Both The Ivors Academy as an organisation and its members submit responses to many consultations which will have a direct impact on the income streams and working conditions of all music creators. Here is an overview of the consultations we have responded to recently. We also undertake our own research and support others’ research projects that help to support our members and protect their rights.
Seeking Data on Creators Earnings
In February 2020, organisations representing music creators, in partnership with the UK Intellectual Property Office (IPO), commissioned research on creators’ earnings in the digital age. This research aims to provide an independent evidence-based approach to inform the current debate on how changes in the digital music marketplace have impacted upon the earnings of creators.
Despite the volume of discussion and the increased media attention, there is little evidence to facilitate a constructive and well-informed debate. By conducting both quantitative and qualitative data analysis, the research team aims to re-contextualise the current debate and provide a more nuanced understanding in this high profile and controversial policy area.
We are seeking any data that organisations have on streaming consumption and royalty distribution which could aid our research.
If you have information or would like to discuss our request further contact: hj.sun@ulster.ac.uk
UK Music Research
UK Music is committed to an extensive programme of research which defines the industry’s place within the country’s cultural and economic framework and can also inform and influence current debate and decision making.
Commissioning Surveys
As the law currently stands The Ivors Academy is not able to provide advice on the commissioning fees creators should charge.
In 2011, we conducted a survey of commission fees for concert works over a five year period and you can view the results in the download below.
We are conducting research into how new music commissioning works in the UK. In 2013 we published ‘The Commissioners’ View’, the results of a survey of new music commissioners. You can download these results below.
Equality & Diversity
Our exclusive research revealed the extent of the problems surrounding diversity and equality in regard to gender and ethnicity within the realms of composition commissions and classical music education. We have proudly created a new Diversity and Inclusion Committee here at The Ivors Academy to continue tackling this issue directly. Below is a link to a 2012 paper by our then CEO, Vick Bain, and links to downloads of our research and associated updates.
An Assessment of the Attitudes and Practices of Equality and Diversity in the UK Music Industry 2012
BBC White Paper
The Government’s BBC White Paper was finally published after 9 months’ of consultation with our academy supportive of the majority of its recommendations. Read the full government report here. We were one of approximately 300 expert organisations feeding into this consultation and are pleased to see many of our wishes supported and our concerns addressed. Highlight points from the white paper include: transparency, governance, distinctiveness and purpose, as well as partnership and diversity.
Collective Right Management Directive 2016
Music creators will benefit from the Collective Management of Copyright (EU Directive) Regulations 2016 that came into effect in the UK on Sunday April 10th 2016. The Ivors Academy joins PRS for Music in welcoming the new Regulations which will improve the way songwriters and composers in Europe, who use Collective Management Organisations (CMOs), have their works managed. We submitted responses to the development of these Regulations over a number of years and we welcome the protection and standards they enshrine. We recognise that PRS for Music already hold the gold standard for collective management processes and welcome this European wide legislation.
IPO on Copyright in Europe
In light of the European copyright reform agenda, the UK’s Intellectual Property Office made a Call for Views from stakeholders regarding Copyright in Europe. We were pleased for this opportunity to stress the importance of a strong copyright framework in an integrated digital single market, where such a market seeks to maximise safe exploitation and protection of songwriter rights.
We called for more clarity of key legislative provisions of the European Directives which are not understood in the same way in different Member States; the safe harbour provisions in the E-Commerce Directive being a prime example. Such discrepancies render difficult the homogeneous enforcement of copyright internationally.
