Category: Film Music Magazine (Archives)

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Class Action Lawsuit Brought Against Record Clubs by Composers and Songwriters

LOS ANGELES (Film Music Magazine) — In March of 2002, a class action lawsuit was filed in U.S District Court demanding that full mechanical royalty payments be made to composers and songwriters for the sale of recorded music distributed by Columbia House and BMG Direct, commonly referred to as record clubs. A motion to dismiss […]

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The Ad Council Selects Verance's ConfirMedia For Radio Airplay Verification Of Public Service Announcements

Verance Corporation, the leading provider of tools and services to track, manage and enhance the use of media content globally, today announced that its broadcast monitoring and reporting service, ConfirMedia, has been selected by the Ad Council for the monitoring of radio advertising campaigns nationwide. For more information, click here.

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Ghost Composer Fights For His Royalties

In a move that could affect the way royalties are paid for TV and film music, Michigan composer Dan Kolton is claiming the legal copyright to music for almost 100 episodes of the “Xena” and “Hercules” TV shows. For more information, click here.

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Questions Raised over ASCAP Cable TV Royalties Paid Via Radio Surveys

LOS ANGELES (Film Music Magazine) — Questions have been raised in the industry concerning substantial sums of a $30.6 million television royalty settlement that were paid to ASCAP radio writers and publishers. According to ASCAP President Marilyn Bergman, funds for the $30.6 million royalty payout were received by ASCAP from U.S. local cable television providers […]

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Ghostwriter Claims Copyright on Hundreds of Hercules, Xena Music Cues

LOS ANGELES (Film Music Magazine) — In a move destined to set a precedent for the film and television composing industry, Michigan composer Dan Kolton has claimed the legal copyright and authorship of hundreds of musical cues he says he composed while ghostwriting for the top-rated Hercules and Xena television series. Mr. Kolton stated he […]

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Circular Logic Releases InTime Tempo Tracking System

LOS ANGELES (Film Music Magazine) — Circular Logic, LLC, a music technology company based in South Florida, has announced the release of the InTime Tempo Tracking System 1.0 for WIndows. InTime is a system available to the public designed to create a fundamental shift in the way musicians htink about MIDI and computer music. With […]

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Educator, Composer Buddy Baker Dies

LOS ANGELES (Film Music Magazine) — Buddy Baker, Chair of the Film Scoring Program at USC and musical director for hundreds of Disney movies, TV shows, and theme-park rides, died July 26 in Sherman Oaks, CA at the age of 83, the studio announced Monday. Buddy Baker’s extensive career in the commercial field of music […]

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Young Film Composers Competition Winners Announced

LOS ANGELES (Film Music Magazine) — A blue-ribbon panel of film and television industry judges has chosen the winners of the Third Annual Young Film Composers Competition. The annual film scoring competition is presented by Turner Classic Moves, Film Music magazine and MP3.com, and is sponsored by The Guitar Center. Prizes this year were provided […]

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Straight Payment: Pro vs. Con

It is difficult to imagine an issue in the performing rights world that has generated more controversy and confusion than the idea of “Straight Payment.” Under this concept, all genres and forms of music are valued the same: songs, theme, score, promos/logos, and music for advertising are all paid at the same rate. Straight Payment […]

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Where’s The Beef? PRO Policies and the Nondisclosure of Music Usage in America

“We have learned that a right that goes unadministered can be forever lost. We have learned this.” — Prof. Dr. Jurgen Becker, Executive Director of GEMA, the Performing and Mechanical Rights Society of Germany. Most of my catalog as a composer is in feature film scores, themes and series television— even a couple of musicals— […]

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ASCAP and BMI Usage Weightings: Out of Step With the World?

Usage weightings are employed by performing rights organizations (PROs) as a means to assign greater or lesser monetary value to music performances in broadcast media. These weightings are allocated by usage categories, including feature performances, themes, background (a rather derogatory, inaccurate and unsophisticated term) and music used in commercials, promos and logos — renamed CPA […]

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BMI’s Doreen Ringer Ross: Stoking the Creative Fires of Film & Television Music

Doreen Ringer Ross has been at BMI since 1985, currently as Vice President of Film & Television Relations. We were pleased to interview her in Los Angeles during the fourth quarter of 2000. Mark Holden: How would you best describe your job at BMI? ROSS: Certain aspects of my job are complementary & parallel to […]

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Worldwide Music Performance Rights: The Devil In The Details

In January, at the music industry’s annual MIDEM conference in Cannes, France, BMI (one of the two principal U.S. music performing rights organizations), and its British, Dutch, French and German counterparts (PRS, BUMA, SACEM, and GEMA, respectively), announced an agreement by which each will offer webcasters worldwide performance rights to the music in their combined […]

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Direct and Source Licensing of the Performing Right – Part 2

Throwing some light on direct and source licensing was the purpose behind “Music Licensing and the Future,” a seminar sponsored by The American Alliance of Composer Organizations (AACO) and Film Music magazine. The six participating panelists represented professionals from business, academic, legal, administrative and creative facets of the music industry. The forum was moderated by […]

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Direct and Source Licensing of the Performing Right: The End of the Beginning, or the Beginning of the End?

According to Jack Zwaska, “There is no bogeyman” with regard to direct and source licensing. For 17 years, Zwaska has been the Executive Director of the Television Music License Committee in New York. The Committee is authorized by virtually every local television station in America to negotiate or litigate their music license agreements with ASCAP, […]

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Can Collecting Societies Survive Beyond The Digital Frontier?

The following is the text of an address given at MIDEM by John Hutchinson, CEO of MCPS/PRS (Mechanical Copyright Protection Society/Performing Rights Society) in Great Britain. He is the British counterpart to Frances Preston of BMI, John LoFrumento of ASCAP, Bill Velez of SESAC and Edward Murphy of the Harry Fox Agency, Inc. We are […]

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Digital Watermarking And The Performing Right – Part 2

In the arena of digital watermarking-that is, the process of automating music performance tracking in broadcast, cable and on the Internet-the current level of activity in the industry can easily be described as buzzing. This is quite a contrast from a year ago, when the International Federation of Phonographic Industry (IFPI) quietly issued its Request […]

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Digital Watermarking And The Performing Right – Part 1

Americans have come to expect a high level of performance from financial service providers in the Information Age. This expectation includes total accountability and transparency of operation with regard to accounts, i.e. your bank, law firm, stock brokerage, credit union, department store and corner gas station. If they handle your money and send you a […]

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