Case Study: Jazz Sideman-Bandleader


Posted on March 15th, 2012 by Jean Cook in Financial Case Studies, Participant Data. 2 Comments

Previous: Sideman Wages by Territory

PRO Royalties by Territory
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 PRO money in this case study is broken down into different categories:

General Exactly which uses fall into this category differs from country to country (copyright differs from territory to territory), but usually includes royalties for live performance income (when your compositions are performed live), sometimes cinema money (broadcasts for compositions in movies that are shown in movie theaters), and other uses.
Radio For terrestrial broadcasts of your compositions.
TV For broadcasts of television programs that include your compositions.
Mobile/Internet/Other For performance uses of your compositions on mobile, internet and other places.

This chart looks at the breakdown of Jazz Sideman’s PRO income from 2004-2010.

Like many artists with a niche audience, the Artist only receives PRO royalties for a handful of uses. A radio program in the UK. A movie he wrote music for that was picked up and broadcast on TV in a few countries. Live performances of his compositions in Europe. This is also reflective of where he is in his career: still establishing himself as a leader and composer.
Practically all of the USA income comes from broadcast of the 2001 film for which Jazz Sideman-Bandleader composed the music, with the remaining 0.6% of his US earnings coming from Mobile/Internet/Other. The UK money is nearly all radio use, for one BBC radio special. 83% of the European money comes from “General” money from Finland, all earned in 2010. Countries included in “Other” category include Australia and Israel (radio airplay), and broadcast of the 2001 film for which Jazz Sideman-Bandleader composed the music in Japan, Peru, Venezuela, Canada, and Brazil.
*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: Grant Income


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.




2 responses to “Case Study: Jazz Sideman-Bandleader”