
The underlying musical composition, with or without lyrics, distinct from a particular recording.
The musical work is the part of the song that songwriters and music publishers primarily deal with.
A recording that captures a performance or other sounds.
For example, when an artist records a song in a studio, the resulting recording is a sound recording.
The final or source version of a recording used to make copies or releases. The audio asset and the rights in that recording are distinct.
The master is therefore connected to the recording, not the underlying composition.
Rights associated with a sound recording.
They are generally connected to the owner or rights holder of the particular recording.
Rights relating to the creation or use of a recording.
The exact rights involved depend on the applicable law and the particular use.
The composition, with or without lyrics, used in a recording. A publisher's representation of that work does not itself establish control of the recording.
One musical work can have multiple sound recordings.
For example, the same song can be recorded by different artists, resulting in different sound recordings while the underlying musical work remains the same.
Copyright is one of the foundations of the music industry.
Legal rights in qualifying creative expression. In Indonesia, copyright arises automatically once a work is expressed in tangible form; government recordation or publisher registration is not a condition for it to arise.
In music, copyright can protect musical works, while related or neighboring rights can protect certain performances and sound recordings.
Rights connected to performances and sound recordings.
The terminology and legal treatment vary between countries.
Rights connected to the personal relationship between a creator and their work.
Depending on the applicable law, these can include the right to be identified as the creator and the right to object to certain modifications of the work.
Rights allowing rights holders to authorize specified uses or receive remuneration where the law provides. The scope, exceptions and limitations depend on the applicable law; a use is not automatically exempt because it is unpaid.
Economic rights can include exclusive rights and, in some systems, remuneration rights.
A right where the rights holder can authorize or refuse certain uses and determine the terms of that authorization.
A statutory entitlement to payment for specified uses, which may be administered individually or collectively depending on the legal system.
The exact application varies between countries.
A person or entity that owns, controls, or is otherwise entitled to particular rights.
The legal ownership or entitlement associated with a work, performance, or recording.
Ownership and administration are not necessarily the same thing.
The process of managing information, registrations, licensing, usage, and payments associated with rights.
The broader process of managing and exercising rights associated with creative works and recordings.
Different uses can engage several rights at once. This list is not an exhaustive statement of Indonesian economic rights.
Industry terminology for rights or remuneration linked to reproducing a musical work. Reproduction means making copies, including temporary or permanent copies where covered by law.
Recordings, downloads and certain digital uses can involve reproduction. Streaming may also involve communication or making-available rights; calling it mechanical does not resolve every permission.
Rights associated with the public performance of a musical work.
A live public performance is a common example. Broadcasts and digital communication can involve separately defined rights. The classification and responsible rights managers depend on the applicable system.
Permission to pair a musical work with visual content. Sync is an industry term; the legal rights engaged depend on the use and law. It does not automatically authorize adaptations or use of an existing master.
Examples include films, television programs, advertisements, trailers, and other audiovisual content.
Rights concerning distribution of a work or copies, subject to the applicable law and its limits. Digital delivery as a business service is not the same as the legal right of distribution; communication or making available may be distinct.
Rights concerning changes to an existing work, such as certain arrangements or translations. Permission for sync or a recording does not automatically permit those changes.
Rights associated with creating or authorizing a musical arrangement of an existing work.
Rights associated with translating lyrics or other protected textual elements of a musical work.
Rights associated with reproducing or distributing musical works in printed form.
Rights associated with certain uses of musical works in dramatic or theatrical productions.
Rights associated with the rental of protected works or materials in circumstances covered by copyright law.
Rights to receive compensation from certain private copying schemes where such systems exist.
Licensing is how permission to use protected music is often granted.
Permission from a rights holder or authorized representative to use specified rights within agreed limits. Indonesian law defines a license as written permission.
A license normally defines what can be used, how it can be used, where, and for how long.
The rights holder or representative authorized to grant the specified permission.
The party receiving the license.
A payment made for the licensed use of a work or recording.
A license that gives specified rights or uses exclusively to one licensee according to the agreement.
A license that allows the rights holder to grant similar permissions to other parties, subject to the terms of the agreement.
The geographical area where the licensed use is permitted.
Examples include Indonesia, Southeast Asia, selected countries, or worldwide.
The agreed duration of permission, subject to the duration of the underlying rights and applicable law.
A territory covering the world, subject to the specific terms of the license.
A license covering one specified use.
Contract wording intended to give permission for a long or indefinite period. It cannot extend rights beyond their legal duration; Indonesian copyright licenses may not exceed the protection period.
Licensing managed collectively, generally through a CMO.
Licensing handled directly between the relevant rights holder or authorized representative and the user.
A license that is made available under specific legal conditions, rather than solely through individual negotiation.
Music publishing focuses on the musical work and its rights.
The business of managing, administering, licensing, promoting, and/or exploiting rights in musical works.
An agreement between a songwriter or rights holder and a music publisher defining the rights, responsibilities, scope, territory, term, and other terms of the publishing relationship.
A share of income or rights assigned to the publisher under the applicable agreement or system. State which kind of share is meant.
The songwriter's share under the relevant ownership or income arrangement. An income share is not necessarily the same as ownership of the work.
Maintaining work information, rights records and agreed licensing or income administration. Registering a work in a publisher's system does not create copyright.
A collection of musical works or recordings assembled or represented for a particular purpose. In publishing, it usually means musical works; a catalogue listing does not itself establish control of every right or share.
A publishing arrangement where publishing interests are shared between a songwriter and/or multiple publishing parties according to an agreement.
An arrangement where a publisher or administrator represents a catalogue in a particular territory or market on behalf of another rights holder or publisher.
An arrangement where a publisher or administrator provides administrative services for a catalogue without necessarily taking the same commercial role as under a broader publishing deal.
Many songs are created by more than one person.
The process of two or more creators working together to create music.
Songwriting involving two or more songwriters.
An agreed allocation of specified ownership or income shares. Identify the work or recording and the type of share; composition, master and revenue splits may differ.
A record of the shares agreed by the relevant contributors or rights holders. It should identify the work, parties, type of share and agreement; it is not itself every permission needed for release.
An agreement that establishes the rights, responsibilities, and/or ownership arrangements between songwriters or other parties.
A specific concept under U.S. law covering qualifying employee works and certain commissioned works under defined conditions. A commissioned work is not automatically a work made for hire. Do not assume this U.S. rule applies in Indonesia.
A commercial label for an arrangement involving payment for specified rights or uses. It is not automatically a permanent transfer of all rights; read the actual grant and applicable legal limits.
Recording creates the sound recording that listeners hear.
The process of capturing a musical performance or other sounds.
A recording made in a studio environment.
A recording made during a live performance.
A scheduled recording or performance session involving creators, musicians, producers, and/or engineers.
An artist who performs on a sound recording.
A person who contributes to the creation and production of a sound recording.
A professional responsible for technical aspects of capturing and recording sound.
The process of combining and balancing recorded tracks to create a finished mix.
The final technical process of preparing audio for distribution and playback across different formats and platforms.
A version of a recording created through the mixing process.
An exported subgroup or submix of related tracks, such as grouped drums or vocals. Stems differ from the complete set of individual multitrack files.
A recording project containing multiple individual audio tracks.
A preliminary or working recording used to demonstrate a song or musical idea.
A version of a recording containing primarily or only the vocal performance.
A version of a recording without the main vocal performance.
Not every new version of a song is treated in the same way.
A new recording or performance of an existing musical work by someone other than the original recording artist.
A new work based on or derived from an existing protected work.
A version of an existing work that has been changed or adapted into a different form.
A musical version or adaptation of an existing composition.
A translated version of protected lyrics or text.
A new version of an existing sound recording created by changing, rearranging, combining, or otherwise reworking elements of the original.
A continuous musical mix created by combining multiple recordings or tracks.
A cover, adaptation, arrangement, remix, and DJ mix can involve different rights and permissions. The required permission depends on what is being changed or used and the law applicable to the situation.
After a recording is created, it needs to reach listeners.
In business usage, delivering releases to physical or digital markets. This service does not by itself clear the legal rights in the composition, recording, artwork or other material.
Distribution of sound recordings to digital services such as streaming and download platforms.
Distribution of physical music products such as CDs, cassettes, and vinyl.
Distribution where an independent artist releases music without being signed to a traditional record label, often using a distributor or aggregator.
A collection of recordings selected or organized for listeners.
The process of submitting music for consideration for inclusion in playlists.
The act of making a sound recording available to the public.
The date on which a recording is scheduled to become publicly available.
The visual artwork associated with a music release.
A digital campaign that allows listeners to save an upcoming release before its official release date.
Accurate identifiers and metadata help match works, recordings and parties. An identifier does not itself establish ownership, credit entitlement or a license.
Information describing a musical work or sound recording.
It can include titles, creator names, ownership information, release information, identifiers, and other relevant data.
Information identifying and describing the underlying musical work.
Information describing a particular release or sound recording.
International Standard Recording Code.
An identifier used to identify a particular sound recording or music video.
International Standard Musical Work Code.
An identifier used to identify a musical work.
Interested Parties Information.
A system for identifying interested parties in rights-management administration. An IPI number identifies a party entry; it is distinct from a work or recording identifier.
International Standard Name Identifier.
A standardized identifier used to identify public identities of people and organizations involved in creative and media industries.
Universal Product Code.
A retail barcode format commonly encoding a 12-digit GTIN for a product or release. It does not identify a composition or copyright owner.
European Article Number.
A retail barcode format commonly encoding a 13-digit GTIN. Product identifiers are distinct from ISWC work identifiers and ISRC recording identifiers.
A unique code or reference used to distinguish a particular work, recording, release, person, or other entity.
Information identifying the people who contributed to a musical work, performance, or recording.
Recognition of a creator or rights holder for their contribution or work.
Music can generate different kinds of income depending on how it is used.
A payment generated from the use of a musical work or sound recording according to applicable rights and agreements.
A payment made to a creator or rights holder before the relevant work or recording generates the income against which the advance may be accounted.
A payment made once for a particular performance, use, or other agreed service or right.
Payment or compensation. In music-rights discussions it may refer to compensation for specified uses under law or agreement; it is not limited to collective payments.
A report showing royalties generated, deductions or adjustments where applicable, and the amount payable to the relevant party.
The process of identifying, collecting, processing, and accounting for royalties generated by music.
The process of recovering an advance or other agreed costs from future income before additional amounts become payable, according to the relevant agreement.
Revenue before specified deductions.
Revenue remaining after applicable deductions.
An agreed percentage of revenue allocated to a particular party.
The agreed allocation of royalty income among relevant creators or rights holders.
Copyright generally protects expression rather than ideas.
The requirement that a protected work has sufficient originality under the applicable copyright law.
The expression of an idea in a form that can qualify for copyright protection.
A concept or creative thought.
An idea by itself is generally different from the protected expression of that idea.
The process of recording or otherwise embodying a work, performance, or sound in a sufficiently stable form where required by applicable law.
A work outside copyright protection in the relevant jurisdiction, for example after expiry. An arrangement, recording, performance or other element may remain protected. Free online access does not mean public domain.
The period during which copyright protection applies.
Situations where the law allows certain uses of protected material without obtaining permission from the rights holder.
A legal doctrine in certain jurisdictions that may allow particular uses of copyrighted material without permission when specific factors are met.
A legal concept used in some jurisdictions that permits certain uses of copyrighted material under defined circumstances.
Fair use and fair dealing are jurisdiction-specific concepts. For a use in Indonesia, assess the exceptions and conditions under Indonesian law rather than assuming a foreign doctrine applies.
Copyright is not the only type of intellectual property relevant to musicians.
A sign, name, logo, or other distinctive element used to identify goods or services.
Rights protecting qualifying trademarks against certain unauthorized uses.
Rights concerning the use of a person's image or likeness, depending on the applicable law.
Rights concerning the commercial exploitation of a person's identity, name, image, or likeness in jurisdictions where such rights are recognized.
The recognizable identity or appearance of a person.
The identity and reputation associated with an artist, company, product, or project.
The name under which an artist performs or releases music.
A professional or artistic name used instead of a person's legal name.
An alternative name used by a creator or artist.
Licensing is not the same as transferring ownership.
A transfer of rights from one party to another.
The process through which specified rights are transferred to another party.
Permission to use specified rights; see section 5. Permission and a transfer of ownership are different transactions.
Permission granted by a licensee to another party when the original agreement allows the licensee to do so.
The specific rights that a contract gives, licenses, or transfers to another party.
The boundaries of the rights being granted or managed.
This can include the type of use, territory, media, term, and other conditions.
The format or channel in which a work can be used.
Examples include film, television, advertising, digital video, streaming, games, and social media.
A contractual condition determining whether a right or permission can also be granted to other parties.
Being credited and being paid are related, but they are not the same thing.
Recognition given to the people who contributed to a musical work, performance, or recording.
Recognition of a person who contributed to writing the musical work.
Recognition of a person who performed on a recording or performance.
Recognition of the producer or producers involved in creating a recording.
A person who contributes to the creation of a musical work, performance, or recording.
Contributor information stored in the metadata associated with a work or recording.
The relationship between creators and industry partners can take different forms.
An agreement between a recording artist and a record label concerning the creation, release, exploitation, and/or distribution of sound recordings.
An agreement under which a distributor provides distribution services for sound recordings.
An agreement between a songwriter or rights holder and a music publisher covering specified publishing rights and services.
An agreement granting specified permission to use music under defined terms.
An agreement concerning the synchronization of a musical work and/or recording with visual content.
See Work for Hire in section 7. Assess the governing law and the actual contractual grant; paying for commissioned music does not automatically settle ownership.
See Buyout in section 7. The agreement must identify the rights, uses, term and legal limits; the label alone does not do so.
Music can become part of a much larger audiovisual work.
The use of music together with visual content.
Permission for the composition to accompany visual content within the agreed scope. Recording permission and any adaptation permission must be checked separately.
Permission to use a particular sound recording together with visual content or in another specified use.
A professional who helps select, source, coordinate, and/or manage music for audiovisual projects.
The process of identifying the relevant rights and obtaining the permissions needed to use music.
A record of music used in an audiovisual production for identification and rights administration. It is not a substitute for the required licenses.
A description of the creative and usage requirements for music needed for a project.
The particular way in which music is used.
Digital music created new ways for people to access and discover music.
Playing music or other content over the internet without necessarily downloading a permanent copy.
Obtaining a digital copy of a recording or other content.
Streaming where the listener chooses what recording to play.
A form of on-demand streaming where users can select particular recordings.
Streaming where users have limited control over which recordings are played.
User-Generated Content.
Content uploaded by users to a platform.
YouTube's system for matching uploads against reference material supplied by eligible rights holders and applying their policies. A match or claim is not itself proof of ownership or a license.
The process of generating income from content, music, or other rights.
Music discovery driven by algorithms based on factors such as listening behavior, content characteristics, and user activity.
Sometimes creators and rights holders disagree about ownership, credit, use, or payment.
Unauthorized use of copyrighted material that violates the applicable copyright law.
Use of protected material without the required permission or legal basis.
A request or process to remove allegedly infringing content from a platform or service.
A process through which a rights holder or authorized party notifies a platform about allegedly infringing content and requests action according to the platform's process and applicable law.
A disagreement between parties concerning rights, ownership, credit, payment, licensing, or another issue.
A process where a neutral third party helps parties try to reach an agreement.
A dispute-resolution process where an arbitrator or arbitral panel decides a dispute according to the applicable rules and agreement.
Resolving a dispute through court proceedings.
Information or material used to support a claim or position in a dispute.
A formal demand to stop a specified activity.
Some terms sound similar but refer to different things.
Musical work = the underlying composition, with or without lyrics.
Sound recording = a particular recording of that song.
Music publisher = primarily works with rights in the musical work.
Record label = primarily works with the sound recording/master.
Music publisher = manages rights in musical works according to its agreement.
Aggregator = primarily delivers sound recordings digitally to platforms.
Copyright in a musical work = connected to the underlying composition.
Master rights = connected to a particular sound recording.
Royalty = payment for qualifying use under law or agreement; it is not necessarily recurring.
One-off fee = payment made once for a specified use or service.
Ownership = who owns or is entitled to the relevant rights.
Administration = who is responsible for managing those rights.
Idea = the concept.
Expression = the specific creative form in which the idea is expressed.
Copyright generally protects the expression, not the idea itself.
Use this glossary to identify the work or recording, the relevant rights and parties, and the questions to ask before entering an agreement.
Want to understand how these terms apply to your own musical works?
Explore Songwriter Overview for publishing information. For a project using music, prepare a licensing brief and visit Song User Overview.
Indonesian Copyright Law — Articles 1, 9, 64 and 80
WIPO — Rights clearance for audiovisual uses
WIPO CLIP — The music ecosystem
U.S. Copyright Office — Works made for hire (U.S. law)
IFPI — ISRC and recording ownership
ISWC — Identifying musical works
