1. Rights Ownership and Licensing Fundamentals
A musical work consists of two separate copyrights: the composition (the song itself, owned by the songwriter or publisher) and the sound recording (the specific recording, owned by the record label or artist). This dual-copyright structure means that both the songwriter and the recording artist must typically be compensated when music is used commercially. Licensing agreements must clearly identify which rights are being granted, to whom, for how long, and in which territories. Disputes frequently arise when parties misunderstand whether a license covers only the composition or both the composition and the recording.
Mechanical Royalties and Statutory Rates
When a musical composition is reproduced, mechanically or digitally, a mechanical royalty is owed to the composition owner. In the United States, the Copyright Office sets statutory rates for mechanical licensing, which apply unless a higher negotiated rate is agreed. As of 2024, the statutory rate is approximately 10.7 cents per track for compositions five minutes or longer. Streaming services, downloadable music platforms, and physical manufacturers must obtain mechanical licenses and pay these royalties. Many disputes arise because independent artists and small labels fail to register their compositions with a performing rights organization or mechanical licensing agency, resulting in lost revenue.
Synchronization Licenses and Derivative Uses
A synchronization license (or sync license) grants permission to synchronize a musical composition with visual media, such as film, television, advertising, video games, or online content. Sync licensing is separate from the right to use the sound recording and typically requires negotiation with both the publisher and the record label. Rates vary dramatically depending on the medium, territory, and duration of use. A 15-second television commercial in a major market may command a six-figure sync fee, while an independent YouTube video may involve a modest or no upfront payment. Courts in New York have consistently held that sync licenses must be explicit and in writing to be enforceable.
2. Statutory Licenses and Performance Rights
Performance rights are triggered whenever a musical composition is publicly performed, whether live, broadcast, or streamed. In the United States, three performing rights organizations, ASCAP, BMI, and SESAC, collectively administer performance licenses on behalf of millions of songwriters and publishers. These organizations issue blanket licenses to radio stations, streaming platforms, venues, and other users, then distribute royalties to rights holders. The statutory framework governing performance licensing is complex and has been the subject of significant litigation. Real-world outcomes depend heavily on how the Copyright Royalty Board interprets fair market value and whether the platform qualifies for a statutory license.
Streaming Platforms and Compulsory Licensing
Streaming services operate under a compulsory mechanical license for sound recordings, meaning they must pay statutory rates set by the Copyright Royalty Board. However, they must still negotiate separate licenses for the underlying compositions with publishers or performing rights organizations. The rates paid to artists and songwriters by streaming platforms are notoriously low, often generating fractions of a cent per stream. Many independent artists and labels have challenged whether these rates are fair or whether the licensing framework adequately protects creators. These disputes are ongoing in federal court and before the Copyright Royalty Board.
3. Termination Rights and Long-Term Strategy
Under Section 203 of the Copyright Act, authors and their heirs can reclaim copyrights they previously assigned or licensed, but only after 35 years have passed. This termination right cannot be waived in advance and applies to nearly all transfers made after 1978. For music licensing and distribution agreements, this means that even if an artist signed away all rights to a label decades ago, they may have the right to reclaim those rights starting 35 years later. The practical effect is that long-term exclusive licenses may have an expiration date that neither party anticipated at signing. Artists who are approaching or have already passed the 35-year mark should audit their agreements and consider whether termination is strategically advantageous.
New York Court Treatment of Licensing Disputes
The Southern District of New York has jurisdiction over many music licensing disputes involving major labels and platforms headquartered in or doing business in the state. Courts in New York apply a strict interpretation to licensing agreements, requiring that any ambiguity regarding scope, duration, or territory be resolved against the party seeking to enforce the license. In practice, this means that if a licensing agreement does not explicitly state that a license is exclusive or perpetual, courts will presume it is limited in scope. This principle has protected many independent artists from overly broad interpretations of old agreements.
4. Practical Risk Areas and Strategic Considerations
Several high-risk issues recur in music licensing disputes. First, failure to properly register compositions with the Copyright Office or a performing rights organization can result in lost statutory damages and attorney fees if infringement occurs. Second, licensing agreements that do not specify territory, duration, or permitted uses create ambiguity that often leads to litigation. Third, artists who do not retain copies of signed agreements or who rely on verbal understandings face significant evidentiary challenges if disputes arise. The following table summarizes key risk areas and mitigation strategies:
| Risk Area | Common Problem | Mitigation Strategy |
|---|---|---|
| Unregistered Compositions | Lost mechanical and performance royalties | Register with Copyright Office and PRO immediately |
| Ambiguous License Scope | Disputes over territorial or temporal limits | Specify territory, duration, and permitted uses in writing |
| Dual-Rights Confusion | Licensing only composition without sound recording | Identify both copyright holders and obtain dual licenses |
| Streaming Revenue Gaps | Royalties not flowing to correct parties | Audit platform statements quarterly; use technology licensing and IP transactions counsel for platform agreements |
Independent artists and smaller labels should prioritize early consultation with counsel experienced in music and media distribution agreements. The cost of drafting a clear, comprehensive licensing agreement upfront is far lower than the cost of litigating ambiguities years later. Additionally, artists should understand their termination rights under Section 203 well before the 35-year mark arrives, so they can plan their licensing strategy accordingly. Finally, any artist or label considering a distribution deal, exclusive license, or platform agreement should have those terms reviewed by counsel before signing, because the long-term financial and creative consequences are substantial and often irreversible without proper legal oversight.
06 Feb, 2026
