What Are Publishing Rights in Music?

 While master rights control the sound recording, publishing rights control the song itself. Publishing is one of the most misunderstood areas of the music business, yet it is often the most stable and long-term source of income for songwriters.

If you write songs, collaborate, or plan to monetize your music globally, understanding publishing rights is essential.

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What Are Publishing Rights?

Publishing rights cover the ownership and exploitation of a song’s composition, which includes:

• Lyrics

• Melody

• Harmony

• Song structure

Publishing rights exist before a song is recorded and continue to exist even if the song is re-recorded by different artists.

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Publishing Rights vs Master Rights (Quick Recap)

Aspect	Publishing Rights	Master Rights
Covers	Lyrics & composition	Sound recording
Owner	Songwriter(s)	Artist / Label
Exists	Once song is written	Once song is recorded
Income	Performance & mechanical	Streaming & licensing
Controlled by	Publisher / Songwriter	Distributor / Label

Both rights generate income independently.

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Who Owns Publishing Rights by Default?

Songwriters Automatically Own Publishing Rights

The moment you write a song:

• You automatically own the publishing

• No registration is required for ownership to exist

If you wrote:

• Lyrics

• Melody

• Or both

You are a publisher by default, even if you never register anywhere.

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Co-Written Songs

If a song has multiple writers:

• Publishing is shared

• Splits are usually based on contribution

Common Split Examples

• 50% / 50% (two writers)

• 33.33% each (three writers)

• Unequal splits if agreed upon

Best practice: Always agree on splits before release.

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What Rights Make Up Publishing?

Publishing rights are divided into two main categories:

1. Performance Rights

Earned when a song is:

• Played on radio

• Streamed publicly

• Performed live

• Used in TV, film, or online videos

Collected by Performance Rights Organizations (PROs).

Examples:

• ASCAP, BMI (USA)

• PRS (UK)

• SOCAN (Canada)

• SAMRO (South Africa)

• MCSK (Kenya)

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2. Mechanical Rights

Earned when a song is:

• Streamed

• Downloaded

• Pressed on CD or vinyl

Collected by:

• Mechanical societies

• Publishers

• Digital collection agencies

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Who Collects Publishing Royalties?

Option 1: You Collect Them Yourself

If you:

• Register with a PRO

• Administer your own publishing

You keep 100% ownership and income, but must manage registrations and claims.

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Option 2: You Use a Publishing Administrator

A publishing administrator:

• Registers your songs worldwide

• Collects royalties

• Takes a small commission (10–20%)

Examples:

• Songtrust

• TuneCore Publishing

• CD Baby Pro

• Sentric

• Kobalt (selective)

You retain ownership of your publishing.

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Option 3: You Sign a Publishing Deal

A publisher may:

• Administer your catalog

• Promote your songs for placements

• Sometimes offer advances

In exchange:

• They take a percentage

• Sometimes partial ownership

Contracts vary widely.

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Do Distributors Control Publishing Rights?

No. Music distributors do not control publishing rights.

Distributors handle:

• Master delivery

• Streaming royalties

Publishing must be handled separately through:

• PROs

• Publishing administrators

• Publishers

Many artists miss this income because they only distribute masters.

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What About Publishing After Distribution?

Publishing ownership does not change after distribution.

• Distribution affects masters only

• Publishing stays with songwriters

• Registration is your responsibility

If publishing is not registered:

• Royalties accumulate unclaimed

• Money may eventually expire

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YouTube, TikTok, and Publishing Rights

Publishing royalties are generated when:

• Songs are used in videos

• Lyrics are sung or reproduced

• Music appears in user-generated content

Publishing income may come from:

• PRO distributions

• Platform agreements

• Publisher claims

Owning publishing ensures you earn from these uses.

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Common Publishing Myths

Myth 1: “Only labels handle publishing”

False. Many independent artists self-publish.

Myth 2: “Publishing only matters for big hits”

False. Publishing earns steadily over time.

Myth 3: “Streaming royalties are all master income”

False. Streams generate both master and publishing royalties.

Myth 4: “Lyrics on Spotify pay publishing”

Partially. Lyrics trigger publishing but must be registered.

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How to Protect Your Publishing Rights

Essential Steps

• Register with a PRO in your country

• Document songwriting splits

• Use publishing administrators for global reach

• Keep copies of lyric sheets and demos

Ask Before Signing

• Do I retain ownership?

• Is this an administration or ownership deal?

• How long is the term?

• What territories are covered?

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Publishing Rights for Global Artists

Publishing is borderless:

• Royalties flow across countries

• Collection depends on registrations

• Administrators ensure global coverage

Artists outside the US often earn more by using international administrators.

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Publishing Income vs Master Income (Long-Term View)

• Master income is front-loaded

• Publishing income is long-tail

• Publishing pays even when recordings fade

• Publishing survives remixes, covers, and re-recordings

This is why songwriters focus heavily on publishing ownership.

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Conclusion: Who Owns Publishing Rights?

Songwriters own publishing rights by default.

Publishing rights:

• Are not transferred by distribution

• Must be registered to earn income

• Can be licensed without selling ownership

• Represent long-term creative and financial value

If you write songs, your publishing is one of your most important assets—often more valuable over time than the master recording itself.