Imagine you're walking down a city street, and a nearby café is playing a jazz tune, while a passer-by is blasting a popular song on his phone. Music is almost everywhere in the city, but have you ever wondered when such public performances cross the boundaries of legality?
When is music a legitimate source of joy, and when can it lead to serious consequences? Where are the limits of copyright protection and how do you avoid being listed as a copyright infringer? Rokas Puodžiūnas, lawyer at AVOCAD, answers these questions.
Musical works are protected by Copyright. Copyright objects are original literary, scientific and artistic works that are the result of creative activity expressed in some objective form.
Thus, there are two requirements for works to be protected by copyright: originality and objective form. The latter means that the work must have been created in a form (which does not necessarily have to be fixed in a tangible medium) that allows it to be perceived by others (e.g. a book that can be read, a painting, etc.). A work cannot be considered to be merely an idea that has not been realised.
The moment of creation of protection in works
Copyright protection of works starts from the moment the work is created, i.e. from the moment the work is expressed in an objective form. Whether or not the person who created the work intended it to be the subject-matter of copyright protection is irrelevant to the triggering of protection. Nor does the law require any formalities that are relevant to the emergence of protection (such as registration, special marking, recognition).
Copyright is divided into two types: personal moral rights and economic rights (also known as economic rights).
The author's moral rights are rights that have no economic content. They are intrinsically linked to the personality of the author. The purpose of these rights is to protect the author's personal interest in the work being known as he created it. Non-proprietary rights cannot be transferred to other persons.
The law establishes 3 personal moral rights:
- authorship right - the right to claim authorship of a work by having the author's name clearly indicated on all copies of the work published, or by any other practicable means of public performance of the work;
- the right to the author's name - the right to request that any use of the work include or exclude the author's name or a pseudonym;
- the right to integrity of the work - the right to object to any distortion or other alteration of the work or its title, as well as to any other interference with the work which may harm the author's honour or reputation.
Copyright is the right to use the author's work. Only the author, another rightholder or his/her representative can authorise or prohibit the public use of the work in any way. Unlike in the case of moral rights, the author is entitled to receive a fair and proportionate royalty for each use of the work in relation to the author's moral rights. Economic rights can also be transferred by contract and inherited. However, economic rights are subject to a term of preservation: authors' economic rights last for the lifetime of the author and for 70 years after the author's death.
The law provides for this non-exhaustive list of property rights:
- reproduce the work in any form or manner;
- to publish the work;
- translate the work;
- adapt, arrange, stage or otherwise rework a work;
- distributing the original or copies of the work by sale, including by public offer to buy or by targeted advertising of the original or copies of the work to encourage consumers to buy them, or renting, lending or otherwise transferring the original or copies of the work for ownership or possession, or for importing or exporting;
- display the original or copies of the work in public;
- perform the work publicly by any means and by any means;
- broadcasting, retransmission and other communication of the work to the public, including making it available to the public on computer networks (the internet).
Any use of the original work or copies thereof without the permission of the author, his successor in title or his duly authorised representative is considered unlawful.
How are copyright regulations reflected in the public domain when a piece of music is released?
First of all, it should be noted that publishing music without the author's consent is not always an infringement.
The publication of music in a public space is considered a public performance of the work. A public performance is the playing, singing, playing, reciting, reading, dancing or other means of public performance of a work, either directly (live performance) or by means of any means or equipment, in any public place where an unspecified group of members of the public is present at the same time, or is likely to be present.
It is clear from this definition that a performance of a work is not only when it is performed live, but also when it is made audible to an unspecified group of members of the public by technical means.
An undefined group of members of society is understood as a group of individuals who are not bound by any strong reciprocal relationship (e.g. family; friends; classmates) and therefore cannot be defined. Therefore, playing music loudly at a private party of friends will not constitute copyright infringement.
However, playing music in a public space where any passer-by can hear it (e.g. music played over loudspeakers in a shopping mall, in restaurants; in hotel lobbies), unless the author's consent has been obtained and the author has been compensated fairly, will already be considered an infringement. For such an infringement, the author will be able to claim the cessation of the unlawful acts (if they have continued for a longer period of time) and compensation for the use of the infringing work.
How to avoid a possible infringement?
If the aim is to legally play music in a public setting in order to create a cosy atmosphere, it may seem difficult on the face of it, as you would have to agree with all the songwriters whose work you want to play, and it may be even more difficult if you want to play a foreign work. It can be even more complicated if the author and the performer of the musical work are not the same, as in such a case the copyright belongs to the author of the song, but the performer of the song owns the neighbouring rights to the performance of the song (neighbouring rights are derivative rights to the result obtained by the use of the work, i.e. performance of the work, recording of the work, the first take of a film, etc). This would entail contracts with several entities.
To this end, collecting societies exist to administer and enforce the economic rights of performers by concluding contracts with them. It is therefore more convenient for users to be able to conclude contracts for the lawful exploitation of their works with a single organisation that manages such right holders.
In Lithuania, such organisations are often heard in the public domain, such as LATGA (Lithuanian Association for the Protection of Copyrights) and AGATA (Lithuanian Association of Neighbouring Rights). As the name suggests, LATGA represents copyright holders and ensures that authors are compensated for the use of their works. AGATA ensures the rights of related rights holders by representing the interests of performers, producers of phonograms and audiovisual works.
So, if individuals want to legally use music in their activities, they need to enter into agreements with both LATGA and AGATA. Otherwise, an infringement of the law is being committed, for which appropriate legal consequences may be imposed.