Case Study: Jazz Bandleader-Composer


Posted on March 15th, 2012 by Jean Cook in Financial Case Studies, Participant Data. 6 Comments

Previous: Income by Territory

PRO Royalties by Territory and Album

About PROs*

Generally, Performance Rights Organizations (PROs) collect royalties on behalf of songwriters and copyright owners when their works are publicly performed. Public performances include broadcast on television and radio (including internet radio), live performances, playing recorded works in a public venue – such as a cafe or bar, and some internet uses (generally streaming).

In the United States, the PROs that collect public performance money on behalf of composers and publishers are ASCAP, BMI and SESAC. The rates for public performance use of compositions in the US are regularly re-negotiated between the PROs and the users of music (broadcasters, venues etc). The PROs in the USA have reciprocal agreements with PROs in other countries so they can collect for public performance uses of compositions on behalf of the composer and publisher worldwide.

The Artist’s PRO Royalties roughly follow his live performance money, both in how much he receives each year, and the territories that pay him.

Jazz Bandleader’s income from his PRO shows that his compositions are publicly performed or licensed in Canada, Australia, US, Europe, UK and Asia. 52% of his PRO income comes from US uses, and 24% comes from Europe. Of the US uses, more than half of the income is from monitored radio airplay.

The majority of his catalogue earns PRO royalties. Even compositions from 1995 earn royalties every year for live performances, radio airplay, digital, and other uses.
The royalties generated by Jazz Bandleader’s compositions are relatively evenly spread out among the different types of uses (radio, internet, live performance). The lifespan of his compositions seems fairly long, as most of his compositions are getting steady use throughout the period of 2005-2011.

In 2010, as Jazz Bandleader began touring more aggressively, his composition catalogue earned more money from public performance use.

*Copyright is complex, and the work PROs do is greatly simplified here. You can learn more about the PROs here: ASCAP, BMI, and SESAC.

Next: Reflections on Building a Career in Jazz


About the Case Studies

Graphs do not have a Y-axis dollar value in order to observe the conditions of our privacy policy. In addition, graphs and visuals in case studies are not comparable within or between case studies. For more details about this, read about our financial case study protocol.

Information detailed in case studies is based on data received directly from the artist or their authorized representative. The data analysis and lessons learned here are based on individual experience, and do not necessarily reflect the experiences of all musicians in genre or roles.

Case studies are one of three ways this project is looking at music creator income.




6 responses to “Case Study: Jazz Bandleader-Composer”

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