6 Music Copyright Rights Every U.S. Musician Must Know | EN

6 Music Copyright Rights Every “Musician Now” in the U.S. Needs to Master

Ever asked yourself:

The likely answer: you haven’t fully locked down your copyright rights. As soon as you write a lyric, record a demo, or fix a melody in a tangible form, U.S. law gives you a bundle of exclusive rights you can (and should) monetize and protect.

Here are the six core copyright rights that you — as songwriter, performer, or both — should know cold.

1. Right of Reproduction (17 U.S.C. § 106(1))

This is your baseline right: the power to reproduce your work in copies or phonorecords. Wikipedia+2U.S. Copyright Office+2

Why it matters today:

• Digital downloads (e.g. iTunes)

• Streaming (interactive download buffer, etc.)

• Ringtones, sample packs, remasters

If someone makes a copy of your song—whether for sale or distribution—you’re due mechanical royalties (unless a compulsory license applies). Legal Information Institute+1

Case to note:In Capitol Records v. ReDigi Inc., a court held that transferring a digital file over the Internet constitutes a new reproduction even if the original is erased, rejecting “first-sale” as a defense in digital file resale. Wikipedia

2. Right to Prepare Derivative Works (17 U.S.C. § 106(2))

You control adaptations, arrangements, covers, translations, remixes, sampling, etc. Wikipedia+2U.S. Copyright Office+2

• Want someone to sample your vocal riff? They need your permission.

• Someone wants to translate your song into Spanish? That’s a derivative and requires your license.

• Covers are a bit of a special case: under U.S. law, once a song has been released, others can obtain a mechanical license to record a cover (with payment) — you can’t deny covers outright. Legal Information Institute+2guides.libraries.indiana.edu+2

3. Right of Distribution (17 U.S.C. § 106(3))

This is the right to distribute copies or phonorecords to the public by sale, lease, rental, etc. Wikipedia+2guides.libraries.indiana.edu+2

• You control who can sell or distribute your physical CDs, vinyls, or digital downloads.

• Digital platforms (e.g. Bandcamp, iTunes) must secure proper licensing from you or your publisher.

4. Right of Public Performance (17 U.S.C. § 106(4))

This allows you to control and get compensated when your musical composition is performed publicly (live shows, radio, TV, background in venues). Soundcharts+3Wikipedia+3guides.libraries.indiana.edu+3

• In the U.S., PROs (Performance Rights Organizations) like ASCAP, BMI, and SESAC license public performance of musical works and distribute royalties to songwriters/publishers.

• BUT: interestingly, U.S. law does not grant a general performance royalty to sound recording owners / performers when their recording is played on terrestrial radio (AM/FM). That right is limited. tunecore.com+3Soundcharts+3Congress.gov+3

5. Right of Public Display (17 U.S.C. § 106(5))

This is less obvious in music—but applies to lyric sheets, artwork, cover images, sheet music when they’re displayed publicly (e.g. in programs, lyric video, websites). Soundcharts+2guides.libraries.indiana.edu+2

• Example: A streaming service wants to show lyrics as people listen — they may need permission or a print/display license.

• Album artwork used in merchandise, posters, or websites is covered under this display right.

6. Right of Digital Public Performance (17 U.S.C. § 106(6))

Also known as the digital performance right in sound recordings (added via the Digital Performance Right in Sound Recordings Act of 1995, later amended by the DMCA). Wikipedia+2Congress.gov+2

• This gives performers & record labels a right to receive royalties when their sound recording is played over digital audio transmission (e.g. Internet radio, satellite radio). U.S. Copyright Office+3Congress.gov+3tunecore.com+3

• Traditional over-the-air FM/AM radio is exempt from this right—radio stations don’t pay sound recording owners (though they do pay songwriters via PROs). Congress.gov+2Wikipedia+2

• In practice: SoundExchange is the U.S. nonprofit that administers collection and distribution of these digital sound recording royalties. tunecore.com+1

Putting It All Together: Why This Bundle Matters

These six rights are your copyright “toolkit” — they let you:

• Monetize your music across multiple revenue streams

• Control who can use, adapt, display, or distribute your music

• Protect your work against unauthorized usage

But just having rights isn’t enough. You must:

1. Register with the U.S. Copyright Office.While U.S. copyright attaches automatically upon fixation, registration gives you stronger legal remedies (statutory damages, ability to file suit in federal court). U.S. Copyright Office+1

2. Join PROs & SoundExchange.

   • Join ASCAP / BMI / SESAC to collect performance royalties for the musical composition.

   • Register with SoundExchange to collect digital performance royalties for the sound recording. tunecore.com+2U.S. Copyright Office+2

3. License wisely.Negotiate sync licenses (for film/TV), mechanical licenses (for physical/digital reproduction), master use licenses (for original recordings), etc. Track Club+1

4. Watch your metadata and ownership splits.Make sure your works are properly credited, splits are clear, and accounts are up to date to ensure you aren’t missing revenue.

Why This Matters in Today’s U.S. Music Scene

• With streaming dominance, digital performance and reproduction rights are now major revenue drivers.

• The Music Modernization Act (MMA) (2018) upgraded U.S. law to better handle mechanical licensing and streaming royalty rules. Wikipedia

• Because U.S. law doesn’t grant universal performance rights to sound recordings on radio, many labels and artists push harder on digital and sync income.

• Global exploitation: If your U.S. song is used abroad, you may be eligible for neighboring rights or similar performer/recording royalties in countries that recognize them (depending on treaties).

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