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NEWS FROM ECSA – MAY EDITION

Copyright Directive: Publication in the EU’s Official Journal

Following its approval by both the European Parliament and the Council, the Copyright Directive has been published in the Official Journal on 17 May 2019. As a result, EU Member States have now until 7 June 2021 to comply with the provisions of the Directive, except for Article 19 (Transparency information) which will be mandatory on 7 June 2022. You can find here the Directive in all EU languages. ECSA calls on all Member States to engage in a positive and ambitious implementation to the benefit of all composers and songwriters across the EU.

 

European Elections and next steps

The European elections for the Members of the European Parliament (in the next five years) took place between 23rd and 26 May. From a general viewpoint, the results show a) a rise of the right-wing nationalistic and Euro-skeptical political parties (between 100 and 150 MEPs) b) a decrease of both the Socialists and Democrats (S&D / 146 MEPs) and European People’s Party (EPP-conservatives / 180 MEPs) – which do not reach a majority of seats together c) and an increase of the Greens (69 MEPs) and Liberals & Democrats (ALDE/109) political groups. The formation and negotiations between several political groups (in particular EPP, ALDE, S&D and the Greens) will now intensify with a view to form a majority, elect the next EP President(s) and approve the next President of the European Commission put forward by the European Council (Member States). In the autumn, the European Parliament will hold a series of hearings with the Commissioners-designate (in agreement with Member States and the European Commission President), in accordance with their areas of competences. The next Commission will eventually be subject to the European Parliament’s approval and is expected to take office on 1st November 2019, when the mandate of the current Commission comes to an end. ECSA will closely follow this process and engage with the newly elected Members of the European Parliament.

 

Poland’s complaint against the Copyright Directive (Article 17)

A few days before the European elections and few months before the Polish national elections, the Polish government submitted a complaint (action for annulment) to the Court of Justice of the EU (CJEU) against Article 17 (former Article 13 – Transfer of Value), on the grounds that it is a “disproportionate measure that fuels censorship and threatens freedom of expression”, incompatible with the Charter of Fundamental Rights of the EU. While this seems unlikely from a legal perspective, such an action could theoretically lead to the annulment of Article 17 by the CJEU. This complaint does not legally impact the implementation process but will probably be used by the reluctant Member States and Article 17’s opponents to slow down or prevent its application at national level.

 

Exchange with the forthcoming Finnish Presidency on its next priorities in the field of culture and audiovisual


On 22 May 2019, the forthcoming Finnish Presidency (1 July – 31 December 2019) invited different stakeholders for an exchange of views on its priorities in the fields of culture and audiovisual. The participants discussed various topics, such as the forthcoming negotiations on Creative Europe and the New European Agenda for Culture. ECSA underlined that the future Creative Europe regulation should benefit from an ambitious budget and should support more diversity in the music sector through a specific sectoral approach. Furthermore, ECSA called on the Finnish Presidency to take duly into account the European Parliament’s position regarding a) the recognition and visibility of creators b) the support for their professionalisation and mobility c) the need to address the gender equality gap in the music sector and d) the fair treatment of creative talent in the cultural and creative sectors.

 

Music Moves Europe – Dialogue Meeting

On 20 and 21 May, the European Commission organised a first dialogue meeting on the future “Music Moves Europe”, an initiative helping the EC to map key challenges in the European music sector and how to tackle them. The following topics were discussed: the future of music media, live music sector, access to capital for the music sector and sharing the value on the internet- the EU Copyright Dirtective. ECSA European Affairs and Programme Manager Alicja Swierczek took part in the panel on the Copyright Directive. There, she highlighted the need of collecting societies to work closely with platforms on the implementation of the Copyright Directive to ensure fair remuneration for creators and but also to remain transparent in this process.

 

European Film Music Day 2019

The European Film Music Day 2019 successfully took place on May 20th in the framework of the Cannes Film Festival. This year’s talking points were on the practice of buyouts and on the creative process behind scoring for movies compared to the one behind scoring for TV series. The experts also looked into how the new Copyright Directive will impact composers of film and media. The panels took place in the afternoon at FNAC Cannes and were followed by a reception at Plage Quinzaine to further discuss topics of interest and to meet other professionals over a refreshing drink by the Mediterranean Sea. Take a look at the pictures here.

 

ECSA Gender Working Group Members’ initiatives

ECSA Gender Working Group Members Natalia Vergara and Aafke Romeijn participated in the panel “Readdressing the Gender Gap in the Music Industry”, in the framework of the symposium “Exploring Gender Dynamics in The Music Industry » (Groningen, Netherlands). The symposium hosted various experts in music and gender education, sociologists, psychologists, artists and networks from across Europe, USA, Australia and China. The panel addressed the lack of women in leadership roles within composer societies, and the gender pay gap issue, in a context in which the female presence in the music industry is significantly increasing. Ms. Vergara and Ms. Romeijn provided suggestions to tackle this social urgency from various angles, including through initiatives, financial interventions, research, strategies, normative, training, digital activism, networking, mentoring, coaching, travel grants. They also proposed the creation of a database of female experts to facilitate women’ participation in conferences and in juries of festivals, with the aim to foster women inclusion and visibility in a quantitative and qualitative way. Moreover, Gender Working Group member Elizabeth Anderson presented the ECSA Gender Equality Charter at the General Assembly of the International Society for Contemporary Music taking plays during the World Music Days in Tallinn from 2-10 May 2019.

 

Composers’ Directory at EAM Showcase

The European Music Council is organising a showcase on the European Agenda for Music (EAM) on the 12-13 June  in Warsaw, Poland. This will be an opportunity to take a closer look at the key themes and learn about projects and activities that address priorities or suggested measures of the European Agenda for Music (EAM). In this frame, ECSA will present the Composers Directory, a digital platform which composers can use to  connect and promote their music sheets with music schools, music colleges as well as higher education institutions.

 

Music 2025: THE MUSIC DATA DILEMMA

The Intellectual Property Office (IPO) and The Ivors Academy would like to invite you to a presentation of ‘Music 2025’, an independent research report by Ulster University investigating the infrastructure issues around the management of digital data in an increasingly stream driven industry. The findings are the culmination of over 50 interviews with high profile music industry representatives across the sector and the presentation will reflect on key issues including areas of consensus and contrasting views. The team also found whilst there are great examples of data initiatives across the value chain, there are opportunities to improve efficiency and interoperability. 

 


Anita Marullo, New Executive Officer

ECSA is pleased to announce that Anita Marullo (Italy) has joined the ECSA team as Executive Officer in May 2019. Formerly, she worked with various organisations active in the fields of arts, cultural policy, development aid, human and social rights, mainly in Brussels. Anita holds a double specialised Master in Management of Cultural Assets and Activities from the ESCP Europe of Paris and the Ca’ Foscari University of Venice, as well as a Master’s degree in Philosophy of Society, Art and Communication. Benvenuta Anita!

Press Release: European Film Music Day 2019 announces full line-up

 

The European Film Music Day delivers the full line-up of renowned film composers, directors, policy makers and film music industry professionals.

 

The ECSA team is delighted to announce the full line up of speakers for the 2019 edition of the European Film Music Day which will be held on May 20th, 2019. The European Film Music Day is a one-day event bringing together audio-visual composers, film directors, producers and professionals alike. It is held in the framework of the Cannes Film Festival on a yearly basis.

Among the list of this year’s event are renowned film composers, directors and policy makers that will discuss over the practice of buyouts in the film music industry and on the creative process behind scoring for movies compared to the one behind scoring for TV series. The experts will also be looking into how the newly approved Copyright Directive will impact composers of film and media.

ECSA could not have done this without the support of this year’s sponsors and partners. We are very grateful for the support of: The Creative Europe Programme, La Quinzaine des Réalisateurs, FNAC, FERA -The Federation of European Film Directors, The Film Music Foundation, Suomen Musiikintekijät, DEFKOM – Deutsche Filmkomponistenunion, UCMF – Union des Compositeurs de Musique de Films, CC – Composers Club, ÖKB – Österreichischer Komponistenbund, SoundTrack Cologne and Braunschweig International Film Festival.

Download the full programme here.

Here the PDF version of this Press Release

About ECSA
The European Composer and Songwriter Alliance (ECSA) consists of a network of more than 55 organizations working together towards improving social and economic development of music creation in Europe through equitable commercial conditions for composers and songwriters. It sets out to defend and promote the rights of authors of music at national, European and international level.

For more information, contact:
Alessandra Callegari
Project & Communication Officer ECSA
alessandra.callegari@composeralliance.org

NEWS FROM ECSA – APRIL EDITION

 

 

EU Member States finally approve the Copyright Directive

On 15 April 2019, the Council of the EU (representing EU Member States) adopted the Copyright Directive, with 19 Member States in favor, 6 against and 3 abstentions. This was the last step of the EU legislative process: EU Member States will now have 24 months to ensure that their national provisions comply with the Directive. Together with FERA (European Film Directors), FSE (Federation of European Screenwriters) and EWC (European Writers’ Council), ECSA published the following press release to welcome this final approval, thank the institutions and call on Member States to engage in an ambitious and constructive implementation. ECSA also tried to influence the debates in the Swedish Parliament (see here). We take this opportunity to thank all our members and the whole community of creators for having constantly raised their voices in favor of the Directive throughout this long process. Together with its members, ECSA will now engage in the implementation of the Directive so that all Member States can truly improve the livelihoods and remuneration of all music authors in the EU.

 

 

US designation of the next Mechanical Licensing Collective (MLC): ECSA engages in favor of the American Music Licensing Collective (AMLC)

The Music Modernization Act (“MMA”), enacted on 21 October 2018, calls for establishing a collective to manage a new blanket licensing system governing licensed uses of musical works by digital music providers. Following ECSA’s exchanges with its creators’ colleagues in Los Angeles (TDSM – see the March newsletter) and the comments made by many ECSA Members to the US Copyright Office consultation, ECSA published on 23 April a press release in support of the American Music Licensing Collective (AMLC) in the US. In its press release, ECSA states that “the US authorities shall support the AMLC as the only non-conflicted, trustworthy organization with the proper checks and balances to ensure every songwriter is paid what he deserves and that international songwriters are adequately represented in the decision-making process.” The final decision is expected around July 2019. Digital Music News published an article about ECSA’s position (see here).

 

 

Greece: ECSA raises its concerns to the European Commission

On 23 April 2019, ECSA published a  press release to make public its complaint to the European Commission following unlawful intervention in the market by the Greek State. The complaint – supported by the International Council of Creators of Music (CIAM) – is to demonstrate our support to creator colleagues in Greece and beyond who are being prevented from accessing performance income from their music. Several press articles (see here, here in English) and Alfons Karabuda’s interview on ElectronLibre, mentioned ECSA’s action.

 

ECCO Call for works

The call for works for the next ECCO concert in Stockholm 2019 is finally here. ECSA’s  ECF committee members are kindly invited to participate in the Call for Works for the ECCO saxophone quartet concert that will feature the Stockholm Saxophone Quartet in Stockholm on 8th October 2019.

Please find below all the details and necessary submission information. Deadline for submission is Friday, 14th June 2019 – 12:00pm (CEST).

Call for Works – Entry Form

 

 

European Film Music Day 2019

The European Film Music Day (#EFMD) is a one day event bringing together audio-visual composers, film directors, producers and professionals alike. It is held in the framework of the Cannes Film Festival on a yearly basis. 

On 20th May, different panels will be held on the practice of buyouts and on the creative process behind scoring for movies compared to the one behind scoring for TV series. We will also be looking into how the new Copyright Directive will affect composers of film and media. Attendance to this event is free, but numbers are limited. Book a space by writing an email to: alessandra.callegari@composeralliance.org. You will find out more by clicking here.

 

i-Portunus

i-Portunus is a project, selected and funded by the Creative Europe programme of the European Union, to trial a mobility scheme for artists and culture professionals. Between April and September 2019, i-Portunus will issue three Calls for Applications, providing support for 350-500 short-term (15-85 days), international mobilities of artists active in the fields of the performing or visual arts and residing in a Creative Europe country. Find out more here.

 

Leonardo da Vinci’s Fables in Music 

On the occasion of the 500th anniversary of Leonardo da Vinci’s death (1519-2019), with a focus on art and science for children, the no-profit foundation “Carano 4 Children” launched the flagship initiative « Leonardo 4 Children ». ECSA is proud to support this initiative and in particular the “Leonardo da Vinci’s Fables in music” European competition for 18-30 years old music composers. The “work” submitted for the competition shall be an original creation by the participants and consist in a musical interpretation of one Fable, chosen by the participants among the 10 Fables by Leonardo da Vinci. Click here to learn more about the requirements of the competition.

 

SAVE THE DATE !

20/05  European Film Music Day 2019
7-8-9/10  ECSA Autumn Session – Stockholm 2019 -more info soon
13/11   Creators Conference 2019

 

 

ECSA PRESS RELEASE ON THE DESIGNATION OF THE US MECHANICAL LICENSING COLLECTIVE (MLC)

Brussels, 23 April 2019

On 22 April 2019, the US Copyright Office’s consultation on the designation of a Mechanical Licensing Collective (MLC) came to an end. The Music Modernization Act (“MMA”), enacted on 21 October 2018, calls for establishing such a collective to manage a new blanket licensing system governing licensed uses of musical works by digital music providers.

Together with many of its members, the European Composer and Songwriter Alliance (ECSA), which represents over 50,000 professional composers and songwriters in 26 European countries, supports the American Music Licensing Collective (AMLC)’s proposal and considers that it is the sole collective capable to meet the challenges of adequately identifying and remunerating all songwriters for their works in full independence.

First of all, the AMLC has excellent administrative and technological capabilities, notably regarding ownership identification, matching and claiming process as well as a well-functioning database of musical works. In comparison with the National Music Publishers Association (NMPA)’s Proposal, the AMLC’s proposal is also the most independent and best placed entity to collect and distribute royalties, including unclaimed accrued royalties.

In conjunction with the certain MMA provisions (that supersede State Property Laws), entrusting the NMPA as the collective would de facto lead to a major conflict of interest since major publishers would have no interest in duly identifying songwriters and distributing the “black box” royalties to them since they would profit from unclaimed increased royalties (distributed according to market shares only). As a result, entrusting the NMPA with the MLC can only lead to further concentration and a lack of diversity in the music sector, leaving the international independent songwriters and their huge repertory behind.

In contrast, the AMLC, supported by the global author’s community would serve the interests of thousands of self-published, independent songwriters who are not represented by the major music publishers, but deserve to be duly identified and paid. It is worth recalling that the MMA provides that “all copyright owners shall have their royalties distributed fairly and no copyright owner may receive special treatment as a result of their position on the Board, its committees, or for any other reason without a reasonable basis.”

In addition, the AMLC’s Proposal foresees foreign representation of international songwriters and their associations on its Board, whilst being completely neglected in the NMPA driven proposal. In our view, there is no reason to justify the non-representation of foreign music creators from an entity that will also govern all foreign repertoire, in a context where European repertoire accounts for a up to 25% of the Top 100 songs played on US radio stations.

Furthermore, in comparison with most continental Collective Rights Management Organizations (CMOs) in the EU – which are both exercising performance and mechanical rights, where songwriters hold approximately a two third majority on the boards, the MMA establishes that the MLC Board shall consist of 10 representatives of music publishers and 4 professional songwriters. Such an imbalance is already detrimental to all music creators. Designating the NMPA Proposal as the future MLC could only further exacerbate those concerns as well as the representation of US right holders in the EU.

For all those reasons, ECSA believes that the US authorities shall support the AMLC as the only non-conflicted, trustworthy organization with the proper checks and balances to ensure every songwriter one is paid what he deserves and that international songwriters are adequately represented in the decision-making process.

About ECSA

ECSA represents over 50,000 professional composers and songwriters in 26 European countries. With 56 member organizations across Europe, the Alliance speaks for the interests of music creators of art & classical music (contemporary), film & audiovisual music, as well as popular music. The main objective of the alliance is to defend and promote the rights of authors of music at the national, European and international level by any legal means. ECSA advocates for equitable commercial conditions for composers and songwriters and strives to improve social and economic development of music creation in Europe.

Web: www.composeralliance.org / EU Transparency Register ID: 71423433087-91

 

Please find the PDF version of the media release here.

Europe’s songwriters and composers act in solidarity with their Greek creator colleagues and ask for action from the European Commission

Brussels, 23 April 2019

Issued by the European Composer and Songwriter Alliance (ECSA)

Europe’s songwriters and composers act in solidarity with their Greek creator colleagues and ask for action from the European Commission following unlawful intervention in the market by the Greek State.

At the end of March the European Composer and Songwriter Alliance (ECSA) took the unprecedented step of submitting a complaint to the European Commission’s Competition Directorate General on behalf of all music creators in Europe and beyond. The complaint is to demonstrate their support of their embattled creator colleagues in Greece who are being prevented from accessing performance income from their music. The complaint is supported by the International Council of Creators of Music (CIAM).

The music creators are concerned about the damage being caused to the livelihoods of every music creator in Greece, in Europe and beyond – damage being enabled by the illegal and continuous intervention in the marketplace by the Greek State.

Every composer or songwriter has a personal right to choose the body that administers their royalties for broadcast and public performance. This freedom of choice is enshrined in EU law as well as in Greece’s domestic law.

The administration companies they choose, in line with over 150 years of industry practice, are called Collective Management Organisations (CMOs). They are not-for-profit bodies run by management boards elected by the creators. A CMO works to the benefit of both music users (such as radio and tv stations, clubs, or music digital services) and consumers by providing a simple one-stop shop for the right to use music protected by copyright. The CMOs are regulated by both local and EU law to ensure good governance such as ethical and transparent operations and objective licensing practices for music users.

CMOs are regulated in Greece by the Hellenic Copyright Office (HCO) which, in accordance with EU regulations, is the authorised supervisory body of Greece’s CMOs.

In May of 2018 the music CMO in Greece (AEPI) had its licence revoked following a scandal involving unpaid royalties and malfeasance by Board members. Autodia, an independent second CMO, was poised to step into the breach to ensure continuity for music creators’ income administration. Since, the demise of the discredited AEPI, Autodia has moved to conclude a network of international agreements to manage music rights in the Greek marketplace on behalf of both Greece’s and the world’s music creators. (See Notes to Editors)

However, the almost immediate response of the Greek State to AEPI’s demise was to seize control of the management of music rights, and pass them to a newly created division of the HCO, that is within the CMO supervisory body itself. In effect, the supervisor of CMOs is supervising itself.

Further the HCO unlawfully applied over €2 million in State funds to benefit the new division, in contravention of EU law about state enterprise funding.

Now the new division within HCO is preventing Autodia from accessing any music rights data and Greek music creators are being barred from access to their own information about their own works and income.

The effect is to prevent music creators from exercising their right to join an independent CMO of their choice and to provide an undue competitive advantage to the CMO effectively run by the Greek State. And the unlawful interference in the marketplace at the request of the Greek State is having the effect of preventing important funds from reaching music creators worldwide.

In expressing concern for colleagues, the ECSA President, Alfons Karabuda said:

“The current difficulties in Greece affect first and foremost Greek music authors but also all music creators. We are concerned by the current difficulties in Greece and their detrimental impact on all music creators. Europe’s music creators are the bedrock of a vital, diverse and important economic and cultural sector. They deserve an efficient management of their works and the protections of the law just as Greek taxpayers deserve to be confident their tax revenues are being applied in a sound, legitimate and transparent manner.”

CIAM President, Eddie Schwartz added:

“These actions affect us all. As creators we stand with our colleagues to ensure that going forward, creators have a sound and lawful administrative system in Greece on which they can rely for their livelihoods. Any music creator should affiliate with the Collective Management Organization of their choice. No CMO should ever be prevented from responding to the needs of the creators they exist to protect. This is why we are objecting to the situation in Greece.”

Notes to Editors:

A CMO works to the benefit of both music users (such as radio and tv stations, clubs, or music digital services) and consumers by providing a one-stop shop for the right to use music protected by copyright. The CMOs are regulated by both local and EU law to ensure good governance such as transparent operation and objective licence practices with music users.

An EU music author’s relationship with their local CMO is governed by a personal assignment of their rights (rights of communication to the public, making available and public performance), globally and exclusively. Music publishers that have contracts with authors do not control these rights, enjoying instead only a right to share in revenue from the rights’ exercise as a matter of contract. Two major publishers, Warner Chappell and Universal Music Publishing, have unilaterally opted to move the HCO division – and we have been given to understand – are in receipt of funds that the Greek State unlawfully made available. Authors with contracts with Warner Chappell and Universal Music Publishing have not been permitted to exercise their free choice of CMO as provided in EU law. And by such a move Universal Music Publishing and Warner Chappell have induced the breach of the pre-existing personal contracts the music authors had in place with no attempt at novation or consent from the creator that was a party to the original CMO assignment agreement.

By a network of international agreements, called Reciprocal Agreements, each country’s CMO passes their catalogue over for local administration in exchange for revenue. AUTODIA has concluded reciprocal agreements with major foreign CMOs such as PRS (UK), GEMA (Germany), SIAE (Italy), ACUM (Israel), ARTISJUS (Hungary), ZAIKS (Poland), SOKOJ (Chech Republic), SABAM (Belgium), SAZAS (Slovenia), LATGA (Lithuania), STIM (Sweden), STEF (Iceland), BUMA STEMRA (Netherlands), TEOSTO (Finland), TONO (Norway), OSA (Czech Republic) and MUSICAUTOR (Bulgaria), AKM / AUSTROMECHANA (Austria), SPAUTORES (Portugal). AUTODIA is properly constituted, is governed by statutes that conform to the EU CMO laws requiring transparency, ethical management standards and objective and publicly available licensing criteria. It has been accepted as a bona fide member of the global CMO body in Paris, CISAC.

About ECSA

ECSA represents over 50,000 professional composers and songwriters in 26 European countries. With 56 member organizations across Europe, the Alliance speaks for the interests of music creators of art & classical music (contemporary), film & audiovisual music, as well as popular music. The main objective of the alliance is to defend and promote the rights of authors of music at the national, European and international level by any legal means. ECSA advocates for equitable commercial conditions for composers and songwriters and strives to improve social and economic development of music creation in Europe.

Web: www.composeralliance.org / EU Transparency Register ID: 71423433087-91

About CIAM

CIAM, the International Council of Creators of Music, is the recognised global representative body for the world’s music authors, speaking on behalf of over 500,000 songwriters, lyricists and composers worldwide. Founded in 1966 to protect the rights and cultural aspirations of music creators, CIAM focuses on the key issues directly concerning the legal and moral rights of composers, songwriters and lyricists. It promotes their professional, economic and legal interests and serves as a forum for cooperation, education, policy formulation and networking. Working with its five regional Partner Alliances, CIAM’s global reach enables to Council to advocate for the rights and incomes of music creators across five continents. In Mexico in November 2018, CIAM held its 52nd Annual Congress where the world’s music creators once again came together to share information about their respective domestic legal and policy developments and to formulate strategies for the betterment of those whose craft has enriched the lives of millions over the centuries.

Web: http://www.ciamcreators.org/

 

Please find the PDF version of the media release here.

PRESS RELEASE ON THE COUNCIL’S ADOPTION OF THE COPYRIGHT DIRECTIVE

 

Brussels, 15 April 2019

European organisations of authors welcome the final adoption of the Copyright Directive and call on EU Member States to seize this historical opportunity to improve the livelihoods of all authors and foster Europe’s creativity.

 

On 15 April 2019, the Council of the European Union formally adopted the Copyright Directive. Following the European Parliament’s landmark vote on 26 March 2019, this final approval concludes the legislative process and paves the way for the implementation of the Directive in all EU Member States.

The undersigned organisations of authors welcome the Council’s approval and congratulate the European Parliament, Member States and the European Commission for their intensive efforts in reaching such a positive and historical outcome, which honors Europe’s shared values and its investment in cultural diversity and creative talents. In particular, we warmly thank the European Parliament, which played a decisive role in strengthening the Directive’s provisions addressing the systemic weak bargaining position of authors in negotiating contracts, and promoting fair remuneration.

Our organisations and their members now call on all EU Member States to engage in an ambitious and constructive implementation of the Directive so that it honors its promises to improve the livelihoods of all authors and foster Europe’s creativity.

 

The European Composer and Songwriter Alliance (ECSA) represents over 50,000 professional composers and songwriters in 27 European countries. With 57 member organizations across Europe, the Alliance speaks for the interests of music creators of art & classical music (contemporary), film & audiovisual music, as well as popular music. – EU Transparency Register ID: 71423433087-91

EWC, founded in 1977 in Germany and newly constituted in 2006 in Brussels as an international non-profit organisation, the European Writers’ Council is the federation of 45 European national organisations of professional writers and literary translators in all genres in 34 countries. EWC’s members represent more than 160,000 authors in the book sector. – EU Transparency Register ID: 56788289570-24.

The Federation of European Film Directors (FERA), founded in 1980, represents film and TV directors at European level, with 43 directors’ associations as members from 33 countries. We speak for more than 20,000 European screen directors, representing their cultural, creative and economic interests. – EU Transparency Register ID: 29280842236-21

The Federation of Screenwriters Europe is a network of national and regional associations, guilds and unions of writers for the screen in Europe, created in June 2001. It comprises 25 organisations from 19 countries, representing more than 7,000 screenwriters in Europe.- EU Transparency Register ID: 642670217507-74

Please download here the PDF version. 

ECCO Call for Works for Stockholm is here!

The new call for works for the ECCO concert in Stockholm 2019 is here!

ECSA’s ECF committee members are kindly invited to participate in the Call for Works for the ECCO saxophone quartet concert that will feature the Stockholm Saxophone Quartet. It will take place in Stockholm 8th October 2019.

Please find all the details and necessary submission information here below:

Deadline for submission is Friday, 14th June 2019– 12:00pm (CEST).

Open Letter to the Swedish Parliament “Make the right choice for Europe”

 

Brussels, 8th of April, 2019

Swedish Parliament’s debate on the Copyright Directive:
Make the right choice for Europe

Dear Member of the Swedish Parliament,

We are writing to you on behalf of the European Composer and Songwriter Alliance (ECSA), which represents over 50,000 professional composers and songwriters in 26 European countries. As you will soon give your opinion on whether Sweden should confirm its support for the Copyright Directive, we call on you to seize this unique opportunity to support this essential piece of legislation for Europe’s future.

On 14 September 2016, after years of consultations and debates, the European Commission adopted its Proposal for Directive on copyright in the Digital Single Market. After 30 months of democratic and comprehensive debates where all parties have been heard and have influenced the discussions, the final text now on the table is a fair and reasonable compromise that has been recently approved by the European Parliament. It will allow Europe’s cultural and creative industries, which produce EUR 509 billion in value added to GDP, provide 7.5 % of the EU’s work force, to further contribute to the EU’s and economy in terms of employment, investment, growth, innovation and competitiveness on a global scale.

Throughout this process, European authors have called on EU Member States to seize this once in a generation opportunity to place creators at the center of copyright law and improve their remuneration. In particular, this Directive aims at rebalancing the relationship between creators, citizens and global platforms (Article 17). It also includes unprecedented harmonised provisions to the benefit of all authors and performers (Articles 18 to 22), small or big, to rebalance the systemic weak bargaining situation they find themselves in when they sign contracts with producers and publishers. New copyright exceptions in the areas of text and data mining for research, education and preservation of cultural heritage, are also included in the Directive (Articles 3 to 11).

Sweden has played a prominent and decisive role in forging this fair compromise within the Council of the European Union. Most notably, it successfully advocated to promote the Nordic model of collective licensing with an extended effect (Article 12) in the final text.

We now hope that Sweden will confirm its support and contribute to promote a sustainable future for Europe’s authors and cultural diversity, while making European copyright fit for purpose in the digital age. You send a strong signal to the future generations who want to write, compose, create so that they can be fairly remunerated.

Don’t miss this chance.

Sincerely yours,

Alfons Karabuda, ECSA President
Marc du Moulin, ECSA Secretary General

Please download here the PDF version.

News from Brussels – Mars 2019

 

European Parliament’s adoption of the Copyright Directive: ECSA welcomes an historical decision for European cultural diversity and towards fair remuneration of authors in the digital age.

 

Fantastic news for all ECSA Members and music authors in Europe and beyond! On 26 March 2019, the European Parliament adopted the provisional agreement on the Copyright Directive (see here the Directive translated in the EU languages) by 348 votes in favour, 274 against and 36 abstentions. You can find here our press release. ECSA President Alfons Karabuda intervened also on Euronews to react to the positive vote (see here).

The Council will now most likely adopt the Directive (probably on 9 April), unless major Member States change their position. The Directive will then be published in the EU Official Journal and Member States will have two years to transpose the provisions of the Directive into national law. Since the Directive leaves a wide margin of interpretation to Member States, it will be essential for ECSA and its Members to closely monitor the implementation process and advocate for an ambitious transposition that takes into account the views and the needs of music authors.

The ECSA team has been very active to advocate for such a positive result in the run up to the vote – with many meetings, letters (see for example here, here and here), statements (also here and here), Op-ed, and Coms activities (notably on twitter) in the last weeks. With many thanks to all ECSA Members for their support, let’s now celebrate and congratulate all Members of the European Parliament who voted in favour of the Directive!

 

The European Parliament adopts the Satellite and Cable Directive!

 

 

On 28 March 2019, the European Parliament adopted the provisional agreement on the Satellite and Cable Directive (see here), with 460 votes in favour, 53 against and 8 abstentions. You will recall that ECSA welcomed the provisional agreement in December (see here) since it includes positive provisions (retransmissions of TV and radio programmes and transmission of programmes through direct injection) for author’s remuneration through CMOs. The Council will now formally approve the Directive in the coming days/weeks before it enters into force. Note that Member States will have two years to transpose the provisions of the Directive into national law.

 

The European Parliament adopts its position on the next Creative Europe programme (2021 to 2027): All good things come in three!

 

On 28 March 2019, the European Parliament adopted its position on the next Creative Europe programme (2021 to 2027) – as adopted in the Culture and Education committee on 20 February – with 501 votes in favour, 51 against and 42 abstentions. This report (see here – amendments 1-50) is largely positive and includes good provisions, in line with the position adopted by ECSA (see here) and our voting recommendations. Most notably, the draft report includes amendments striving for a better reflection of the importance of the music sector, a higher budget dedicated to Creative Europe, a larger budget dedicated to the CULTURE sub-programme, the mobility and visibility of creators and repertoires, as well as positive language on the support to artistic freedom, cultural diversity and gender equality. Negotiations between the European Parliament and the Council will start after the European elections in May. The final budget allocated to the next Creative Europe Program will depend on the future general EU budget for 2021-2027 (Multi-Financial Framework).

 

Capacity Triangle “We are music” edition

 

 

On 25th March 2019, the Capacity Triangle “We are music” edition took place at Beursschouwburg in Brussels. In a close collaboration with GALM, and supported by SABAM for culture and PlayRight+, ECSA organised this second round of training sessions in a full-day dedicated to composers and musicians wanting to be stimulated and develop their digital, entrepreneurial and publishing skills. Throughout the day, more than 80 participants came from all over the world (Belgium,The Netherlands, Italy, Spain, Mexico, Iran) to attend the following panels: “Time for the Copyright Directive”, “Be your own entrepreneur”, “Digitalisation & the Music Industry”, and “How music licensing works”. Speakers coming from different backgrounds related to the music industry joined us to share their insider knowledge on the stage discussions. You can have access to the live streaming recordings by clicking here.

© Auke Braem

 

TDSM Creators’ Roundtable LA 2019

 

 

On 13th March 2019, the Creators’ Roundtable took place in Los Angeles hosted by ECSA and the Society of Composers and Lyricists (SCL) (see the press release here ). The ECSA delegation met with representatives of various American songwriter societies like SCL, Music Creators North America (MNCA), the Alliance of Women Film Composers (AWFC), the Songwriters Guild of America (SGA), the Society of Music Arrangers and Composers (ASMAC) and other stakeholders in the music business such as the American Society of Composers, Authors and Publishers (ASCAP) and Society of European Stage Authors and Composers (SESAC). It provided a good opportunity for reciprocal updates on political developments relevant for composers and songwriters, like the EU Copyright Directive and the Music Modernization Act in the US. In this regard, the ECSA delegation had a fruitful exchange of views with the US Copyright Office during the roundtable. Furthermore, the topics that were discussed were about work for hire contracts for composers and songwriters in the streaming as well as video game business. ECSA is pleased to say that the Creators’ Roundtable successfully built and strengthened the relationship with American composer and songwriter associations for future collaborations and as a first outcome, MNCA released a letter supporting the European Copyright Directive that you can find here.

© Jennifer Harmon

 

ECSA Gender Equality Charter

 

Endorsed by the ECSA General Assembly, the Working Group on Gender and Equality published the ECSA Gender Equality Charter, a set of commitments aimed at improving the conditions and advancement of women composers and songwriters in the music industry. The charter is the result of collaboration, discussion and debate among the Working Group and the community of ECSA’s members and it is meant to inspire ECSA Member Organisations and other stakeholders to take action and act to change the gender imbalance we experience in the music industry today.

 

Get to know the New Board

 

 

The ECSA Office is pleased to present the newly elected members of the Board of ECSA. The Board is composed of nine elected members who are the three chairmen and vice-chairmen of the committees APCOE, ECF and FFACE. The Board meets twice a year and is involved in regular teleconferences to best shape ECSA’s activities and future. Don’t hesitate to click here to take a look at who they are.

© François de Ribaucourt

 

ECSA welcomes its 58th member, Magyar Könnyűzeneszerzők és Szövegírók Egyesülete

 

 

The Association of Hungarian Pop/light Musical Composers and Lyricists – Magyar Könnyűzeneszerzők és Szövegírók Egyesülete (SZERZOK) has recently joined ECSA network as its 58th member organisation.

SZERZOK is a non-profit organisation representing the general interests of popular and light music composers, striving to broaden the rights of songwriters and music creators, by communicating with decision makers concerning authors’ rights and by informing its members about their rights. Furthermore, this association strives to be a network with other music organisations and policy makers to build strong cooperation between the different stakeholders to help the talents to be empowered and to provide them with professional and creative opportunities. Besides, SZERZOK plays an active role in disseminating the Hungarian music culture in the audio-visual media through the organisation of music events and lobbying campaigns.

ECSA is delighted to welcome SZERZOK amongst its members and is convinced that, in its new position, SZERZOK will further strengthen the voice of ECSA, to the benefits of all music authors and beyond.

 

42 Edition of the UNAC Grand Prix ceremony

 

 

On Monday, March 25, the UNAC 2019 Grand Prix ceremony was held at the Sacem headquarters in Neuilly-Sur-Seine near Paris. It is in a desire for valorization that this ceremony, orchestrated by the international Valli, honored the winners of the six categories represented. Under the chairmanship of Olivier Delevingne, the 2019 Academy wanted to highlight an ever-wider range of registers in its selection, including the entry of the profession of author-director and repertoire of humor this year.

This annual event that has become a must for the music industry was held in front of a full auditorium and was followed by a reception to allow a moment of exchange to those present.

 

Norwegian Society of Composers

 

 

The Norwegian Society of Composers, founded in 1917, is a professional organization for working composers. The members of today reflect the many different roles of the composer in the community. The society is continually expanding – both in numbers and in artistic diversity and breadth of genres represented. We work to ensure better conditions for all who are involved with music and sound as an art form, and for a dynamic music life in general. We believe that the versatile arts field we represent counteracts polarization, instead promoting innovation, debate and sensory experiences. We hope to create opportunities for the many different forms of expression which together make up the penetrating power of our music life. At the same time, we want to show the extent of the field with regard to how many works with, are affected by and are engaged in this diversity of expression. Because art is created from a subjective standpoint, we wish to ensure that a great variety of voices are given a chance to be heard, regardless of gender, political standing, geography or birth. We work for equality in all senses of the word. The Norwegian Society of Composers has nearly 300 members and an administration of four.

© Renate Madsen

 

BASCA Rebranding

 

 

On Monday 25 March, BASCA (British Academy of Songwriters, Composers and Authors), the body representing the UK’s songwriters and composers, has changed its name to The Ivors Academy, to strengthen and amplify its voice in the music industry for a new era. Songwriter and Chair of The Ivors Academy, Crispin Hunt says: “The future needs a powerful collective voice for music writers. The Ivors Academy of Music Creators is the future-facing, fit-for-purpose evolution of BASCA’s great legacy. Our mission is to innovate, inspire, inform, empower and celebrate musical creativity: connecting a global membership towards a flourishing musical future for every genre and every future genre”. Find out more about the Ivors Academy and the Ivors 2019 by clicking here.

 

Synthetis (summer course 4 composers)

 

 

Composers from all over the world and with no age limit are invited by the the Music Gardens Foundation to participate in the 2019 edition of the International Summer Course for Composers “SYNTHETIS”, which will be held in Radziejowice (near Warsaw, Poland) between July 15 and 27, 2019. The International Summer Course for Composers, created and directed by Zygmunt Krauze, is a successful reactivation of the legendary composition courses initiated in 1980 by the Polish Society for Contemporary Music. The key objective of the Course is to allow each and every participant not only to develop his or her artistic skills, but also to work in an environment where exchange of experience is essential. Deadline for application is May 20. More information and on-line application form available at: www.synthetis.pl

 

Take part in the progressive classical music award 2019

 

 

Compose new music for two violins that goes under the skin and sweeps audiences off their feet. There is no limit to your imagination. Using virtuosity or simply great emotionality– always remember that the audience has to be touched or carried away! The style does not matter. Playing technique should be challenging, unconventional, with new effects, nice melodies, extreme sounds or hot rhythms – let your imagination run wild. Find out more by clicking here.

PRESS RELEASE ON THE EUROPEAN PARLIAMENT’S ADOPTION OF THE COPYRIGHT DIRECTIVE

 

ECSA WELCOMES A HISTORICAL DECISION FOR EUROPE’s CULTURAL DIVERSITY AND TOWARDS a FAIr REMUNERATION OF authors in THE DIGITAL AGE

Strasbourg, 26th of March 2019

On 26 March 2019, despite an unprecedented pressure, the European Parliament had the courage to adopt the Copyright Directive with 348 votes in favour, 274 against and 36 abstentions. The European Composer and Songwriter Alliance (ECSA), which represents over 50,000 professional composers and songwriters in 26 European countries, welcomes this historical decision for European cultural diversity and towards fair remuneration of authors in the digital age. 

Alfons Karabuda, ECSA President said: “On behalf of the music authors community, let me first thank all the Members of the European Parliament who sent today a strong and positive signal to future generations who want to write, compose, create and be fairly remunerated for their creations”. 

ECSA welcomes in particular the provisions that rebalance the position of rightholders for the online exploitation of their content on video-sharing platforms. We also commend the European Parliament for adopting for the first time in EU law key standards of transparency and fairness to rebalance the systemic weak bargaining position that authors face in front of their contractual partners. 

Alfons Karabuda concluded: “It was said to be the once in a generation reform, and the European Parliament can be proud of its historic vote. We now stand ready to contribute to an ambitious implementation of the Directive in all EU Members States so that it can honor its promises and improve the livelihoods of all music authors in the EU”.

______________________________________________

The European Composer and Songwriter Alliance (ECSA) represents over 50,000 professional composers and songwriters in 26 European countries. With 56 member organizations across Europe, the Alliance speaks for the interests of music creators of art & classical music (contemporary), film & audiovisual music, as well as popular music.

Web: www.composeralliance.org / EU Transparency Register ID: 71423433087-91

European Authors’ open letter in support of the Copyright Directive

 

A Europe Fit for the next generation of creators

20th of March 2019

Dear Member of the European Parliament,

The undersigned organisations of authors – representing hundreds of thousands of voters who are writers, screenwriters, filmmakers, composers and songwriters – urge you to seize this once in a decade opportunity and support the successful adoption of the Copyright Directive.

Since the last European elections, the European Commission, the European Parliament and Member States concluded that the European Union needed to modernise copyright in the Digital Age. Included in this debate was a conviction of the need to strengthen Europe’s authors by addressing the systemic weak bargaining position in negotiating contracts, and promoting fair remuneration.

Authors are at the very origin of the copyright value chain for Europe’s cultural and creative industries, which produce EUR 509 billion in value added to GDP, provide 7.5 % of the EU’s work force and significantly contribute to the EU economy in terms of employment, investment, growth, innovation and competitiveness on a global scale. Yet for the vast majority of authors, their careers are barely sustainable and poorly remunerated. The Parliament has played a decisive role in insisting that the Copyright Directive address this anomaly and has significantly improved the various provisions in the Directive which will benefit authors, and which we have supported. 

Throwing the Directive away now would not only reverse the European Parliament’s work to support authors but also be an unprecedented setback for all creators in Europe. Abandoning the Directive now would be a major victory for the major international players who ignore the damage caused to the creative industries by their dominant position and refuse the harmonisation and inclusion of basic standards of transparency and fairness in EU copyright legislation.

This Directive concerns the future of Europe’s cultures. The European Parliament played a key role in the negotiations ensuring future generations access to freedom of expression.

Please – adopt the Directive and send a strong signal to the future generations who want to write, compose, create so that they can be fairly remunerated.

Sincerely yours,

  1. ACE, Spanish Writers’ Association, Spain – Manuel Rico Rego – President
  2. ADA, Austrian Directors Association, Austria – Jacob Groll and Jenny Gand – Co-chair
  3. ALMA, The Spanish Writers Guild, Spain – Alberto Macias – President
  4. AMA, Autores de Musica Asociados, Spain – Javier de Juan – President
  5. ANAC — Associazione Nazionale dei Autori Cinematografici, Italy – Francesco Ranieri Martinotti – President
  6. APR – ASSOCIAÇÃO PORTUGUESA DE REALIZADORES, Portugal – Filipa Reis – President
  7. ARRF – Association des Réalisateurs et Réalisatrices de Films, Belgium – André Buytaers, Administrator
  8. ARF/FDS – Swiss Filmmakers Association, Switzerland – Barbara Miller – President
  9. Asociace spisovatelů, The Czech Writers Association, Czech Republic – Ondřej Lipár – Chairman
  10. Association of Catalan Language Writers, Catalonia-Spain – Bel Olid Báez – President
  11. Association des Auteurs de l’Audiovisuel (ASA), Belgium, Frédéric Castadot – President
  12. Associazione dell’Autorialità Cinetelevisiva, 100autori, Italy – Stefano Sardo – President
  13. BAFTRS – Bulgarian Association of the Film, Theater and Radio Scriptwriters, Bulgaria, President – Dr. Stanislav Semerdjiev
  14. BAM!, Dutch Songwriters Society, Netherlands – Pieter Perquin – Chair
  15. BASCA, British Academy of Songwriters, Composers and Authors – United Kingdom – Crispin Hunt – Chair
  16. Bundesverband Regie e. V., Germany – Susann Reck, Marie Noelle, Axel Schill Bettina Schoeller-Bouju & Cornelia Grünberg, Executive Board
  17. CC Composers Club e.V., Germany – John Groves – President
  18. Croatian Film Directors’ Guild, Croatia – Danilo Šerbedžija, President
  19. The Danish Composers’ Society, Denmark – Bent Sørensen – President
  20. The Danish Authors Society, Denmark – Morten Visby – Chairman
  21. The Danish Writers Guild, DenmarkAnders Busk – Kommunikationskonsulent
  22. Danske Filminstruktører/Danish Film Directors, Denmark – Christina Rosendahl, President
  23. Deutscher Komponistenverband, Germany – Dr. Enjott Schneider- President
  24. DGCY – Directors Guild of Cyprus, Cyprus – Daina Papadaki, President
  25. The Directors Guild of Slovenia – Slovenia – Urša Menart
  26. Directors UK, United Kingdom – Andrew Chowns, CEO & Steve Smith, Chair
  27. DJBFA, Composers and songwriters, Denmark – Susi Hyldgaard chairman and Anna Lidell vice chairman
  28. Drehbuchverband Austria, Austrian Screenwriter Association, Austria – Christian Neubacher
  29. DSR – Directors Guild of Slovenia, Slovenia – Urša Menart, Chair
  30. DSR Screenwriters, Slovenia – Matevž Luzar
  31. Dutch Directors Guild, The Netherlands – Martijn Winkler – Chairman
  32. Dutch Writers Guild, The Netherlands, Maria Vlaar – Chair
  33. ECSA, European Composer & Songwriter Alliance, Alfons Karabuda – President
  34. ESPEK – Association of Greek Film Directors-Producers, Greece – Elina Psykou – President
  35. Estonian Filmmakers Union, Estonia – Alvar Kõue – Chairman
  36. EWC European Writers’ Council, Gunnar Ardelius – President
  37. FAGA, Foro de Asociaciones de Quionistas audiovisuals, Ana Hormaechea, President
  38. FEMA, Federación Espanola de Músicos Asociados, Spain – Iván García-Pelayo – International Affairs Reprensentative
  39. FERA – Federation of European Film and TV Directors – Dan Clifton – Chair
  40. FLAC, Fédération Luxembourgeoise des auteurs et compositeurs, Luxembourg – Roby Steinmetzer – President
  41. Flemish Writers’ Association (Vlaamse Auteurs Vereniging, VAV), Belgium – Natalie Ariën – coordinator
  42. Film Directors Guild of Azerbaijan, Azerbaijan – Huseyn Mehdiyev – Chairman
  43. The Finnish Playwrights and Screenwriters Guild, Finland – Ms Sonia Meltt – Executive Director
  44. The Finnish Music Creators FMC, Finland – Kaija Kärkinen – Chair of the Board
  45. Galician Language Writers Association, Galicia-Spain – Cesáreo Sánchez Iglesias -President
  46. The German Writers’ Union, Germany, Lena Falkenhagen –
  47. La Guilde Française des Scénaristes, France, Denis Goulette – Executive Officer
  48. Greek Directors’ Guild, Greece – Haris Papadopoulos – Chairman
  49. Groupe 25 Images, France – Claire De La Rochefoucauld & Arnaud Selignac – Presidents
  50. Hellenic Authors’ Society, Greece – Yiorgos Chouliaras – President
  51. Hrvatsko društvo skladatelja, Croatian Composers Society, Croatia – Ante Pecotić – President
  52. The Icelandic Dramatists Union, FLH (Félag leikskálda og handritshöfunda), Margrét Örnólfsdóttir, Chairman
  53. IMAGO — International Federation of Cinematographers Paul René Roestad – President
  54. The Irish Writers’ Union, Ireland, Lissa Oliver & Phil Mac Giolla Bháin, Co-Chairpersons
  55. Israel Directors Guild, Israel – Limor Pinhasov, Chairwoman
  56. LARS – Luxembourgish Association of Film Directors and Scriptwriters, Luxembourg – Claude Lahr, President
  57. Latvian Filmmakers Union, Latvia – Ieva Romanova – Chair
  58. Lithuanian Filmmakers Union, Lithuania – Arūnas Matelis – President
  59. Magyar Zeneszerzők Egyesülete, Hungarian Composers’ Union, Hungary – Máté Hollós – President
  60. Musimagen – Asociation of Audiovisual composers of Spain, Darío Palomo – President
  61. National Society of Greek Authors, Greece, Eleni Kekropoulou, Vice-President
  62. Netwerk Scenarioschrijvers, the Netherlands, Pieter Bart Korthuis -Chairman
  63. NFF – Norwegian Film Makers Association, Norway – Sverre Pedersen – President
  64. NFR – Norske Filmregissører, Norway – Marianne Kleven, Chair
  65. Nieuw Geneco, Nieuw Genootschap Nederlandse Componisten, Netherland – Felix Rottenberg – Chair, Esther Gottschalk – Director
  66. NOPA – The Norwegian Society of Composers and Lyricists, Norway, Ingrid Kindem – Chair
  67. Norsk Komponistforeningen, Norwegian Society of Composers, Norway, Jørgen Karlstrøm – Chairman of the Board
  68. ÖGZM, Österreichische Gesellschaft für zeitgenössische Musik – Austria, Morgana Petrik – Präsident
  69. ÖKB – Österreichischer Komponistenbund, Austria – Alexander Kukelka – President
  70. PDM – Producers and Directors of Montenegro – Montenegro – Ivan Djurovic, President
  71. Portuguese Society of Authors (SPA), Portugal, José Jorge Letria –
  72. Rättighetsbolaget/Rights Manager of the Swedish Union for Performing Arts and Film, Sweden – Anna Carlson, President
  73. Sanasto – Finnish Literary Copyright Society, Finland – Anne Salomaa – Executive Director
  74. Scenario, Switzerland – Jacqueline Surchat – Coordinator
  75. SCGI, Screen Composers Guild of Ireland, Ireland – Sarah Glennane – CEO
  76. SDGI –Screen Directors Guild of Ireland, Ireland-Maurice Sweeney – Chairman
  77. Screenwriters Circle of the Polish Filmmakers Association, Poland, Maciej Karpinski – President
  78. Scriptwriters Guild of Greece, Greece – Alexander Kakavas – President
  79. SFP – Stowarzyszenie Filmowców Polskich/Polish Filmmakers Association, Poland – Jacek Bromski, President
  80. SKAP – The Swedish Society of Songwriters, Composers and Authors, Sweden – Alfons Karabuda – Chair
  81. SKL – Samtök kvikmyndaleikstjóra/Film Directors Guild of Iceland, Iceland – Dagur Kári Pétursson, Chairman
  82. SNAC, Syndicat National des auteurs et des compositeurs, France – Pierre-André Athané – President
  83. Society of Authors (SoA), United Kingdom, Nicola Solomon – Chief Executive
  84. The Society of Finnish Composers, Finland – Antti Auvinen – Chairman of the Board
  85. The Society of Slovene Composers, Slovenia, Nenad First – President
  86. Society of Swedish Authors in Finland, Finland – Peter Sandström – President
  87. SPID – Croatian screenwriters and playwrights guild, (Croatian screenwriters and playwrights guild), Croatia, Zinka Kiseljak – President
  88. SRF – Société des Réalisateurs de Films, France – Marie Amachoukeli, Bertrand Bonello, Christophe Ruggia, Co-Presidents
  89. Suomen elokuvaohjaajaliitto SELO ry, Finland – Sakari Kirjavainen, Chair
  90. The Swedish Association of Educational Writers, Sweden – Wiwi Ahlberg, Chair-person
  91. Swedish Film Directors, Sweden – Maria Eriksson-Hecht & Göran Du Rees – Presidents
  92. The Swedish Writers’ Union, Sweden – Grethe Rottböll – President
  93. Teaterförbundet – The Swedish Union for Performing Arts and Film, Sweden – Simon Norrthon, President
  94. Tónskáldafélag Íslands – Icelandic Composers’ Society, Þórunn Gréta Sigurðardóttir – Chairperson
  95. UCMF, Union des Compositeurs de Musiques de Films, France, Béatrice Thiriet – Présidente
  96. UNAC, Union Nationale des Auteurs et Compositeurs, France – Olivier Delevingne – President
  97. U.N.C.L.A, Unione Nazionale Compositori Librettisti Autori, Italy, Giuseppe Amendola – Secretary General
  98. Unie van Regisseurs vzw – Belgium/Flanders – Jin Berghmans, CEO
  99. Verband Deutscher Drehbuchautoren e.V., Screenwriter’s Guild of Germany, Germany – Sebastian Andrae, Prof. Peter Henning – Executive Board Members
  100. Vlaamse Scenaristengilde / Flemish Screenwriters Guild, Belgium – Michel Sabbe & Dirk Nielandt
  101. WGGB, Writers’ Guild of Great Britain, UK – Ellie Peers – General Secretary, Gail Renard – Chair
  102. Writers’ Guild of Ireland, Ireland – Thomas McLaughlin – Chairman
  103. The Writers’ Guild of Norway, Norway, Monica Boracco – Chair
  104. Writers Guild of Sweden, Sweden, Pia Gradvall – Chair
  105. The Writers’ Union of Iceland – Iceland, Ragnheidur Tryggvadottir – Executive Manager
  106. The Writers’ Union of Romania, Romania, Razvan Voncu – Director for International Programs
  107. Zwiazek Polskich Autorow, Kompozytorow, Poland – Marek Hojda- Vice-President
  108. Zwiazek Kompozytorow Polskich, The Polish Composers’ Union, Poland – Mieczyslaw Kominek Ph.D. – the President

You can find the PDF version of the open letter here.

***

The European Composer and Songwriter Alliance (ECSA) represents over 30,000 professional composers and songwriters in 27 European countries. With 57 member organizations across Europe, the Alliance speaks for the interests of music creators of art & classical music (contemporary), film & audiovisual music, as well as popular music.

Web: www.composeralliance.org

EU Transparency Register ID: 71423433087-91

EWC, founded in 1977 in Germany and newly constituted in 2006 in Brussels as an international non-profit organisation, the European Writers’ Council is the federation of 45 European national organisations of professional writers and literary translators in all genres in 34 countries. EWC’s members represent more than 160,000 authors in the book sector.

Web: www.europeanwriterscouncil.eu

EU Transparency Register ID: 56788289570-24

The Federation of European Film Directors (FERA), founded in 1980, represents film and TV directors at European level, with 35 directors’ associations as members from 29 countries. We speak for more than 20,000 European screen directors, representing their cultural, creative and economic interests.

Web: www.filmdirectors.eu

EU Transparency Register ID: 29280842236-21

The Federation of Screenwriters Europe is a network of national and regional associations, guilds and unions of writers for the screen in Europe, created in June 2001. It comprises 25 organisations from 19 countries, representing more than 7,000 screenwriters in Europe.

Web: www.scenaristes.org

EU Transparency Register ID: 642670217507-74

PRESS RELEASE “Fruitful discussions at the Creators’ Roundtable in L.A.”

   Los Angeles, 13thMarch 2019

 

On 13thMarch 2019, the Creators’ Roundtable took place in L.A. hosted by the Society of Composers and Lyricists (SCL)and ECSA. The roundtable is part of ECSA’s Creative Europe funded activity called ‘Transatlantic Dialogue for Sustainable Music’ aiming at discussing and tackling global issues concerning the music creators’ community.

The ECSA delegation, consisting of ECSA President Alfons Karabuda, Vice President Bernard Grimaldi, Secretary General Marc du Moulin and European Affairs and Programme Manager Alicja Swierczek, was welcomed by the SCL delegation including President Ashley Irwin, SCL Recording Secretary Jonathan David Neal and several SCL Board members such as film and game music composer Gary Schymann, composer and arranger Ira Hearshen and film composer and hit songwriter Hélène Muddiman.

The roundtable started with reciprocal updates on relevant political and legal developments in the EU and US for composers and songwriters. Moreover, buy-out contracts and the concrete challenges faced by US and European game music composers were discussed.

Among the roundtable participants were furthermore:

Jesper Ankarfeldt, Danish film music composer

Rick Carnes– US songwriter, President Songwriters Guild of America, Co-Chair MCNA (Music Creators North America).

Marvin Dolgay– Canadian composer, President Emeritus Screen Composers Guild of Canada. Co-Chair MCNA (Music Creators North America).

Charles J. Sanders– General Counsel to Songwriters Guild of America and MCNA.

Starr Parodi– US composer and Songwriter, President of the Alliance of Women Film Composers (AWFC).

The afternoon session continued with a discussion with representatives of the US Copyright Office Reagan A. Smith, General Counsel and Associate Register of Copyrights, and Chris Weston of the Policy and International Affairs of the American Copyright office. Updates were given on the Music Modernization Act and the developments regarding moral rights Report in the US.

The Creators’ Roundtable continued with Sarah Kovacs, agent at Kraft-Engel, one of the leading composer agencies who talked about the realities of the streaming as well as game business for composers and songwriters. More experiences and insights were given by:

Shawn LeMone– Vice President Film & TV Music/New Media, ASCAP

Jennifer Harmon– Senior Director Film TV & Visual Media, ASCAP

Erin Collins– Vice President of Film TV and Developing Media, SESAC

The participants underlined that buy-outs are not a “fait accompli” and there are possibilities to negotiate fairer contracts with streaming services as well as game production companies. They also emphasized the need to raise awareness about those challenges to the whole music creators’ community especially to the younger generation.

ECSA President Alfons Karabuda comments on the roundtable:

Never before has the condition for professional music creation and distribution changed so rapidly as in the present. These movements are almost all global and only in close collaboration with our international network will we be able to take a leading role rather than one of a bystander. This is why the Creators’ Roundtable set-up in partnership with SCL is of such importance.”

 

For more information about the “Transatlantic Dialogue for Sustainable Music”,please don’t hesitate to contact:

European Affairs and Programme Manager Alicja Swierczek

Email: alicja.swierczek@composeralliance.org

Website: www.composeralliance.org

 

Please find here the PDF version

 

ECSA Gender Equality Charter

 

The ECSA Working Group on Gender and Equality is proud to announce the publication of the ECSA Gender Equality Charter, a set of commitments aimed at improving the conditions and advancement of women composers and songwriters in the music industry.

The charter is the result of collaboration, discussion and debate among the Working Group  and the community of ECSA’s members and it is meant to inspire ECSA Member Organisations and other stakeholders to take action and act to change the gender imbalance we experience in the music industry today.


ECSA Gender Equality Charter

We pledge to:

  1. Improve equality and diversity at decision-making levels.
  2. Participate in or organize activities that promote equality and diversity in the music industry. And, in an opposite situation, for example men might choose to refrain from participating in an all-male panel.
  3. Take the necessary steps to compensate for the gender bias in the awarding of prizes and grants, always making sure that a gender balance should be met in the nomination process.
  4. Recruit employees, partners and suppliers from a wide talent pool.
  5. Adopt practices to welcome more female songwriters and composers as members of organisations where we have influence (CMO’s etc.).
  6. Work towards a balance in the programming of concerts, venues, festivals and panels.
  7. Share methods of increasing equality and diversity with others, so we can learn from each other.
  8. Increase the visibility of female role models at both an academic and a professional artistic level, and promote a wider variety of role models in the music industry.

You can find the PDF version of the Charter here.

 

ECSA Open Letter in support of the Copyright Directive

 

A Europe fit for the next generation of creators

 

Brussels, 7th of March 2019

Dear Member of the European Parliament,

I am writing to you on behalf of the European Composer and Songwriter Alliance (ECSA), which represents over 50,000 professional composers and songwriters in 27 European countries – to ask you to vote in favor of the Copyright Directive.

We are not asking you to take a pledge to vote for or against any Article of the Directive: we value your free judgment and we believe that the future of Europe does not rely on a single Article of any Directive. We simply support the whole Directive as a package, which will improve the position of Europe’s creators and their remuneration.

You have a unique opportunity to update the EU’s 20-year-old legislation on authors’ rights and make European copyright fit for purpose in the digital age. Since the early 2000s, the Internet has grown exponentially, and we embrace the opportunities it gives us to disseminate our works. But today’s Internet is very different from the one that existed at the time: the digital landscape moved from a free and diverse environment where small platforms were competing amongst each other to a place where a few gigantic and dominant players are able to dictate their terms to creators and users, not to mention citizens.

Those “technopolies” and their numerous sister organisations have been allowed to become as powerful as they are today because lawmakers have too often been afraid to set reasonable limits to their immense powers. It is now time to have the courage to reverse this trend and make sure that with great power should also come responsibilities.

After 30 months of democratic and comprehensive debates, the final text on the table is a fair and reasonable compromise which notably aims at rebalancing the relationship between creators, citizens and global platforms. Article 13 will NOT affect freedom of expression at all, it is adapted to the size of each platform and includes a specific carve out for start-ups, tailored to give them the possibility to grow and compete with tech giants.

Improving the remuneration of creators and fostering freedom of expression are two fundamental objectives that support each other. We want citizens to access and enjoy our works as much as possible and we believe that we should get a fair share of the value created by them. When a citizen enjoys a creative work on a global platform, the revenues generated should go mainly to those who created and invested in it, not to the platforms. This is what Article 13 is all about. For the tech industry, this is not about censoring the Internet “as we know it” but about saving “their” Internet, as a few of them own it.

More importantly, this Directive includes unprecedented harmonised provisions to the benefit of all authors and performers (Articles – 14 to 16A), small or big, to rebalance the systemic weak bargaining situation they find themselves in when they sign contracts with producers and publishers.

Thanks to the European Parliament, the Directive includes a principle of appropriate and proportionate remuneration, strong transparency obligations, a remuneration adjustment mechanism and a revocation right in case of a lack of exploitation. There is nothing falser than saying that this Directive only favors big rightholders and does nothing for creators. Those provisions, too often overlooked in the copyright debate, are a once in a generation opportunity to place creators at the center of copyright law and improve their remuneration.

This is not only about us, as authors, but about Europe’s independence and the future of Europe’s culture. After the EU Member States failed to impose fair taxes on digital giants, the European Parliament can now send a strong and positive signal to future generations who want to write, compose, create and be fairly remunerated for their creations.

                   ***

The European Composer and Songwriter Alliance (ECSA) represents over 50,000 professional composers and songwriters in 27 European countries. With 58 member organizations across Europe, the Alliance speaks for the interests of music creators of art & classical music (contemporary), film & audiovisual music, as well as popular music.

Web: www.composeralliance.org

EU Transparency Register ID: 71423433087-91

You can find the PDF version of the letter here.

Debunking the myths around the Copyright Directive

 

Myth: “This Directive only favors big rightsholders and does nothing for creators”


FALSE!


So much biased disinformation (to say the least) is circulating on the Copyright Directive that the first thing you should do is to … READ it! It’s here. Do you often hear that it will only favor big rightsholders and do nothing for creators? Nothing is falser!

In fact, the Directive includes unprecedented EU harmonized provisions to the benefit of all authors and performers including small ones, to rebalance their systemic weak bargaining position when they sign contracts with producers and publishers and improve their remuneration. Despite a fierce opposition, the European Parliament succeeded to include additional protections for creators (Article – 14 and 16a) and to strengthen the provisions proposed by the European Commission (Articles 14, 15 and 16).

The European Parliament fought hard to include Article – 14, which establishes a right to appropriate and proportionate remuneration to the benefit of all authors and performers. It is the first time the EU recognizes such a right.

Article 14 now includes a strong transparency obligation to ensure authors and performers have access to relevant information about the exploitation of their works and performances across the whole value chain, including from sub-licensees.

Thanks to the European Parliament, this will enable creators to compare deals and better exploit new opportunities, including across borders. Today, creators are too often unable to effectively monitor the use, measure the commercial success and assess the
economic value of their works.

Article 15 introduces for the first time in EU law a strong contract adjustment mechanism (often called the “best-seller” clause) to ensure that creators can benefit from their successes. It includes a right to claim “additional, appropriate and fair remuneration”, in case the remuneration originally agreed turns out to be disproportionately low compared to all the exploitation revenues.

Article 16 sets out a voluntary, alternative dispute resolution procedure to help creators enforce their rights under Article 14 and 15, as a possible alternative to costly and lengthy legal procedures against publishers and producers.

The European Parliament also fought hard for Article 16A, which would introduce for the first time in EU law a right of revocation, based on a simple “use it or lose it principle”, allowing both creators to take back their rights when their works are not exploited and giving citizens access to our cultural diversity. In the current situation, authors are too often trapped into contracts applying for the entire duration of the copyright term (70 years after the death of the author) and for all territories in the world.

If the European Parliament rejects the Copyright Directive, it will throw to the bin all those improvements, showing to citizens and creators the EU’s failure to improve the livelihoods of millions of creators, who have been waiting 20 years to see those improvements adopted at EU level.

Time to make the right choice and adopt the Copyright Directive!

 

Myth: “Article 13 will break the Internet, affect freedom of expression and stifle innovation and creativity”


FALSE!

In fact, Article 13 aims at rebalancing the current unfair relationship between certain big platforms and the ones who created and invested in creative works. It requires certain big profit-making platforms with large amount of copyright works to get an authorisation from rights holders (paragraphs 1, 2 and 3) or to remove specific works, based on the information provided by rights holders (paragraph 4).

Who is concerned? See Article 2, paragraph 5 and the definition of online content sharing service provider. READ it! It is here:

It ONLY applies to those whose MAIN PURPOSE is to store and give access to a LARGE amount of copyright protected works uploaded by its users which it organises and promotes for PROFIT-MAKING purposes.

It does NOT apply to non-profit players, such as online encyclopedias, open source software platforms or online marketplaces. Neither to services whose main purpose is not giving access to large amount of copyright works for commercial purposes.

Who is responsible? Today, users are responsible for copyright infringement. With Article 13, USERS will NOT be responsible, but the PROFIT-MAKING platforms mentioned above will be (paragraph 2).

No threat to freedom of expression: Article 13 does NOT prevent people to upload their content, nor it will prevent them to freely upload content for the purpose of quotation, criticism, review, caricature, parody or pastiche. Freedom of expression is safeguarded for creators and citizens and protected from automatic blocking (paragraph 5). As authors, freedom of expression is in our DNA: we would not support any laws that limit it in any way.

No obligation to put “upload filters” in place: If no licences are available, those platforms need to be able to identify specific copyright protected content for which rightsholders provide relevant information. Any general monitoring obligation is explicitly banned (paragraph 4 and 7).

No one size fits all approach: In case rightholders do not want their content to feature on the platforms, the obligation to keep the content out will depend on the platforms’ type, their audience, their size, the works uploaded, the means available to them and their cost (paragraph 4a).

Special regime for start-ups: In order to create even more legal security for small players, Article 13 includes a specific regime for startups if a) they have existed for less than three years, b) generate less than 10 million euros in turnover annually and c) have an average number of monthly unique visitors below 5 million. They will benefit from a light regime altogether (paragraph 4aa).

Now ask yourself: when a citizen enjoys a creative work on a global profit-making platform, do you think the revenues generated should go mainly to those who created the work or to the platforms?

Time to read the text, be fair to creators and adopt the Copyright Directive!

Share the two fact sheets about these myths, that you can find here and here

 

News from Brussels – February 2019

 

ECSA Winter session 2019 – Thank you !

 

On 19th and 20th February, the ECSA Winter Session took place in Brussels. The ECSA team, wants to personally thank all the Members who had the chance to participate in the session last week. Once again, the committee meetings and the General Assembly provided the fantastic opportunity to discuss about our Creative Europe Projects, our different advocacy’s efforts as well as to brainstorm on the future of ECSA. Let’s continue to work together to continue advocating for the rights of music authors of all genres all over Europe and the world.

© Francois de Ribaucourt & Grégory de Leeuw

 

The Copyright Directive gets closer to the final vote in the European Parliament.Time to get ready for the final battle!

 

After a positive first endorsement by Member States during a COREPER meeting on 20 February, the European Parliament Legal Affairs committee (JURI) voted in favour of the provisional agreement on the Copyright Directive on 26 February with 16 votes in favour and 9 votes against. As a result, the next key step is now the final Plenary vote in the European Parliament, most probably on 26, 27 or 28 March 2019. If this vote is positive, Member States will have to formally adopt the provisional agreement before it can finally enter into force. As the opposition to the Directive is getting stronger, notably in Germany and Poland, it is essential to continue to reach out to Members of the European Parliament and push for its adoption. In the Council, most Member States (21) supported the Directive whereas Italy, Poland, the Netherlands, Finland and Luxembourg voted against the text. Belgium and Slovenia abstained. In the JURI committee, the EPP (7 MEPs), ALDE (2 MEPs), ENF (2 MEPs) voted in favor whereas the Greens (3 MEPs), GUE (1 MEP), voted against. The Socialists and Democrats (3 / 3), ECR (1/1) and EFDD were divided.

 

ECSA, together with authors’ organisations, welcomed the vote and called Members of the European Parliament to finally adopt the Directive without further delay

 

After the vote, ECSA, together with FERA, EWC and FSE welcomed in a joint press release “a strong, cross part support to the Europe’s creative community” (see here) and called all Members of the European Parliament to finally adopt the Directive. Two press articles referred to this press release (see here and here )

ECSA also joined forces with a wide number of organisations in favor of the Directive (see statement). We will continue to exchange and coordinate with them to push together for the final adoption of the Directive. The Copyright Directive’s provisional agreement is available here.

 

The European Parliament Culture Committee (CULT) adopts its position on the Creative Europe Program 

 

 

On 20th February 2019, the EP CULT committee adopted Mrs. Costa (S&D-IT) draft report on the next Creative Europe programme (2021 to 2027). The report, adopted unanimously with 28 votes in favour, no vote against and one abstention is largely positive and includes good provisions, in line with the position adopted by ECSA (see here) and joint voting recommendations with Impala and Liveurope. Most notably, the draft report includes amendments striving for a better reflection of the importance of the music sector, a higher budget dedicated to Creative Europe, a larger budget dedicated to the CULTURE sub-programme, the mobility and visibility of creators and repertoires, as well as positive language on the support to artistic freedom, cultural diversity and gender equality. The European Parliament will now most likely adopt Mrs. Costa report in plenary session at the end of March. Negotiations between the European Parliament will and the Council will start after the European elections in May.

 

ECCO Concert & Workshop, 2019 Brussels edition

 

 

On 18th February 2019, ECSA held for the very first time a workshop entitled ‘Inside the composers’ head: discovering contemporary art music’. This event was organised in order to create a space where composers and musicians of the upcoming ECCO concert could exchange impressions and answer audience’s questions about the pieces during the rehearsals. One of the attendees said: ‘It has been a great idea to create this space. It has helped me open my mind to create new music. Definitely, an interesting and enriching experience.’

The following day, on 19th February 2019, the ECCO concert took place at the same venue, Le Senghor, and featured the Ensemble Hopper conducted by François Deppe, who performed pieces from 7 composers from all over Europe and Israel. In addition, the electronic interpretation was provided by the renowned Centre Henri Pousseur from Liège.  The following pieces were featured:

–              Talia AMAR (Israel), Triangulation

–              Sampo HAAPAMÄKI (Filand), Logo

–              Gaëlle HYERNAUX (Belgium), Avatar

–              Jan FLESSEL (Denmark), Studies for Piano Trio – 3 Depictions of Night

–              Gilles DONEUX (Belgium), Defragmentation 2

–              Maija HYNNINEN (Finland), Winnowing

This 2019 Brussels edition was very successful, performing high quality works of mixed music and filling the concert venue with around 150 people. Take a look at the pictures from that evening here.

 

Welcome Hub established in Helsinki

 

 

A new Welcome Hub was established in Helsinki on the 20 February 2019. In line with ECSA‘s Creative Europe activity plan, a Welcome Hub for ECSA music writers is now established in Finland The Hub is set up in partnership with Suomen Musiikintekijät – Finnish Music Creators and was signed by FMC chair Kaija Kärkinen and ECSA president Alfons Karabuda, in Brussels. The hub will provide a first contact point and a possibility to exchange with peers and provide composers and songwriters with information and assistance. 

 You can find more information about ECSA’s Welcome Hubs by clicking here

© FMC

UNAC Campaign update

 

 

UNAC campaign continues with the support of ECSA and other organisations all over the world. The message behind the campaign is to put forward a pro authors message in favor of the Copyright Directive, easy to understand on social networks (on Facebook, Instagram and Twitter). Now more than ever we need to stand united and show the faces of all creators, a month before the final vote on the Copyright Directive.The process to participate is the following:

An author takes a picture of himself handing a tablet, laptop or smartphone on whose screen is displayed the message “404 ERROR, CREATORS NOT FOUND” (referring to the absence of content error). Preferably the background of the picture would showcase a well know place, such as a famous monument or square;

You would send the picture and the name of the Author, his function/job, and the location of the picture to contact@unac.info and marc.dumoulin@composeralliance.org.

UNAC and ECSA have been already receiving a lot of pictures namely from the UK and Spain, but welcome organisations from all the Member States to participate in the campaign!!

We really count on your support!

 

HARPA Nordic Film Composers Award 2019

 

 

HARPA Nordic Film Composers Award 2019 goes to composer Davíð Þór Jónsson and his director Benedikt Erlingsson. Concluding an Award Show at the beautiful Auditorium of the Felleshus of Nordische Botschaften, on February 12th 2019, the HARPA Nordic Film Composers Award was handed out for the 9th time as a part of Nordic Film Music Days 2019. More than 50 Nordic composers were present. 

© Thomas Kolbein Olsen, Berlinkontoret

 

ECSA Team update

The ECSA Staff welcomes Manon Chikh!

 

We are very happy to introduce you to our new trainee. Manon Chikh is a French student, passioned about music, finalizing her last year of master degree in European Affairs at Sciences Po Lyon. Manon joined the team in the beginning of February to help on advocacy and the upcoming projects.Let’s make her feel welcome !

© François De Ribaucourt

 

Leonardo 4 Children

 

On the occasion of the 500th anniversary of Leonardo da Vinci’s death (1519-2019), with a focus on art and science for children, the no-profit foundation “Carano 4 Children”[1] (the “foundation”) launched the flagship initiative « Leonardo 4 Children ». ECSA is proud to support this initiative and in particular the “Leonardo da Vinci’s Fables in music” European competition for 18-30 years old music composers. The “work” submitted for the competition shall be an original creation by the participants and consist in a musical interpretation of one Fable, chosen by the participants among the 10 Fables by Leonardo da Vinci. Click here to learn more about the requirements of the competition.

 

Press release – European Parliament’s Legal Affairs committee vote on the Copyright Directive

 

Authors’ organisations welcome a strong, cross-party support to Europe’s creative community

 

Brussels, 26th February 2019

Today, the European Parliament’s Legal Affairs committee adopted the provisional agreement on the Copyright Directive by 16 votes in favour and 9 against. As representatives of hundreds of thousands of authors, including film/TV directors, writers, literary translators, composers, songwriters, and screenwriters in Europe, we welcome this strong, cross-party support leading to the final adoption of the Directive.

We warmly thank all the MEPs who supported the Copyright Directive and in particular those who fought hard to strengthen the authors’ bargaining power and improve their remuneration. Today’s vote sends a positive and historical signal to all citizens who want to write, compose, create and be fairly remunerated for their work.

We now encourage all Members of the European Parliament to formally adopt the Copyright Directive without further delay.


___________________________________________
The European Composer and Songwriter Alliance (ECSA)

The European Writers Council (EWC)

The Federation of European Film Directors (FERA)

The Federation of Screenwriters in Europe (FSE)

                   ***

The European Composer and Songwriter Alliance (ECSA) represents over 30,000 professional composers and songwriters in 27 European countries. With 57 member organizations across Europe, the Alliance speaks for the interests of music creators of art & classical music (contemporary), film & audiovisual music, as well as popular music.

Web: www.composeralliance.org

EU Transparency Register ID: 71423433087-91

EWC, founded in 1977 in Germany and newly constituted in 2006 in Brussels as an international non-profit organisation, the European Writers’ Council is the federation of 45 European national organisations of professional writers and literary translators in all genres in 34 countries. EWC’s members represent more than 160,000 authors in the book sector.

Web: www.europeanwriterscouncil.eu

EU Transparency Register ID: 56788289570-24

The Federation of European Film Directors (FERA), founded in 1980, represents film and TV directors at European level, with 35 directors’ associations as members from 29 countries. We speak for more than 20,000 European screen directors, representing their cultural, creative and economic interests.

Web: www.filmdirectors.eu

EU Transparency Register ID: 29280842236-21

The Federation of Screenwriters Europe is a network of national and regional associations, guilds and unions of writers for the screen in Europe, created in June 2001. It comprises 25 organisations from 19 countries, representing more than 7,000 screenwriters in Europe.

Web: www.scenaristes.org

EU Transparency Register ID: 642670217507-74

You can download the PDF version here.

ECSA Press Release on the Informal Agreement on the Copyright Directive

 

ECSA welcomes a key step forward for music authors and encourages the European Parliament and Member States to formally adopt this essential piece of legislation without further delay

 

Brussels, 14 February 2019

On 13 February 2019, after years of negotiations and an unprecedented pressure from dominant corporate interests, the three European Institutions reached a provisional agreement on the Copyright Directive. The European Composer and Songwriter Alliance (ECSA), which represents over 50,000 professional composers and songwriters in 26 European countries, welcomes this key step forward towards the final adoption of the Directive by the European Parliament and the Council.

Alfons Karabuda, ECSA President said: “On behalf of the music authors community, let me first thank all the negotiators for reaching such an agreement. It was said to be the once in a generation reform, and the EU can be proud of the deal reached yesterday. This is a strong and positive signal to all authors who want to write, compose, create and be fairly remunerated for their creations.”

ECSA welcomes in particular the provisions that reinforce and rebalances the position of rightholders for the online exploitation of their content on video-sharing platforms (Article 13) and provides their users legal certainty in regards to their uploads. We also commend the EU negotiators for including key provisions that acknowledge the imbalance that authors face in front of their contractual partners and the urgent need for change (Chapter 3). In addition, the inclusion of a mandatory right of revocation – which would grant to authors the possibility to claim back their rights in case their works are not exploited – has the potential to empower music authors and ensure a wider access to our common cultural diversity across the EU.

Alfons Karabuda concluded: “If this agreement is confirmed, this will be the first time that the EU adopts basic standards of transparency and fairness to the benefit of authors. It will also greatly contribute to put an end to the unfair transfer of value from creators to a few big platforms and bring more justice and fairness to the digital world. We now hope that the European Parliament and the Council will finally adopt it and turn a blind eye to the interests of a few multinational tech companies who still claim that this Directive will “lead to censorship” to preserve their own business models. The Copyright Directive can greatly contribute to promote a sustainable future for Europe’s authors and cultural diversity. Let’s not miss this chance.”

You can download the PDF version here.

ECSA statement for a successful agreement on the Copyright Directive: Time to make the right choice for a creative Europe!

 

Brussels, 11 February 2018

The European Composer and Songwriter Alliance (ECSA) represents over 50,000 professional composers and songwriters in 26 European countries. Together with the European cultural and creative sectors, we welcome the significant progress achieved so far on the Copyright Directive and support a successful agreement at this week’s trilogue meetings.  

Now, more than ever, we strongly support the two main overarching objectives of this Directive: reinforce the position of rightholders for the online exploitation of their content on video-sharing platforms (Article 13) and improve the remuneration and contractual position of authors and performers (Chapter 3). While the current compromise put forward by the Romanian Presidency should still be improved, we call on the negotiators to adopt Article 13 as well as ambitious and meaningful Chapter 3 provisions, including a right to fair and proportionate remuneration (Article – 14) and a mandatory right of revocation (Article 16a). 

Together with the European creative sector as whole, we have supported Article 13 in a constructive and positive manner so that it can improve the value of creative works for the whole value chain and for all rightsholders, including producers and publishers. At this key juncture of the final political process, some of them have been voicing their concerns about its current wording and took this opportunity to question other provisions, notably Chapter 3 of the Copyright Directive, which includes necessary key provisions to rebalance the systemic weak bargaining situation of creators in their contractual relationship with producers and publishers.

Such an opportunistic, short-term and individualistic perspective shows a profound disrespect for authors and performers, whose creativity is the core value of the cultural industries’ business model, and not merely an adjustment variable. It also expresses an unfortunate disregard for EU policy makers who seek to create a fair level playing field for all players along the creative value chain. We are confident that the three European Institutions will ignore those last-minute attempts to undermine the harmonisation and inclusion of basic standards of transparency and fairness in EU copyright legislation. 

It is now time for the EU to send a strong and positive signal to future generations who want to write, compose, create and be fairly remunerated for their creations. It is now time to make the right choice and adopt the Copyright Directive without further due. 

_______________________________________________

Alfons Karabuda, Swedish composer, President of the European Composer and Songwriter Alliance.

Marc du Moulin, Secretary General of the European Composer and Songwriter Alliance.

You can download the PDF version here.

News from Brussels – January 2019

Copyright Directive: No agreement reached yet but negotiations are intensifying.

On 18 January 2019, Member States were not yet ready to agree on the Council’s position on some of the provisions of the Copyright Directive. As a result, the last trilogue meeting between the European Commission, the European Parliament and the Council, foreseen on 21 January, was canceled. Member States (most notably France and Germany) are now making their best efforts to reach an agreement amongst themselves and finally find a deal with the European Commission and the European Parliament in the coming days. Despite this delay, the European Commission, the Romanian Presidency of the Council, as well as the rapporteur Mr. Voss have shown their willingness to get an agreement as soon as possible. In order to get the Directive adopted before the next European elections, it is key that the three EU Institutions find a deal by mid-February. Once a deal is reached, the European Parliament will have to adopt it (before the next European elections in May) before it can finally be formally adopted by the EU. ECSA is continuously very much engaged in favor of the Copyright Directive. Please see below our efforts.

 

Authors’ Group Open Letter in support of the Copyright Directive

On 28 January, ECSA finalized an Authors’ Group open letter (see here) with its members (FERA, FSE, EFJ and EWC) to advocate for an agreement and underline the importance of the Chapter 3 provisions (fair remuneration for authors and performers). Please make sure to spread the word and share the news!

 

ARTICLE13.org NEW WEBSITE

 

As for Article 13 of the Copyright Directive (transfer of value/value gap), ECSA has worked with various partners on a dedicated website to promote the facts regarding Article 13 and counter the fake news and the tech industry campaign against it. Please make sure to spread the word and share the news!

 

ECCO CONCERT

Only 20 days to the #ECCO Concert and there are still seats available!

Don’t forget to reserve your spot by writing an email to:  alicja.swierczek@composeralliance.org

Check our Press release right here.

 

ECCO WORKSHOP – Programme

ECSA is happy to hold this unique workshop giving a glimpse into composers’ heads at “Le Senghor, Centre Culturel d’Etterbeek” on 18th February 2019.

Here we present the updated schedule:
14:00-14:45 Talia Amar, Triangulation (piano)
14:45-15:30 Sampo Haapamäki, Logo (violin)
15:30-16:15 Gaëlle Hyernaux , Avatar (cello)
16:15-17:15 Jan Flessel, 3 Depictions of Night (piano, cello et violin)
– Break
19:15-20:15 Gilles Doneux, Defragmentation 2 (tutti)
20:15-21:00 Maija Hynninen, Winnowing (piano)

Entrance is free, reservation is mandatory via alicja.swierczek@composeralliance.org

 

Meeting of the Advisory Board on two studies in the context of the Preparatory Action “Music Moves Europe”

 

 

On 18 January 2019, the members of the advisory board discussed two forthcomings studies on 1) the feasibility of a European Music Observatory and 2) analysis of market trends and gaps in funding needs for the music sector in Europe. In case you are interested in contributing to those studies, we and the research team would very much welcome your input (please see the info sent by the ECSA office and do not hesitate to contact us for more information).

 

CAPACITY TRIANGLE: Save the Date!

ECSA is excited to announce that the 2019 edition of the Capacity Triangle is finally here! This year the event will take place on the 25th March at the  Beursschouwburg in Brussels.

An exciting day for composers and musicians organised in partnership with one of ECSA Belgian members, GALM #UnitingArtistsinMusic and more partners!

More information on the Event will soon be available on ECSA’s website!

 

European Film Music Day: Save the Date!

Picture of the event : European Film Music Day a la FNAC. Credit: © Guillaume Lutz/Quinzaine des Réalisateurs

Mark your calendars! This year the European Film Music Day will take place in Cannes on 20 May 2019.

The European Film Music Day (EFMD) is a one day event bringing together audio-visual composers, film directors, producers and professionals alike. It is held in the framework of the Cannes Film Festival on a yearly basis.

More information on the event will soon be available on ECSA’s website!

 

UNAC launches 404 CREATORS NOT FOUND Campaign

Are you a creator? Take a picture and get the chance to be featured in UNAC+ECSA campaign!!
The idea is to put forward a pro authors message in favor of the Copyright Directive, easy to understand on social networks (notably on Instagram and on Twitter).
The process is the following:

An author takes a picture of himself handing a tablet, laptop or smartphone on whose screen is displayed the message “404 ERROR, CREATORS NOT FOUND” (referring to the absence of content error). Preferably the background of the picture would showcase a well know place, such as a famous monument or square;
You would send the picture and the name of the Author, his function/job, and the location of the picture to contact@unac.info, alessandra.callegari@composeralliance.org, and marc.dumoulin@composeralliance.org.
UNAC and ECSA will then use several hashtags such as #noCreatorsNoInternet, #createyourinternet, #SaYestothe#CopyrightDirective and publish it tagging various MEPs from the countries corresponding to the picture.

Image credit: UNAC 

 

ECSA X BAM! on Eurosonic/Noorderslag

In the picture from left to right: Aafke Romeijn, Silvina Munich, Natalia Vergara, Jess Partridge, Sine Tofte Hannibal and Pauwke Berkers. Image Credit: Natalia Vergara 

Together with Buma/Stemra, BAM! organized a panel on gender diversity in the music industry at Eurosonic/Noorderslag: “Pushing for change from within: how we move forward for gender equality in the music industry.  Moderator Aafke Romeijn (BAM! and APCOE member) invited ECSA members Sine Tofte Hannibal and Natalia Vergara amongst others to talk about different strategies to increase gender diversity in pop music. Both Sine and Natalia and Aafke are part of the ECSA Gender Diversity Working Group. Natalia talked about her female composers collective Señoritas On Fire and AMCE, the Female Composers Association initiated. Sine elaborated on research she did on the gender gap in classical repertoire. The panel was very well attended gave an inspiring overview on different modi operandi and their effectiveness. Concluding we could say that by now there’s enough research and evidence to state the music business has a problem with diversity, and it’s time to take affirmative action to improve the industry.

 

HARPA NORDIC FILM MUSIC DAYS

In connection with the upcoming Berlinale, HARPA Nordic Film Music Days will once again take place at Nordische Botchaften in Berlins Tiergarten area. More than 50 Nordic composers will be present.
In cooperation with NORWAY HOUSE, close to European Film Market, Nordic composers will speed meet directors and producers, have a meet and greet and at the embassy area, there will be seminars and lectures.

Click here to read about the Harpa Awards.

 

UNAC invited to represent authors and composers at the UPAD

From left to right in the picture :David Ribotti, dubbing author, Claire Giraudin from Sacem Université, Vanessa Bertran, dubbing author, and chairwoman of UPAD
© Olivier Delevingne

UNAC was invited to represent authors and composers at the UPAD (French Guild of Dubbing Authors) professional author’s right day on January 18th in Dijon, Burgundy, France. Together, these professional organizations have informed the authors about the recent reforms that affect their social protection, and about collective management, with the collaboration of Sacem also present. The debate on the stakes of the European directive was also one of the topics that were widely discussed.

 

The ECSA Staff welcomes Alfonso Guerra!

Image credit: Alfonso Guerra

We are very happy to introduce you to our new trainee!

Alfonso Guerra is a twenty-seven-year-old composer based in Brussels, student in his last year of his master’s degree at the Conservatoire Royal de Bruxelles! Alfonso joined the ECSA team in Brussels at the beginning of January to support with the upcoming projects! Let’s make him feel welcomed.

 

Classical:NEXT reveals PROGRAMME

Image Credit: Classical:NEXT© Michael Mann

The conference announced the first parts of its programme, including an opening ceremony curated by Composer and National Sawdust co-founder and artistic director Paola Prestini. The Classical:NEXT Innovation Awards will celebrate women in music in honour of the 200th birthday of German pianist and composer Clara Schumann.

ECSA is happy to partner up with Nieuw Geneco to give young composers the opportunity in taking part in the international platform for exchange, debate & collaboration that Classical:NEXT provides. Each composer is paired with a Classical:NEXT-insider, who will introduce the composers to the community (and vice versa), bringing them into personal contact with relevant individuals and organizations as well as exchanging knowledge. For more information, see here.

 

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About ECSA:

The European Composer and Songwriter Alliance (ECSA) represents over 30,000 professional composers and songwriters in 26 European countries. With 54 member organisations across Europe, the Alliance speaks for the interests of music creators of art & classical music (contemporary), film & audiovisual music, as well as popular music.

www.composeralliance.org

For the News from Brussels in pdf format, please click here

 

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