Music copyright sounds like a topic for lawyers and record labels, but the basics are worth knowing for anyone who writes, records or performs. Understanding who owns what, and how money flows from a stream or a live set back to the people who made the song, helps you protect your own work and respect other people’s. This is a plain-language introduction for beginners in Singapore. It is general information, not legal advice, so for anything specific, check with IPOS (the Intellectual Property Office of Singapore) and the relevant collecting societies.
Let us clear up the language first, because a lot of the confusion comes from muddled terms rather than genuinely hard ideas.
What copyright actually protects
Copyright is a legal right that automatically belongs to the creator of an original work the moment it is fixed in a tangible form, such as a recording or written notation. You do not have to register or pay for it; it exists as soon as you create the song. In Singapore, copyright is governed by the Copyright Act and overseen by IPOS.
The key thing beginners miss is that a single song usually involves two separate copyrights:
- The composition. This is the song itself: the melody, chords and lyrics. The songwriters and composers own this. It is sometimes called the “publishing” side.
- The recording. This is one specific recorded performance of that song, often called the “master”. Whoever paid for or made the recording usually owns this.
That is why a cover version exists at all. When you record someone else’s song, you are creating a new recording (a new master) of an existing composition. You may own your recording, but you still need permission or a licence for the underlying composition. The same logic explains why the original artist and the songwriter can be different people who each get paid differently.
Copyright does not last forever, and the rules on duration and on “fair use” style exceptions are specific and change over time. For the current position, rely on IPOS rather than assumptions or old advice from overseas, since other countries have different rules.
The main types of royalties
A royalty is simply a payment you earn when your music is used. Because a song has those two copyrights, and because it can be used in many ways, there are several royalty types. You do not need to memorise them, but recognising the categories helps you understand your statements later.
- Performance royalties. Earned when your song is played in public: on radio, in a shop or cafe, at a live venue, or streamed. These are collected by performing rights organisations and paid to songwriters and publishers.
- Mechanical royalties. Earned when your song is reproduced, historically on physical copies, and today largely through streams and downloads. These go to the songwriters and publishers too.
- Master or recording royalties. Earned by the owner of the recording when it is streamed or sold. For an independent artist, this is usually paid through your distributor.
- Sync royalties. Earned when your music is placed in visual media such as an advert, film or video. These are negotiated case by case.
Here is a simple way to see who is being paid for what.
| Royalty type | Rewards the | Typical trigger |
|---|---|---|
| Performance | Songwriter and publisher | Public play, broadcast or stream |
| Mechanical | Songwriter and publisher | Reproduction, download or stream |
| Master | Recording owner | Stream or sale of the recording |
| Sync | Both, by agreement | Use in film, TV or advertising |
Notice how one stream can generate more than one royalty at once, flowing to different people. That is normal, and it is why collecting the right income takes a little organising.
How independent artists get paid in Singapore
If you release music yourself, two channels matter most. Your distributor handles the master (recording) royalties from streaming and downloads and pays them to you, usually minus a fee or percentage. The publishing side, meaning performance and mechanical royalties for you as a songwriter, is handled differently.
In Singapore, COMPASS (the Composers and Authors Society of Singapore) is the main collecting society for performing and communication rights on the composition side. Songwriters and publishers can become members so that when their songs are performed or streamed, the relevant royalties can be collected and distributed. There are also bodies that handle rights for recording owners. Membership terms, eligibility and what each society covers change over time, so check directly with COMPASS and the other societies rather than relying on a summary.
A sensible starting checklist for a new independent artist:
- Keep clear records of who wrote and produced each song, and in what share.
- Register your details and works with the appropriate collecting society if you qualify, so performance and mechanical royalties are not left uncollected.
- Make sure your distributor has your correct payment and tax details.
- Read the terms of every platform and service you use, since they set out exactly what you are agreeing to.
Do not invent numbers in your head about what you will earn. Royalty rates vary hugely by platform, territory and agreement, and streaming income per play is generally very small, so real earnings come from volume and from collecting every type you are owed.
Using other people’s music the right way
The flip side of protecting your work is respecting everyone else’s. If you want to release a cover, sample another recording, or use a backing track, you generally need the correct permission or licence first. Posting a cover on social media, selling a cover on streaming platforms, and sampling a master are all different situations with different requirements.
The safe habits are simple. Assume that any music you did not create is protected. Clear samples and covers properly through the right licences before you release anything commercially. When a distributor asks you to confirm you own or have cleared all the rights, only tick that box if it is true, because false claims can get your music taken down and cause bigger problems. When in doubt about a specific use, defer to IPOS, the relevant collecting societies such as COMPASS, and the terms of the platform you are using.
The short version
You do not need to become an expert to look after your music. Remember that every song carries two copyrights, the composition and the recording; that royalties come in a few types flowing to different owners; and that in Singapore, IPOS sets the legal framework while societies like COMPASS help collect the money. Keep good records, register where you qualify, read your contracts, and never use someone else’s work without clearing it first.
Get those habits right early and the admin stays manageable, leaving you free to focus on the part that matters most, which is making music people want to hear.
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