Tag composition rights

Composers’ rights – German Law

By in Acquisition of music rights, acquisition of rights in good faith, artist agreement, artist insurance, Band Take Over Agreement, bootleg, composition right, GEMA, German law, Horak Attorneys at Law - Music Law, intellectual property law, license rate, music law Tag , , , , , , , , ,

Is the copyright of musicians transferable?

A composer can NOT transfer the copyright of a musical work. This is also not possible by means of a contract. However, it is possible to grant others a right to use the work for particular agreed purpose. In order to do this, a licence agreement must be concluded. This latter contains the most important information about the scope of use and the remuneration.

German copyright law applies until 70 years after the death of the author. This means that as long as the composer is alive, the copyright is in its hands. After his/her death, it passes to his heirs for a total of 70 years. Only then is it considered “in the public domain”. Then anyone may perform the piece of music in public without permission or remuneration.

Attention: If publishers, record companies or performing musicians have acquired a right of exploitation beforehand, this right continues to exist!

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Hamburg Higher Regional Court – Music Law

By in composition right, copyright infringement, copyright law, German law, Horak Attorneys at Law - Music Law, music law Tag , , , , , , ,

Decision of the 11.10.2018, 5 U 57/15

What if you decide to write a music album… and someone else decides to publish the same music you have just written? Is it just a case? Did they copied you? What does the law says about these kind of legal disputes?

In detail:

The author of a music work X decides to sue the author of the song Y, because the music is alleged to be copied from the pre-existing work X. This is

This is a real case that the OLG Hamburg solved with a strong and firm tribunal decision.

The Hamburg Regional Court dismissed the case. Yes, you read that right. In fact, it is true that the X work of music own the right of protect ability, however, the composition of the Y music had minor deviations. The possibility of double creation was thus given. It could not be proved that the protectable guitar melody was taken over from the pre-existing work.

The second expert of the Court of Appeal referred to the frequent occurrence of the chord sequence (Turnaorund) and that the guitar figures could easily be derived from finger exercises. A double creation was therefore very likely.

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