The graph on the right, titled "The Performance Rights Complex", shows the general sequences that call a song or composition "performance" and generate royalties for songwriters, performing artists, and record labels. In the United States, the way and to whom royalties are paid differs from what it is in Britain, for example. Most countries have more "practices" in common with Britain than with the United States. This document contains all the information necessary to outline an agreement in which a licensor receives from a fellow, in exchange for the use of his intellectual property, an indemnity called a royalty. It is useful to treat these royalties under two classifications: none of the parties to the license agreement is delegated to tasks without notice or authorization. Although this method is widely used, the main difficulty is to have access to data on comparable technologies and the terms of the agreements they contain. Fortunately, there are several recognized [by whom?] Organisations (see "Royalty Rate Websites" at the end of this article) have comprehensive information on royalties and the main terms of the agreements to which they belong. There are also IP-related organizations, such as the Licensing Executives Society, that allow their members to access and share private data. In a fair publishing contract, the 100 monetary units that go to the publisher are distributed as follows: 50 units go to the songwriter and 50 units to the publisher, less operating and administrative costs and taxes incurred.
With the appearance of pop music and great technological innovations in communication and media presentation, the topic of music license royalties has become a complex field with significant changes. [When? ] In most cases, the composer transfers the right to the songs to a publishing house under a "publishing contract" that makes the publisher the sole owner of the composition. The role of the publisher is to promote music by irigeing written music to recordings of singing, instrumental and orchestral arrangements and by managing the collection of royalties (which, as we will see shortly, will actually be carried out by specialized companies). The publishing house also granted the "Subpublisher" license in the national territory and in other countries in order to promote music in the same way and to manage the collection of royalties. Except for a breach of this Agreement, neither party shall be liable for any violations, losses, damages or costs that third parties may incur as a result of the actions of the other parties. After a long royalty battle between online music companies such as AOL, Napster and record companies (but not all), represented by the British Phonographic Industry (BPI) and organisations representing the interests of songwriters (MCPS and PRS), a compromise was reached, resulting in a 3-year transitional legislation (2007) adopted by the UK Copyright Tribunal under copyright. Design and Patents Act 1988.  The legislation relating to a new JOL (Joint Online License) only applies to music purchased in the UK. .