Collective Management Organizations in the United States of America

In today's world of creative works, creators like singers, authors, and composers face a challenge: how to manage and protect their rights without hindering their creative process. This article explores the role of Collective Management Organizations (CMOs) in the United States, known for its advanced copyright laws.

Performance Rights Organizations (PROs) and copyright collectives act as intermediaries between copyright holders and users, ensuring fair compensation for public use of creative works. This article delves into their legal status, roles, and governmental oversight.

Functions and Types

CMOs in the US can be nonprofit organizations owned by members, for-profit entities owned by music users, or privately owned for-profit organizations. This diversity supports competition and choice among rights holders.

Major Organizations

The article highlights key CMOs:

• ASCAP (American Society of Composers, Authors, and Publishers): A voluntary association protecting musical copyrights.
• BMI (Broadcast Music Inc.): Established as an alternative to ASCAP, focusing on broadcasting rights.
• SESAC (Society of European Stage Authors and Composers): Managed by BlackRock, offering a competitive model in the market.
• Sound Exchange: Non-commercial, manages digital royalties exclusively.
• Harry Fox Agency (HFA): Manages mechanical licensing for music publishers.

Competition and Transparency

US CMOs operate under antitrust laws, promoting fair competition. Transparency in operations, including membership data and financial disclosures, helps rights holders make informed choices.