Big question with no standard answer.

Everything is up for negotiation, you can hash it out between parties, and or get lawyers involved.

You could buy a song outright, or go into an agreement where the writer retains copyrights, but relinquishes publishing rights.

It also depends on if the song was a collaboration.

Google contracts there should be some examples to be found.

8)

Thank you for your quick response. Another question - if you entered into an agreement where the writer retained copyrights but not publishing rights, exactly what would that entitle you, as the performing artist, to?

FYI..I have a songwriter/entertainment producer who wants to write songs for my daughter to sing, but he said he wants to retain copyrights. How can I protect my daughter's interests in this situation?
Thanks in advance.

maxbear wrote: Thank you for your quick response. Another question - if you entered into an agreement where the writer retained copyrights but not publishing rights, exactly what would that entitle you, as the performing artist, to?

FYI..I have a songwriter/entertainment producer who wants to write songs for my daughter to sing, but he said he wants to retain copyrights. How can I protect my daughter's interests in this situation?
Thanks in advance.

When it comes to contract law get a lawyer involved....it is worth the money.

When these questions pop up, I always recommend these books:

"The Future of the Music Business" by Steve Gordon for the nuts and bolts...

and "Confessions of a Record Producer" by Moses Avalon for an eye-opening look at how it works in the real world...

Best of luck!

Thanks everybody for your advice.

Greatest book ever (and used in multiple music biz classes of mine @ MTSU) : "All You Need To Know About the Music Business" by Donald Passman.

Check it out!

I second the recommendation for Passman's book. It is very clearly written and it is accurate on the topics that I know enough about to be able to check. He is very good on copyright, publishing rights, and mechanical rights.

My only criticism of the book is that the title is misleading if you think that the "music business" has aspects other than major label pop music recording.

I second the recommendation for Passman's book. It is very clearly written and it is accurate on the topics that I know enough about to be able to check. He is very good on copyright, publishing rights, and mechanical rights.

My only criticism of the book is that the title is misleading if you think that the "music business" has aspects other than major label pop music recording.