Copyright and Public Performance of Music

I United States.- I. American Copyright and Common Law.- A. Distinction Between Common Law Protection and Statutory Copyright.- Common law prior to copyright statute.- Constitution authorizes copyright protection.- Congress exercises constitutional power.- Act does not displace common law.- Common law protection until publication or registration.- B. Boundary Between Copyright and Public Domain.- Statute requires copyright notice.- Authors and assigns entitled to copyright.- Publications abroad by foreign authors.- Deposit of copies; claim of copyright.- Manufacturing clause.- Duration of copyright.- Renewal notice ?.- C. Meaning of Publication — Especially Concerning Musical Works.- Public performance; distribution of films.- Patterson v. Century Productions.- Sale and distribution of phonograph records.- The Miracle case.- Reconciling Miracle and Yacoubian.- Can records secure copyright?.- Circumventing the Miracle case.- D. Conclusion.- II. Public Performance of Music in the United States.- A. The Statutory Law.- Nonprofit performances excluded.- Juke box exception.- Dramatico-musicals not limited.- B. Public Performance for Profit and the Courts.- Receiving set in public.- Broadcasts are public.- Broadcasts are performances.- Commercial broadcasting.- Performing right is a separate right.- C. (Economic) Necessity is the Mother Of Invention.- First society in France.- American societies.- D. An Anatomy of ASCAP.- I. Birth.- II. Contracts’. Present and future rights.- Non-dramatic rights.- Non-exclusive assignments; antitrust suits.- Blanket and per program Hcenses.- Network broadcasting.- Source licensing.- License fees subject to control.- III. Management and its Election: Voting rights.- Nomination of directors.- IV. Royalties, or Raison d’Etre: Publisher and writer royalty funds.- Royalty appeal procedure.- V. Relief Fund and Annual Dues.- VI. Royalties Revisited: Membership requirements.- Distribution of royalties.- Distribution on broadcasting performances.- Program analysis.- Foreign societies.- Performance values.- Withdrawal from society.- E. The BMI Story.- I. Background: Radio opposes ASCAP.- II. Birth of BMI: Radio and ASCAP settle dispute.- III.Contracts’. Licences.- Exclusive assignments.- Film music.- Right to record.- Writer and publisher royalties.- Additional catalogs.- IV. Other Departments.- V. Royalties’. Fixed amount per broadcast performance.- Unethical practices.- Writers receive 1/2 as much as publishers.- Foreign rights.- Guarantee.- Analysis of broadcasting performances.- F. BMI and ASCAP — Differences and Similarities.- I. Contracts’. Dramatic and non-dramatic rights.- Exclusive and non-exclusive assignments.- Disputes due to two Hcensors.- Government supervision of license fees.- Composition of ASCAP and BMI.- Motion picture performing rights.- II. Royalties’. Rates; distribution formulas.- Television performances.- Program analysis.- Non-exclusive rights.- Royalty appeal systems.- III. Withdrawal’. Withdrawal from membership.- BMI v. Taylor.- Dual membership.- IV. Operation: Criticism of BMI.- Alleged favoritism.- Conclusion.- II. Britain, Netherlands, France.- III. European Copyright.- A. Berne Union.- International Copyright Union.- National treatment.- Limitation on formalities.- Restrictions on nonmembers.- First publication in nonmember country.- Definition of publication.- Netherlands: sale is not publication.- The Gone with the Wind case.- England re publication.- Term of publication.- Distinction between published and unpublished works.- Universal Copyright Convention.- B. Great Britain.- England abolishes common law copyright.- First publication in U.S..- Simultaneous publication.- Definition of publication.- Indefinite duration of protection.- Records and pre-1911 law.- Distribution of motion pictures.- Compulsory Licensing.- Term of protection.- Absence of formalities.- Limitation on right to assign.- Criminal provisions.- Originality is not novelty.- Infringement must be substantial.- C. Netherlands and France.- The moral right.- Netherlands: Act contains moral right.- France: recognition by jurisprudence.- U.S. and Britain: no moral right.- Nationals first published in U.S., etc.- Films and records; performance of music.- France protects all authors.- Fair use; compulsory licenses; formalities.- Posthumous works and phonograph records.- IV. Public Performance of Music in Europe.- A. The Statutory Law.- Profit requirement absent.- No jukebox exception.- Britain: copyright in records.- B. Case Law.- Gramophone Co. v. Carwardine.- France: performance of records.- Britain and U.S..- Netherlands.- Summary.- Right of broadcasting not specified.- Britain.- France.- Netherlands.- C. Great Britain.- I. Performing Right Society, Ltd.- a. Membership and Management.- b. Assignments.- c. Licenses.- d. Programs.- e. Distribution.- f. Mechanical societies.- II.Phonographic Performance Ltd.- a. Recording companies and Musicians’ Union.- b. Monopoly.- III. Recommended Tribunal.- D. France.- One society; no government supervision.- SACEM; programs.- ASCAP royalties.- Operas.- Broadcasting.- E. The Netherlands.- a. Governmental control.- b. Membership and management.- c. Assignments.- d. Licenses.- e. Programs.- f. Distribution.- g. Other activities.- F. CISAC.- G. Withdrawal From Societies.- Conclusion.- Conclusion.- Appendices.- A. ASCAP Domestic Consent Decree.- B. ASCAP Foreign Consent Decree.- C. ASCAP Membership Contract.- D. ASCAP Royalty Distribution.- E. BMI Consent Decree.- F. BMI Contract for Publishers.- G. BMI Contract for Writers.- H. BMI Publishing Department Contract.- Table of Statutes and Conventions Cited.- Table of Cases Cited.- Table of Works Cited.