1.1.3. LIST OF ENTITIES VISITED AND THEIR RELEVANCE TO THE PROJECT INTERVIEWSThree entities were selected for benchmarking in May 2011:1. The Intellectual Property Office in the Ministry of Culture (ECAD);2. The Central Office for Collections <strong>and</strong> Distributions; <strong>and</strong>3. A director of one of the Collective Management Associations.The interview on ECAD was conducted at the offices of this organisation in Rio de Janeiro with the Superintendent, Ms GloriaBraga. The second interview was conducted with Mr Gustav Gonsalez from ABRAMUS at its premises in Rio de Janeiro. Athird interview was done with the Director of Intellectual Property at her office located in the Ministry of Culture, in Brasilia.Further details were acquired from the Internet <strong>and</strong> other relevant sources. Due to lack of sufficient time, interviews with arecord company, Prof. Paranagua <strong>and</strong> two artists had to be cancelled.1.2. SUMMARIES OF KEY LEGISLATION FOR COPYRIGHT AND COLLECTING SOCIETIESAccording to Brazil’s <strong>Copyright</strong> <strong>Law</strong> 9610, the protection of an intellectual work includes its title, if original <strong>and</strong> unmistakable,in the same genre, from that of another author. Exceptions are the following:(i) The ideas, normative procedures, systems, methods, project or mathematics;(ii) Schemes or rules for carrying out mental acts, games or business;(iii) Blank forms to be filled out with any type of information, scientific or not <strong>and</strong> their instructions;(iv) Texts of agreements or treaties, laws, decrees, regulations, legal decisions <strong>and</strong> other official acts;(v) Information of everyday use such as calendars, diaries, reference files or sub-titles;(vi) Names <strong>and</strong> titles; <strong>and</strong>(vii) Industrial or commercial utilisation of ideas contained in the works.The legislation makes provision for the protection of related or neighbouring rights, including interpretation <strong>and</strong> artisticperformance (including musical); radio broadcasts; phonographic rights (i.e. the fixation of sounds of a performance orinterpretation); or the representation of sounds, which is not a fixation, included in an audio-visual work.The author is regarded as the individual who creates literary, artistic or scientific work, but the protection given to the authormay be given to legal entities in the cases foreseen in <strong>Law</strong> 9610. The patrimonial rights can be owned by companies, but themoral rights of the author are inalienable. Record producers <strong>and</strong> radio stations can be the original copyright owners. Withregard to music, the owners of the author’s rights <strong>and</strong> related rights are:(i) The composer <strong>and</strong> the lyricist, who usually pass the administration of their rights to a music publisher;(ii) The arranger, whose rights are usually passed to the record company; <strong>and</strong>(iii) The interpreter, whose rights usually belong to the record company.In terms of the use of intellectual works, Article 29 of <strong>Law</strong> 9610/98 establishes that prior authorisation of the author (oranyone controlling his rights) is needed for the usage of an intellectual work in terms of:(i) Its partial or total reproduction;(ii) The edition;(iii) Adaptation, the musical arrangement <strong>and</strong> any other transformation or translation to any other language;- 120 -
(iv) The inclusion in a phonogram or any audio-visual production;(v) The distribution, when not inherent to the contract signed by the author with third parties for the use <strong>and</strong> exploration ofthe work;(vi) The distribution of works or productions by means of cable, optical fibre, satellite, waves or any other system that allowsthe user to make the selection of the work or production to receive it at a time <strong>and</strong> place previously determined by theperson who formulates the dem<strong>and</strong>, <strong>and</strong> in cases where the access to the works or production is done by any systemthat means payment done by the user;(vii) The direct or indirect use of the literary, artistic or scientific work, by means of:a) representation, recitation or declamation;b) musical execution;c) use of loudspeakers or similar systems;d) radio or broadcasting;e) reception of transmission of radio broadcasting in places of collective attendance;f) background music;g) audio-visual, cinematographic display or by any similar process;h) use of artificial satellites;i) use of optical systems, telephone wires or not, cables of any kind <strong>and</strong> similar means of communication that may beadopted; <strong>and</strong>j) exhibition of works of art;(viii) The inclusion of the work in a database, the storage in computer, microfilming <strong>and</strong> other forms of filing; <strong>and</strong>(ix) Any other existing forms of use or that may be invented.The law, in Article 97, stipulates that associations should be non-profit, prohibits membership in more than one association,<strong>and</strong> allow members to change between associations, subject to prior written notification to the original association. Article 28stipulates that members m<strong>and</strong>ate the association to perform all acts (judicial or extra-judicial) in defence of their copyright<strong>and</strong> for the collection of their royalties. It further states that owners of copyright can act in their own defence <strong>and</strong> protection ofcopyright, subject to prior notification to the association. Rights are, therefore, not assigned <strong>and</strong> if members move to anotherassociation, their rights move with them. This provision allows for competition between associations for membership <strong>and</strong>provides an incentive for associations to improve their services.Article 99 stipulates that the central office for collections should be non-profit <strong>and</strong> directed <strong>and</strong> managed by the associations.At present, government has no power to intervene in cases where an association functions ineffectively or engages infraudulent activities.1.3. THE EFFECTIVENESS OF THE RELEVANT LEGISLATIONThe proponents of copyright, including ECAD <strong>and</strong> all the associations, believe that the law is effective, particularly the lack ofgovernment regulation <strong>and</strong> intervention, thereby optimising free enterprise <strong>and</strong> good, efficient organisational practice.The revenue of ECAD of $374 255 579,82 in 2008, despite the world economic crises, reflected an increase of 12,63%,showing that the implementation of the copyright law has contributed to economic growth <strong>and</strong> the individual income of artists.- 121 -
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TABLE OF CONTENTSLIST OF ABBREVIATI
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11.8 RECOMMENDATIONS ..............
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LIST OF TABLESTable 1: Cases of Non
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NORMOSPsPOSAPPLPPL (India)ProLitter
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These problems are addressed in the
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xxi.The report considers developmen
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1.3.8. Determine whether all money
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1.4.9. The CRC derived considerable
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2.3 SUBMISSION BY THE DEPARTMENT OF
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Aspects of Intellectual Property Ri
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(1) Subject to the provisions of th
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Copyright Tribunal or an arbitrator
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society, the South African Recordin
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3.2.14. With the liquidation of SAR
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the final rate or rates to be appli
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(a)that payment is to be made to th
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information as to their use to enab
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The WCT and WPPT oblige members to
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Once the handset technology changed
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4.3.16. In 2009, in what was coined
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4.4.6. In exchange for the above li
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operators are licensed by NORM to p
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5.2 FUNCTIONING OF COLLECTING SOCIE
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the grant of licences. Article 17 o
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6.1.3. The CRC’s assessment of th
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6.3.3. SAMPRA should be given one y
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Corporate Governance GapsKing II Re
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King IIIPrincipleKing IIIRequiremen
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King IIIPrincipleKing IIIRequiremen
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8 COLLECTION OF MUSIC ROYALTIES8.1
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8.1.4.2. Needletime royalties are n
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8.1.7.4. For the past five years, V
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PRS (UK)SPRE (FRANCE)SUISA(SWITZERL
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DetailsPerformance RightsSound Reco
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8.2.7 Comparative Study Performed b
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y a collecting society. A rights ho
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agency, its rights being derived fr
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3.1.3 IMPLEMENTATION AND ACCESSION
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In this regard, the Minister should
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3.5.6 OMBUDSMANThe music industry s
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RECOMMENDATION 23:The MITT recommen
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The MITT further recommends that DA
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APPENDIX 4A: EXTRACTS FROM COPYRIGH
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(f)(g)doing, in relation to an adap
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(i)requiring notice of any intended
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(b)any organization claiming to be
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PERFORMERS’ PROTECTION ACTNO. 11
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TERMS OF REFERENCESNO’SREQUIREMEN
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