Hubbry Logo
SongwriterSongwriterMain
Open search
Songwriter
Community hub
Songwriter
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Songwriter
Songwriter
Songwriter
View on Wikipedia
from Wikipedia
Songwriting partners Rodgers and Hart working on a song in 1936

A songwriter is a person who creates musical compositions or writes lyrics for songs, or both. The writer of the music for a song can be called a composer, although this term tends to be used mainly in the classical music genre and film scoring. A songwriter who mainly writes the lyrics for a song is referred to as a lyricist. Pressure from the music industry to produce popular hits means that songwriting is often a collaborative process with tasks shared among multiple people.[1] For example, a songwriter who excels at writing lyrics might be paired with a songwriter with the task of creating original melodies. Pop songs may be composed by group members from the band or by staff writers – songwriters directly employed by music publishers.[1] Some songwriters serve as their own music publishers, while others have external publishers.[1]

The old-style apprenticeship approach to learning how to write songs is being supplemented by university degrees, college diplomas and "rock schools".[1] Knowledge of modern music technology (sequencers, synthesizers, computer sound editing), songwriting elements and business skills are significant for modern songwriters.[2] Several music colleges offer songwriting diplomas and degrees with music business modules.[1] Since songwriting and publishing royalties can be substantial sources of income, particularly if a song becomes a hit record; legally, in the US, songs written after 1934 may be copied only by the authors. The legal power to grant these permissions may be bought, sold or transferred. This is governed by international copyright law.[1]

Songwriters can be employed in a variety of different ways. They may exclusively write lyrics or compose music alongside another artist, present songs to A&R, publishers, agents and managers for consideration. Song pitching can be done on a songwriter's behalf by their publisher or independently using tip sheets like RowFax, the MusicRow publication and SongQuarters.[1] Skills associated with song-writing include entrepreneurism and creativity.[3] Staff writers do not necessarily get printed credit for their contributions to the song.

Staff writers

[edit]

Songwriters who sign an exclusive songwriting agreement with a publisher are called staff writers. Being a staff writer effectively means that, during the term of the songwriter's contract with the publisher, all their songs are automatically published by that company and cannot be published elsewhere.[1]

In the Nashville country music scene, there is a strong staff writer culture where contracted writers work normal "9-to-5" hours at the publishing office and are paid a regular salary, says staff writer Gary Growden. This salary is in effect the writer's "draw", an advance on future earnings, which is paid monthly and enables them to live within a fixed budget.[4] The publisher owns the copyright of songs written during the term of the agreement for a designated period, after which the songwriter can reclaim the copyright.[4] In an interview with HitQuarters, songwriter Dave Berg extolled the benefits of the set-up: "I was able to concentrate on writing the whole time and have always had enough money to live on."[5]

Unlike contracted writers, some staff writers operate as employees for their respective publishers. Under the terms of these work for hire agreements, the compositions created are fully owned by the publisher. Because the recapture provision of the United States Copyright Act of 1976 does not apply to "works made for hire", the rights to a song created under an employment contract cannot be "recaptured" by the writer after 35 years. In Nashville, young writers are often strongly encouraged to avoid these types of contracts.

Staff writers are common across the whole industry, but without the more office-like working arrangements favoured in Nashville. All the major publishers employ writers under contract.[5] Obtaining a staff writer contract with a publisher can be the first step for any professional songwriting career, with some writers with a desire for greater independence outgrowing this set-up once they achieve a degree of success.[5] Songwriter Allan Eshuijs described his staff writer contract at Universal Music Publishing as a starter deal. His success under the arrangement eventually allowed him to found his own publishing company so that he could "keep as much [publishing income] as possible and say how it's going to be done."[6]

Specific roles

[edit]

Beatmaker

[edit]

A beatmaker is a songwriter who creates and composes music or beats for a song, often laying the groundwork or "musical bed". Tools typically used are synthesizers, drum machines, and digital audio workstations. Beat makers or composers are not necessarily record producers by definition since they generally do not work directly with artists in a recording studio that oversees the production and recording of the final product.

However, record producers can be involved in co-writing songs as the composer wearing two hats as the producer and songwriter as they may write and compose the original music such as the beat and then oversee the production that takes control of the recording sessions with the artist and engineer all the way down to the mix stage. They are referred to as Record Producer / Songwriters as they generally receive songwriting and production credits for both roles. This is especially true for R&B, hip-hop producers in urban hip hop production, when composing the original music as the co-writer is integrated into their traditional role as a Record Producer, such as Rodney Jerkins, Dr. Dre, Timbaland or Pharrell Williams, as opposed to a rock producer that may rarely contribute as a co-writer of a song.

Top-liners

[edit]

A top-line writer or top-liner is a songwriter who writes a song over a pre-made beat. In top-lining, the writer is not creating a song from scratch, but rather creating lyrics and melodies over an existing music genre, tonality, harmony, rhythm, and form of a song.[7]

In modern commercial writing, it is a common practice for the musical track to be produced first without any vocal melody or lyrics. This is partially due to the rise of portable music production equipment and digital audio workstations that are designed for the swift arrangement of electronic music, such as Cubase[8] and Ableton Live.[9]

The top-liner usually is also a singer, and will sing over the track as the demo singer. If the song is for a particular artist, the top-liner may sing the demo in that artist's style. Top-liners often work in groups to co-write. Sometimes producers send out tracks to more than one top-line writer so that the producer or singer could choose the best option. Since the track is the same, melodies by different writers can sometimes be very similar. Occasionally, the producer might choose a few lines of melodic or lyrical ideas from one top-liner without properly crediting or paying them. These situations sometimes result in legal battles over ownership of the melodies or lyrics.[10]

There is a way to prevent such legal battles. A songwriter can commit their "intent to make a song", which prevents any of the parties ripping the song apart. Some artists send out a legal disclaimer making clear that if their melody is not used after doing a topline, it reverts to them, and the track back to the track writer.[11]

Multi-tasking songwriters

[edit]
Max Martin is commercially the most successful producer/songwriter in history.[12]

As instrumentalists

[edit]

Songwriters are also often skilled musical instrument players. In part, this is because the process of "working out" a song or arrangement requires a songwriter to play an instrument, typically the guitar or the piano, to hear how the chord progression sounds and to hear how well a given set of chords supports a melody. In addition to selling their songs and musical concepts for other artists to sing, some songwriter-musicians create songs to perform themselves. Songwriters need to create a number of elements for a song, including an introduction, various verses and a chorus. At minimum, a songwriter must prepare a lead sheet for a song, which consists of one or more pieces of sheet music with the melody notes and chord progression indicated on it.

The songwriter may expand upon the melody and chord progression by adding an instrumental melody (which may occur before or after the vocal melody, or alongside the vocal melody) and creating a more complex song structure (e.g., verse, chorus, bridge, instrumental solo section, etc.).

As producers

[edit]

With recent technological improvements, a songwriter can now create commercially viable music almost entirely on their laptop. This technological advancement has made the producer/songwriter role a much more popular occurrence. Perhaps because the role of producer is not generally understood by the public, the average listener does not know when an artist also takes on the role of producer.

Brian Wilson of the Beach Boys is one of the earliest and most widely known examples of a songwriter turned music producer. Within two years of the band's commercial breakthrough, Wilson had taken over from his father Murry, and he was the sole producer of all their recordings between 1963 and 1967.

As singers

[edit]
Main article: Singer-songwriter

Many singers also write songs for themselves, and as such, they are usually referred to as singer-songwriters.[13]

Sole writing

[edit]
Lionel Richie is the first songwriter to write eight Billboard Hot 100 number-one songs entirely by himself.

In solitary songwriting or sole writing, only one person is responsible in creating the entire music and lyrics of a song. According to Billboard, 44% of the songs that reached number one on the Billboard Hot 100 chart during the 1970s were written by just one songwriter. The percentage declined to 42% in the 1980s, 24% in the 1990s, 6% in the 2000s, and 4% in the 2010s.[14]

Lionel Richie and Diane Warren are the only songwriters with at least 8 number-one singles written solely by themselves.[14] A very few artists solely wrote, produced, and performed a Hot 100 number-one song such as Prince ("When Doves Cry"), Debbie Gibson ("Foolish Beat" and "Lost in Your Eyes"), Lauryn Hill ("Doo Wop (That Thing)"), Alicia Keys ("Fallin'"), and Pharrell Williams ("Happy").[15]

Co-writing

[edit]

Songs can be written jointly or written in collaboration with other songwriters.[16] Co-writers may use the "stream of consciousness" approach, referring to having ideas flow rather than being discussed. The first step in co-writing is to establish the division of the contribution between co-writers. In copyright law, there is no distinction of importance between the lyrics of the song or the melody of the song, therefore each writer is given equal ownership over the song, unless another agreement is arranged.[17] "Phantom" songwriters provide small contributions to songs. Examples of this would be a songwriter suggesting a line for a verse or a session musician informally proposing a chord progression for a coda. "Phantom" songwriters are usually not given credit.

Songwriting partnership

[edit]
Lennon–McCartney is the most successful songwriting partnership in history.

Songwriting partnership or songwriting duo is a prolific collaboration which consists of two songwriters, usually sharing 50% royalty each. Songwriting partnership can be between a composer and a lyricist (Andrew Lloyd Webber with Tim Rice, or Elton John with Bernie Taupin),[18][19] a performer and a producer (Madonna with Patrick Leonard or Mariah Carey with Walter Afanasieff),[20][21] or between bandmates (Mick Jagger and Keith Richards of the Rolling Stones or Björn Ulvaeus and Benny Andersson of ABBA).[22]

According to Billboard, the songwriting partnership between John Lennon and Paul McCartney remains the most successful one of all time, resulting over 180 songs and a record 20 number ones for the Beatles on the Billboard Hot 100.[23] Songwriting partnership between siblings Billie Eilish and Finneas O'Connell have generated multiple wins at the Academy Awards for Best Original Song as well as the Grammy Awards for Song of the Year and Record of the Year.[24]

Songwriting camp

[edit]

Songwriting camp is a gathering of multiple producers and topliners in a pre-selected location for the purpose of writing songs for a specific artist.[25][26][27] As one of the most successful artists in releasing many hit songs, Rihanna has been known for holding various writing camps to make her albums.[13][28] Writing camps are also very popular in the K-pop music industry.[29][30][31]

Sampling

[edit]
Main article: Sampling (music)

Sampling is the reuse of a portion (or sample) of a sound recording in another recording. The original songwriter(s) of a song usually receive co-writing credit when their work is sampled on another song, although they did not literally involve in making the latter. For example, Sting is credited as a co-writer alongside Todd Gaither and Faith Evans for "I'll Be Missing You" (1997) due to the sample of "Every Breath You Take" (1983), a song he solely wrote for the Police. However, "I'll Be Missing You" did not have legal approval for the sample before its release, thus Sting sued and received 100% of the song royalties, with payments reportedly going until 2053.[32][33] Beyoncé's album Lemonade (2016) features as many as 72 co-writers due to use of samples in majority of its tracks.[34]

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Songwriter

View on Grokipedia
from Grokipedia
A songwriter is a who composes the words, , or both for songs, often within genres, and may work independently or collaboratively to craft melodies, , and structures that convey emotion, , or themes. In legal terms, under U.S. copyright law, a songwriter is defined as the of all or part of a musical work, encompassing composers and lyricists alike. The profession of songwriting traces its modern roots to the late 19th and early 20th centuries in New York City's Tin Pan Alley district, where music publishers and songwriters collaborated to produce for shows, musical theater, and emerging recording technologies, establishing a commercial model for popular song creation. During this era, songwriters like and gained prominence by writing hits tailored for performers, often operating through "plugging" techniques to promote songs via live demonstrations and endorsements. By the mid-20th century, songwriting evolved into a specialized industry role, with professionals supplying material to singers and bands, as seen in the scene of the 1950s and 1960s, where teams crafted pop and rock standards for various artists. The 1960s and 1970s marked a pivotal shift with the rise of the singer-songwriter movement, influenced by folk revival and , where performers like , , and wrote and interpreted their own introspective, autobiographical works, blending poetry with accessible melodies and elevating personal expression in rock and . This era democratized songwriting, moving it from behind-the-scenes craftsmanship to a performative form, though many songwriters continued to remain anonymous contributors to hits by others. In the industry, songwriters remain central to creation, often working in teams across genres like pop, hip-hop, and electronic , generating through royalties, streaming, and while adapting to digital tools, collaborative platforms, and AI-assisted composition. Recent trends show songwriters increasingly taking multifaceted roles as producers or performers, with the growing amid streaming's expansion, though challenges like splits persist in a performer-dominated market.

Definition and History

Definition

A songwriter is an individual who professionally or artistically creates the musical and lyrical components of songs, encompassing the composition of melodies, chord progressions, rhythms, and lyrics. This role involves crafting original works that form the foundation of musical pieces, often intended for commercial release, performance, or personal expression. Songwriters may specialize in either music or words, but many contribute to both, blending creativity to produce cohesive songs that convey emotion, narrative, or themes. The core responsibilities of a songwriter include developing the —the tune that carries the song's emotional core—and writing that provide the textual content, ranging from poetic verses to repetitive hooks designed for memorability. They also often establish chord progressions and rhythmic structures to support the overall , and may incorporate elements like bridges to add contrast or resolution within the song. For instance, songwriters typically organize their creations around standard structural components such as verses (which advance the story), choruses (the catchy, repeating section), and hooks (memorable phrases or motifs that encapsulate the song's essence). Songwriters differ from performers, who focus on interpreting and delivering the through vocals, , or presence, rather than originating the material itself. Similarly, while producers handle the technical aspects of recording, mixing, and enhancing the sound to create a polished track, songwriters concentrate on generating the initial creative content without necessarily involvement in production. This distinction underscores the songwriter's primary emphasis on invention and authorship in the music creation pipeline.

Historical Development

The roots of songwriting as a distinct practice trace back to ancient oral traditions, where communities composed and transmitted songs and folk ballads verbally to preserve stories, rituals, and emotions across civilizations. In , around 600 BCE, lyric poets such as from the island of elevated this form by crafting verses intended for musical accompaniment on the , blending personal expression with performance-oriented structure. These early efforts laid foundational concepts for lyrical composition that influenced subsequent Western traditions. Songwriting evolved through the medieval period (c. 500–1400 CE), where troubadours and minstrels composed and performed songs, ballads, and narrative verses that spread across , often blending poetry with simple melodies. During the (c. 1400–1600), composers advanced polyphonic song forms like madrigals, emphasizing and textual expression in secular and sacred contexts. In the Classical and Romantic eras (c. 1750–1900), art songs and lieder emerged, with figures like and crafting sophisticated vocal works that combined accompaniment with lyrical depth, laying groundwork for the emotional and structural elements of modern popular songs. The professionalization of songwriting accelerated in the late 19th and early 20th centuries with the emergence of in , a district of music publishers operating from the 1890s through the 1930s that functioned as organized "song factories" producing hits for , sales, and Broadway musicals. This era standardized collaborative songwriting between lyricists and composers, yielding the —a collection of enduring standards by figures like and that defined popular music's romantic and theatrical style. A landmark event was the 1914 founding of the American Society of Composers, Authors, and Publishers (ASCAP), which secured protections and royalties for public performances, enabling songwriters to sustain careers amid growing commercialization. The rise of in the 1920s and phonograph recordings further professionalized the field by expanding audience reach beyond live venues and , though these technologies also began eroding 's dominance by prioritizing recorded hits over publisher-driven promotion. Post-World War II, the 1950s advent of rock 'n' roll marked a shift toward performer-driven songwriting, drawing from and influences to emphasize raw energy and , paving the way for self-contained singer-songwriters. This evolution peaked in the folk-rock scene with , whose poetic, socially conscious on albums like The Freewheelin' Bob Dylan (1963) fused traditional balladry with electric instrumentation, inspiring a generation to prioritize narrative depth in popular songs. The decade's pop songwriting boom, led by , further transformed the profession through their innovative, album-oriented compositions from 1962 to 1970, which integrated diverse genres and studio experimentation, making bands primary creators rather than reliant on external publishers. From the 1980s onward, hip-hop reshaped songwriting by centering rhythmic wordplay, personal storytelling, and sampling techniques, as seen in the genre's of the late 1980s and early 1990s, where artists like crafted dense, message-driven tracks that expanded lyrical complexity in mainstream music. This period's innovations influenced global practices, contributing to songwriting's internationalization in the via K-pop's factory-like production systems in , which blend Western pop structures with local elements to achieve chart dominance worldwide, and Latin music's rhythmic fusions in and urban styles, propelled by streaming platforms to top global charts since the . These developments highlight songwriting's adaptation to digital , fostering cross-cultural collaborations while sustaining professional viability through performance rights organizations.

Types of Songwriters

Staff Songwriters

Staff songwriters are professional songwriters employed under exclusive contracts by music publishing companies, where they create original compositions intended for recording and performance by other artists. These writers typically receive advances against future royalties (which are recoupable), allowing them to focus on song production without the need for personal performance or promotion. This model originated in the early 20th century during the era in , where publishing firms like those on West 28th Street maintained teams of in-house composers and lyricists to generate popular and songs for and early recordings. By the mid-1900s, the approach evolved in the Records era of the 1960s, exemplified by the Holland-Dozier-Holland team, who served as staff songwriters and producers, crafting over 25 number-one hits for artists like and through a systematic, assembly-line process. In their daily work, staff songwriters often compose "on spec," tailoring material to the styles, voices, or career needs of targeted recording artists or specific genres, which demands versatility and rapid iteration. This structured environment fosters high output, with writers producing dozens of songs annually to meet publisher quotas and pitch opportunities, sometimes collaborating in teams to refine demos for commercial viability. The primary advantage of staff positions lies in , providing consistent income through advances that enable full-time dedication to writing without reliance on hit success. However, challenges include limited creative , as songs must align with publisher directives, and potential reductions in personal royalties, since publishers own the and are entitled to the publisher's share of royalties (typically 50%), and advances recoup against earnings from successful tracks. Contemporary examples include staff writers at major publishers like (formerly Sony/ATV), who contribute to pop hits such as those co-written by teams for artists like or , often remaining behind the scenes without performing credits.

Independent Songwriters

Independent songwriters are freelance music creators who work outside the salaried structure of staff positions at publishing companies, affording them full artistic autonomy and retention of over their compositions. They typically develop songs independently and pitch them directly to recording artists, record labels, or for use in , , and advertising through sync licensing, often relying on high-quality demos to demonstrate potential. Online platforms such as Taxi.com, , and Broadjam serve as key tools for submitting and marketing these works to industry buyers, bypassing traditional gatekeepers and enabling global reach. In terms of business models, independent songwriters handle self-publishing by registering their works with Performing Rights Organizations (PROs) including BMI, ASCAP, and the invitation-only SESAC, which license public performances and collect royalties from sources like radio broadcasts, live events, streaming platforms, and digital sales. These PROs distribute the collected funds—after deducting approximately 12% for administration—to songwriters as both writer and publisher shares when self-publishing, ensuring comprehensive royalty capture without needing a third-party publisher. Mechanical royalties from physical sales and interactive streams are further managed through the Mechanical Licensing Collective (MLC), allowing independents to receive 100% of these earnings if they own the publishing rights. Paths to success for independent songwriters emphasize strategic catalog development, where amassing a diverse portfolio of 50 or more songs increases opportunities for placements and passive income from royalties over time. Networking at specialized conferences, such as the ASCAP New York Music Cafe events or the Global Songwriters Connection gatherings, facilitates connections with artists, producers, and executives essential for placements. Additionally, utilizing for exposure—through sharing demo clips on or building communities on —enables direct fan engagement and viral discovery, often leading to collaborations or licensing deals. Nevertheless, independent songwriters encounter notable challenges, including financial instability from sporadic royalty inflows that may take quarters to materialize, necessitating side or personal funding for production costs. The demand for robust acumen is acute, as self-promotion via email pitches, social campaigns, and platform submissions requires ongoing effort in a digital landscape. Heightened competition from staff songwriters, who benefit from publisher-backed promotion and access to exclusive opportunities, further intensifies the need for standout demos and persistent . A 2024 MIDiA Research survey revealed that 67% of respondents, many independents, identified inadequate streaming revenue as their top issue, underscoring broader volatility. Illustrative examples include , who launched her career as an independent songwriter in her early teens, crafting and demoing original country tunes in Nashville before inking a deal with Sony/ATV at age 14 and a with Big Machine at 15, eventually parlaying her self-reliant start into global stardom. Similarly, indie folk artist began by self-releasing EPs in 2002 and debuted her album The Milk-Eyed Mender via the independent label Drag City in 2004, later utilizing platforms like for distribution to preserve ownership and connect directly with audiences.

Specialized Roles

Lyricists and Composers

Lyricists are responsible for crafting the textual content of , focusing on words that convey themes, , and while adhering to schemes and rhythmic structures. They develop by structuring verses, choruses, and bridges to align with musical elements, often drawing from personal experiences or broader societal issues to create relatable content. Key techniques include the use of to evoke complex indirectly, to enhance memorability through sound repetition, and arcs that build tension and resolution across song sections. These elements transform abstract ideas into vivid, poetic forms that resonate with listeners. Composers, in contrast, concentrate on the musical foundation, developing melodies that carry emotional weight, harmonies that provide depth, chord progressions that establish tonal movement, and rhythms that drive the song's pulse. They often begin by experimenting on instruments like to outline core ideas, then refine these using notation software to notate and iterate on arrangements. underpins this process, enabling composers to construct effective structures, such as the I-IV-V progression, which creates a sense of resolution and is foundational in many genres. Historically, songwriting frequently involved a separation between lyricists and composers, allowing each to specialize in their domain for synergistic results, as exemplified by the Gershwin brothers—Ira handling lyrics with sophisticated wordplay, and George composing innovative melodies and harmonies infused with jazz influences. This division was common in early 20th-century Broadway and Tin Pan Alley, where melodies often preceded lyrics to ensure textual fit. In modern practice, however, many songwriters integrate both roles, writing lyrics and music unifiedly to maintain creative control, a trend seen in artists like Bob Dylan, who crafted both elements for narrative-driven folk-rock songs. Skill development for lyricists often involves education in poetry and literature to master evocative language and structure, fostering the ability to weave themes and narratives with precision. For composers, formal training in music theory is essential, covering concepts like chord progressions (e.g., the I-IV-V formula) to build foundations and rhythmic variations. Notable examples include , who operated as a solo lyricist-composer, penning both words and music for seventeen complete Broadway scores, such as Annie Get Your Gun. In contemporary musical theater, duos like Benj Pasek (lyrics) and Justin Paul (music) continue the collaborative tradition, as in their work on , where they blend character-driven narratives with melodic storytelling.

Beatmakers and Top-Liners

Beatmakers specialize in crafting instrumental tracks, often featuring rhythmic loops, drum patterns, and sampled elements, using digital audio workstations (DAWs) such as , which has become a staple for its intuitive pattern-based workflow in hip-hop production. This role traces its origins to the 1970s Bronx party scene, where DJs like Kool Herc looped percussion breaks from and records to prolong dance segments, laying the groundwork for hip-hop's rhythmic foundation. By the 1980s, advancements in drum machines and samplers further formalized beatmaking as a core element of hip-hop, enabling producers to construct dense, layered instrumentals independently of live performance. Top-liners, in contrast, concentrate on developing vocal melodies and hooks atop these existing beats, a practice prevalent in pop and R&B where the emphasis is on creating infectious, radio-friendly elements. Their process typically begins with immersive listening to the , followed by rapid vocalization—such as or using placeholder syllables like —to sketch melodies that align with the track's structure and emotional arc. This intuitive method allows top-liners to prioritize ear-catching phrases and harmonies, often recording rough demos that producers can refine, ensuring the vocal line drives commercial viability without altering the underlying beat. The typical workflow integrates these roles modularly: beatmakers distribute "type beats"—instrumentals mimicking the style of artists like Drake or —to attract rappers seeking customized foundations for their flows. Top-liners then enhance these with "" hooks, repetitive melodic motifs designed to linger in listeners' minds and boost chart potential, resulting in songs assembled like for efficiency in fast-paced studio sessions. This separation fosters specialization, where beatmakers focus on sonic texture and top-liners on lyrical-melodic punch, streamlining collaboration in genres like hip-hop and pop. Notable beatmakers include , whose innovative use of samples and crisp drum programming defined West Coast hip-hop on albums like (1992), influencing generations of producers. For top-liners, Sia stands out, having penned the soaring hook and melody for Rihanna's "Diamonds" (2012) in under 15 minutes while waiting for a taxi, transforming a basic track into a diamond-certified global anthem. These roles surged in prominence during the , propelled by Auto-Tune's widespread adoption—which enabled pitch-perfect vocal effects and between and —and the democratization of DAWs, allowing remote, component-based song construction. This modular paradigm shifted songwriting from holistic composition to segmented expertise, where beats and toplines are traded like building blocks, accelerating output in the digital era while prioritizing hit-making precision over traditional unity.

Songwriting Processes

Solo Songwriting

Solo songwriting involves an individual engaging in the complete creative process without external input, allowing for a deeply personal exploration of ideas from inception to refinement. The process typically begins with idea generation, often sparked through everyday activities such as journaling personal experiences—which provides authentic, readily available material rooted in real emotions and events, enabling natural and genuine expression that flows more easily than invented content—or taking walks to stimulate and fragments. Many songwriters begin this way to cope with or express powerful feelings like love or heartbreak, which motivates creativity and reduces the pressure of fabricating ideas from nothing. However, relying solely on personal experiences can limit ideas over time, so blending with imagination is often recommended. Drafting follows, where the songwriter outlines and melodies, starting with a core hook or theme and building verses and choruses around it. Revision cycles then occur iteratively, involving multiple drafts to refine structure, rhyme, and emotional depth, followed by demo recording using simple captures to test the song's flow and impact. Key techniques in solo songwriting emphasize unstructured creativity to foster originality. For lyrics, freewriting—pouring thoughts onto paper without judgment—helps bypass perfectionism and uncover authentic narratives. Musical elements are developed through on instruments, such as strumming random chords on a guitar to discover unexpected progressions or melodies. To overcome , songwriters establish routines like daily writing sessions, which build momentum and reduce pressure, or switching between song sections to engage the . These methods enable solo creators to maintain focus and iterate quickly without negotiation. The advantages of solo songwriting lie in its and intimacy. It provides full creative control, allowing the songwriter to realize their vision without compromise and own the entire . This setup facilitates personal expression, serving as a therapeutic outlet for processing emotions and honing a unique voice. Additionally, it supports faster iteration, as individuals can work at their own pace, pausing and resuming as inspiration dictates, which sharpens skills through self-editing. Historically, solo songwriting has produced iconic works through isolated introspection. In the 1960s, crafted his folk anthems, such as those on , in relative isolation, drawing from personal observations to challenge traditional song structures and prioritize raw authenticity. Similarly, Joni Mitchell's confessional style emerged in solo efforts like her 1971 album , where she delved into intimate themes of love and loss, establishing a benchmark for vulnerable, self-authored storytelling. Essential tools for solo songwriters remain straightforward yet versatile. Basic setups include or for immediate melody experimentation, paired with notebooks for jotting and ideas during walks or quiet moments. In modern practice, apps like BandLab or Hum enable quick sketching of vocal melodies and lyric drafts on mobile devices, bridging traditional methods with digital convenience for demo creation.

Collaborative Songwriting

Collaborative songwriting typically involves structured interactions among multiple creators to develop a , beginning with brainstorming sessions where participants share initial ideas, themes, , or lyrical concepts to establish a unified direction. Tasks are often divided based on individual strengths, such as one collaborator focusing on while another handles the music or , allowing for efficient progress while leveraging complementary skills. Feedback loops form a core part of the process, with creators exchanging critiques and revisions iteratively to refine the work, fostering openness to new ideas and ensuring . Credit splitting occurs through negotiated agreements on royalty shares, typically documented early via split sheets or written contracts that reflect each contributor's involvement, such as equal percentages for balanced input or proportional shares for unequal roles, before registering the with performing rights organizations. Common forms include one-on-one partnerships, exemplified by the Lennon-McCartney duo in the , where and wrote over 100 songs together, often "eyeball to eyeball" in informal settings like childhood homes, blending Lennon's direct style with McCartney's melodic sentimentality to craft hits like "Yesterday" and Larger teams are prevalent in contemporary pop production, involving groups of writers who collaborate on tracks for recording artists, pooling diverse expertise to meet commercial demands. The benefits of collaboration include generating diverse ideas that enrich song creativity and innovation, as multiple perspectives prevent creative stagnation and introduce novel elements. Skill complementarity enhances output quality, with collaborators filling gaps in each other's abilities, such as lyrical depth paired with musical prowess, leading to more polished results. Collaboratively written often achieve higher commercial success rates, as evidenced by Swedish songwriters' contributions to up to half of U.S. top tens since the mid-1990s through team-based approaches. Challenges in collaborative songwriting frequently arise from ego clashes, where personal creative visions conflict, potentially stalling progress if not managed through clear communication. disputes emerge when contributions are perceived as unequal, leading to bitter negotiations over royalties that can damage relationships and require legal intervention, as seen in modern split battles involving emotional and financial stakes. Unequal participation exacerbates these issues, with one collaborator dominating, underscoring the need for predefined roles and agreements to maintain equity. A prominent example of large-scale collaboration is songwriting camps, multi-day events gathering 10-20 writers to produce tracks for artists, which gained popularity in the through Sweden's export-oriented and spread to the U.S., influencing global pop hits including K-pop successes.

Multidisciplinary Involvement

As Instrumentalists and Performers

Many songwriters leverage their proficiency as instrumentalists to compose music directly on their instruments, such as the guitar or , allowing for spontaneous creation and real-time refinement of melodies and harmonies. This hands-on approach enables immediate auditory feedback, where writers can test chord progressions or riffs on the spot without relying on external tools, fostering a more intuitive and efficient songwriting process. For instance, guitarists like have described using the instrument as an extension of their creative thought, where fingerpicking patterns naturally evolve into full compositions during practice sessions. As performers and singers, songwriters often craft and melodies that align closely with their own vocal capabilities, ensuring the material feels authentic and performable. This perspective allows for tailoring phrasing, range, and emotional delivery to personal strengths, as seen in Adele's approach to songwriting, where she builds songs around her powerful voice to maximize emotional impact and vocal sustainability during live performances. Similarly, vocalists like incorporate their style into the writing phase, adjusting melodies to fit natural inflections and breath control for seamless execution on stage. This integration of instrumental and performance skills offers several advantages, including a streamlined workflow that reduces the need for intermediaries, a deeper personal connection to the material that enhances lyrical authenticity, and the ability to create live demos that capture the song's intended energy. Historically, the marked a significant shift with the rise of singer-songwriters in folk-rock, exemplified by , who performed his own introspective works like "Fire and Rain," blending composition with onstage delivery to build intimate audience connections and influence the genre's emphasis on self-expression. However, this approach can present challenges, such as limited flexibility across genres if the songwriter's personal style—tied to specific instruments or vocal timbres—dominates, potentially restricting to diverse musical landscapes. Production layers may be added later to expand the , but the core creation remains rooted in .

As Producers and Arrangers

Many songwriters extend their creative involvement into production and , overseeing the recording process to refine the sonic landscape of their compositions. In this capacity, they manage elements such as instrument tones, effects like reverb and EQ, and vocal layering, including backing vocals and pitch correction, to enhance the emotional impact of the song. For instance, Swedish songwriter and producer has shaped numerous pop hits by arranging intricate structures, such as building tension through pre-choruses and hooks that propel songs like ' "...Baby One More Time" toward commercial success. As arrangers, songwriters orchestrate instrumental parts and balance mix elements to support the song's narrative arc, often using tools like to sequence virtual instruments and simulate orchestral layers without live ensembles. This involves deciding on song structure—such as the order of verses, choruses, and bridges—and dynamically layering elements, starting sparse (e.g., voice and piano) and building to fuller sections with harmonies and percussion for contrast and release. , introduced in the early 1980s, revolutionized this process by allowing precise control over timing, velocity, and instrumentation, enabling songwriters to prototype arrangements digitally. A notable example is producer working with songwriter on the American Recordings series, where he transformed raw acoustic demos into polished tracks by strategically adding minimal instrumentation, such as subtle guitar or strings, to amplify Cash's without overpowering it. This dual role offers songwriters a unified artistic vision, bridging composition with technical execution to maintain coherence from to final mix, which is particularly advantageous in pop and electronic genres where tight structures drive chart performance. By integrating cutting-edge sounds like synthesized drums with melodic hooks, songwriter-producers increase hit potential, as evidenced by Max Martin's 26 number-one productions as of October 2025. The evolution of this practice accelerated in the with affordable synthesizers and home studios, which democratized production and allowed artists to experiment independently, fostering genres like and enabling self-contained creation of complex arrangements.

Modern Practices and Challenges

Impact of Technology and Sampling

The advent of workstations (DAWs) in the marked a pivotal shift in songwriting by enabling composers to record, edit, and arrange music directly on computers, reducing reliance on expensive studio equipment and physical tapes. Tools like , originally developed by in the early and later acquired by Apple, provided intuitive interfaces for layering tracks, applying effects, and experimenting with sounds, allowing songwriters to prototype ideas rapidly without traditional instrumentation. In the 2020s, (AI) tools such as Suno have further democratized generation, enabling users to create original compositions from text prompts without musical training, thus expanding songwriting to non-experts. Sampling techniques involve extracting audio clips from existing recordings and integrating them into new compositions, often through processes like chopping—dividing samples into segments for rearrangement—looping to repeat rhythmic elements indefinitely, and pitching to alter the sample's key or to fit the host track. These methods, facilitated by DAWs and samplers, allow songwriters to build beats by manipulating source material, creating hybrid sounds that blend historical recordings with contemporary elements. The integration of technology and sampling has lowered , making songwriting accessible to producers lacking formal skills or resources, while accelerating prototyping through quick iterations of ideas. In hip-hop, sampling pioneered genre fusion since the , with Grandmaster Flash's innovative isolation and looping techniques enabling DJs to extend drum patterns from records, laying the foundation for sample-based production that merges disparate styles like soul and rap. However, these practices have sparked controversies over intellectual property, particularly regarding unauthorized use of samples, which courts have often deemed copyright infringement rather than fair use. The 1991 case Grand Upright Music, Ltd. v. Warner Bros. Records Inc. involving Biz Markie's track "Alone Again," which sampled Gilbert O'Sullivan's "Alone Again (Naturally)" without permission, resulted in a ruling that halted the album's distribution and established the need for clearances, reshaping sampling norms in the industry. A prominent example of sampling's creative potential is Kanye West's 2004 album The College Dropout, where tracks like "Through the Wire" incorporate pitched and chopped elements from Chaka Khan's "Through the Fire," and "Jesus Walks" loops the ARC Choir's "Walk with Me," fusing gospel and hip-hop to evoke personal narrative and cultural resonance. Songwriters hold the copyright to the musical composition, which encompasses the lyrics and melody, distinct from the sound recording copyright that covers the specific performance or master recording. The composition rights, often referred to as publishing rights, allow songwriters to control reproductions, distributions, and derivative works of the underlying song, while master rights are typically owned by the record label or producer who funded the recording. In collaborative songwriting, credits and royalties are divided based on agreed contributions, with a common split allocating 50% to and 50% to music when separate lyricists and composers are involved, though this can vary by and is ideally documented in writing to total 100%. Performing Rights Organizations (PROs) like ASCAP and BMI facilitate these splits by registering the shares and distributing the songwriter's portion accordingly. Songwriters generate revenue through several royalty streams managed by PROs and other entities. Mechanical royalties compensate for reproductions of the composition, such as in physical sales or streaming, while royalties cover public performances like radio plays or live shows. Synchronization (sync) licensing provides fees for using songs in visual media, such as advertisements or , often negotiated directly and split between songwriters and publishers. Streaming platforms contribute to these, with Spotify's average payout ranging from $0.003 to $0.005 per stream, distributed pro-rata among rights holders including songwriters via their publishers or PROs. Economic arrangements in the industry often involve advances against future royalties, where songwriters or artists receive upfront payments recoupable from backend earnings, providing immediate funds but potentially delaying profits until thresholds are met. In 360 deals, labels claim percentages across multiple revenue streams—including and touring—beyond just recordings, which can diminish songwriters' shares by 10-20% in non-recording income to offset larger advances and broader support. Songwriters face challenges from the post-2000s decline in physical sales, which dropped from $14.6 billion in U.S. recorded music revenue in 1999 to around $9 billion by , largely due to digital piracy and shifting consumer habits, reducing mechanical royalty opportunities. Plagiarism disputes highlight enforcement risks, as seen in the 2015 "" case, where songwriters and were found liable for infringing Marvin Gaye's "," resulting in an initial $7.4 million award that was later reduced to approximately $5 million on appeal to Gaye's estate for copying the song's "feel" despite no direct melodic similarities. In recent years, the use of AI in songwriting has introduced new legal challenges. In June 2024, the (RIAA), on behalf of major record labels, filed lawsuits against AI music generators Suno and Udio, alleging through the unauthorized use of copyrighted recordings to their models. As of 2025, these cases remain ongoing, with amended complaints addressing issues like stream-ripping, and they raise significant questions about , licensing, and the future of AI in music creation. Protections for songwriters include registering compositions with the U.S. Copyright Office using Form PA for works, submitting an application, fee, and deposit copies to establish a public record and enable statutory damages in infringement suits. Internationally, the , established in 1886, ensures automatic protection for musical works in over 180 member countries without formal registration, granting foreign songwriters the same rights as nationals, including a minimum term of the author's life plus 50 years.

References

  1. https://www.merriam-webster.com/dictionary/songwriter
  2. https://www.oxfordlearnersdictionaries.com/us/definition/english/songwriter
  3. https://www.law.cornell.edu/definitions/uscode.php?def_id=17-USC-1013598776-1518848619&term_occur=999&term_src=
  4. https://opentext.uoregon.edu/payforplay/chapter/chapter-4-tin-pan-alley-and-music-publishing/
  5. https://www.historynet.com/tin-pan-alley-where-americas-recording-industry-was-born/
  6. https://soundamerican.org/issues/big-band/history-tin-pan-alley
  7. https://frnkow.com/when-singers-began-writing-their-own-songs-a-turning-point-in-music-history/
  8. https://teachrock.org/lesson/a-song-of-their-own-female-singer-songwriters-of-the-early-1970s/
  9. https://www.yellowbrick.co/blog/music/unveiling-the-singer-songwriter-movement-a-revolution-in-music
  10. https://musicaficionado.blog/2023/09/09/1970-singer-songwriters-part-1/
  11. https://www.prsformusic.com/press/2024/songwriting-as-a-profession-is-growing
  12. https://www.careerexplorer.com/careers/songwriter/
  13. https://www.midiaresearch.com/blog/the-songwriters-role-is-shifting-heres-what-the-data-shows
  14. https://www.tandfonline.com/doi/full/10.1080/03007766.2024.2428035
  15. https://illustratemagazine.com/5-trends-shaping-the-future-of-the-music-industry/
  16. https://www.bmi.com/faq/entry/what_is_the_difference_between_a_songwriter_and_a_publisher1
  17. https://go.grammy.com/music-careers/so-you-want-to-be-a-songwriter-heres-how-to-get-started-in-the-music-industry/
  18. https://www.icmp.ac.uk/blog/what-do-songwriters-do
  19. https://www.artists.bandsintown.com/blog/guide-to-common-creative-roles-in-the-music-industry
  20. https://blog.songtrust.com/the-parts-of-a-song
  21. https://help.songtrust.com/knowledge/what-is-the-difference-between-the-songwriter-and-the-performer
  22. https://www.eleven11music.com.au/blog-1/music-royalties-the-ins-and-outs
  23. https://www.poetryfoundation.org/poets/sappho
  24. https://www.usu.edu/markdamen/1320anclit/chapters/05lyric.htm
  25. https://journal.oraltradition.org/wp-content/uploads/files/articles/26ii/10_26.2.pdf
  26. https://www.britannica.com/art/popular-music
  27. https://www.tinpanalley.nyc/the-history
  28. https://nomadmagazinenyc.com/tin-pan-alley/
  29. https://www.history.com/this-day-in-history/february-13/ascap-is-founded
  30. https://acousticmusic.org/research/history/musical-styles-and-venues-in-america/tin-pan-alley/
  31. https://www.ebsco.com/research-starters/music/rock-and-roll-1950s
  32. https://www.songhall.org/profiles/bob-dylan
  33. https://www.ebsco.com/research-starters/music/beatles-revolutionize-popular-music
  34. https://www.masterclass.com/articles/hip-hop-guide
  35. https://www.mdpi.com/2071-1050/14/17/11101
  36. https://www.billboard.com/lists/latin-spanish-artists-music-execs-global-success-strategies/
  37. https://www.berklee.edu/careers/roles/staff-writer
  38. https://songtown.com/on-songwriting/what-is-a-staff-songwriter/
  39. https://www.victoriabanks.net/blog/blog/what-the-heck-is-a-staff-songwriter
  40. https://www.degruyterbrill.com/document/doi/10.4159/9780674054684-002/html
  41. https://www.britannica.com/topic/Holland-Dozier-Holland
  42. https://blackpast.org/african-american-history/holland-dozier-holland-1962-1970/
  43. https://online.berklee.edu/careers-in-music/roles/staff-writer
  44. https://www.bmi.com/news/entry/staff-writing-what-it-really-means-and-how-to-get-a-deal
  45. https://www.billboard.com/pro/jon-platt-sony-atv-25-anniversary-interview/
  46. https://www.rollingstone.com/music/music-lists/how-10-major-songwriters-make-big-money-11935/
  47. https://www.eartothegroundmusic.co/2025/06/27/how-to-sell-your-song-a-2025-guide-for-independent-songwriters/
  48. https://www.bmi.com/faq/category/royalties
  49. https://www.ascap.com/help/royalties-and-payment
  50. https://www.sesac.com/about/
  51. https://soundcharts.com/blog/self-publishing
  52. https://www.amworldgroup.com/blog/how-to-succeed-in-the-music-industry
  53. https://blog.symphonic.com/2025/01/14/top-music-conferences-to-attend-in-2025-2/
  54. https://globalsongwriters.com/about-gsc/
  55. https://www.hypebot.com/hypebot/2024/07/report-reveals-key-challenges-faced-by-songwriters.html
  56. https://www.octiive.com/blog/overcoming-the-top-5-challenges-for-independent-musicians
  57. https://1stdropmusic.com/independent-artists-dominating-the-market-the-rise-of-self-made-musicians-in-the-digital-age/
  58. https://www.rollingstone.com/music/music-country/the-very-pink-very-perfect-life-of-taylor-swift-107451/
  59. https://www.billboard.com/music/music-news/the-billboard-qa-taylor-swift-1046063/
  60. https://musicbrainz.org/artist/cb69e1f1-bc76-4df5-93c9-cf97dd8a3b5c
  61. https://www.careerexplorer.com/careers/lyricist/
  62. https://jobs.community.kaplan.com/career/lyricist-2
  63. https://mixingmonster.com/song-lyrics/
  64. https://www.mi.edu/in-the-know/importance-music-theory-composition/
  65. https://www.musicjotter.com/blog/1011/composing-music-music-notation-software-best-option/
  66. https://allasmusicstudio.com.au/how-can-music-theory-help-me-with-songwriting-or-composing-music/
  67. https://gershwin.com/the-gershwin-brothers/
  68. https://bmop.org/wp-content/uploads/2014/10/GershwinOct0204_Program_forWeb_singles.pdf
  69. https://www.rollingstone.com/interactive/lists-100-greatest-songwriters/
  70. https://www.indeed.com/career-advice/career-development/how-to-become-a-lyricist
  71. https://online.berklee.edu/takenote/common-chord-progressions-and-how-to-make-them-your-own/
  72. https://www.irvingberlin.com/stage
  73. https://blog.sheetmusicdirect.com/2024/01/inside-the-music-with-pasek-and-paul.html
  74. https://www.musicradar.com/news/the-best-daws-the-best-music-production-software-for-pc-and-mac
  75. https://www.iconcollective.edu/hip-hop-history
  76. https://www.izotope.com/en/learn/the-5-most-important-developments-in-hip-hop-production
  77. https://voices.no/index.php/voices/article/view/2532/2289
  78. https://www.masterclass.com/articles/topliner
  79. https://www.nashvillesongwriters.com/what-does-it-mean-be-topline-songwriter
  80. https://online.berklee.edu/takenote/what-is-topline-songwriting/
  81. https://blog.landr.com/type-beats/
  82. https://www.researchgate.net/publication/338710284_Of_Trackers_and_Top-Liners_Learning_Producing_and_Producing_Learning
  83. https://beattips.com/beattips-top-30-beatmakers-of-all-time-dr-dre/
  84. https://people.com/sia-wrote-rihanna-hit-diamonds-in-15-minutes-8648869
  85. https://pitchfork.com/features/article/how-auto-tune-revolutionized-the-sound-of-popular-music/
  86. https://intellectdiscover.com/content/journals/10.1386/jpme_00026_1
  87. https://gardenstatesongwriters.com/how-to-overcome-songwriters-block-part-1/
  88. https://flypaper.soundfly.com/write/songwriting-personal-experience-imagination/
  89. https://playlistpush.com/blog/how-to-write-a-song-songwriting-tips-process-from-top-artists/
  90. https://songtown.com/on-songwriting/overcoming-writers-block-9-techniques/
  91. https://www.dionadevincenzi.com/savvysongwriter/5-benefits-of-solo-writing-part-1-of-2
  92. https://songfancy.com/6-damn-good-reasons-why-songwriters-need-to-solo-write/
  93. https://medium.com/cuepoint/what-s-in-a-song-7690324e4a5
  94. https://americansongwriter.com/joni-mitchell-gives-rare-interview-about-her-songwriting-legacy/
  95. https://splice.com/blog/songwriting-apps-and-books/
  96. https://www.judystakee.com/blog/songwriter-toolkit
  97. https://www.verse-chorus.com/blog/collaborative-songwriting-techniques
  98. https://www.apraamcos.com.au/resources/member-tools/co-writing-splits-and-registering-your-works
  99. https://americansongwriter.com/behind-the-early-songwriting-partnership-of-john-lennon-and-paul-mccartney/
  100. https://www.mi.edu/in-the-know/collaborative-songwriting-work-co-writers/
  101. https://sweden.se/culture/arts-design/the-swedish-music-miracle
  102. https://www.bmi.com/news/entry/how-to-avoid-and-resolve-conflicts-between-songwriting-collaborators
  103. https://journals.law.harvard.edu/hnlr/wp-content/uploads/sites/91/27-1-4-Imagine.pdf
  104. https://www.nytimes.com/2022/01/26/arts/music/sweden-kpop-bts-red-velvet.html
  105. https://hvsconservatory.com/the-role-of-arrangement-and-production-in-songwriting/
  106. https://www.bbc.com/culture/article/20191119-max-martin-the-secrets-of-the-worlds-best-pop-songwriter
  107. https://www.songhall.org/profiles/max-martin
  108. https://moises.ai/blog/inspiration/evolution-music-production/
  109. https://blog.staccato.ai/en-US/MIDI-Revolutionizing-Music-Creation-and-Empowering-Artists
  110. https://www.npr.org/2010/02/26/124078116/american-remembered-rick-rubin-on-johnny-cash
  111. https://faroutmagazine.co.uk/how-rick-rubin-resurrected-the-career-of-johnny-cash/
  112. https://www.bmi.com/news/entry/producers-songwriters-and-recording-artists-what-each-can-contribute
  113. https://www.billboard.com/lists/max-martin-most-hot-100-number-1s-producers/
  114. https://blog.soundtrap.com/the-history-of-the-daw/
  115. https://www.production-expert.com/production-expert-1/how-daws-changed-recording-for-the-better
  116. https://suno.com/about
  117. https://www.tracklib.com/blog/music-sampling-guide
  118. https://www.berklee.edu/berklee-now/news/from-turntables-to-samplers-the-gear-that-made-hip-hop
  119. https://www.cll.com/CopyrightDevelopmentsBlog/all-samples-cleared-remembering-biz-markies-contributions
  120. https://opencasebook.org/casebooks/440-copyright-fair-use-and-music-licensing-playlist/resources/1.1-grand-upright-v-warner-brothers-music-1991/
  121. https://www.whosampled.com/album/Kanye-West/The-College-Dropout/
  122. https://www.copyright.gov/engage/musicians/
  123. https://soundcharts.com/blog/master-rights-vs-publishing-rights
  124. https://www.soundstripe.com/blogs/types-of-music-rights-and-royalties
  125. https://www.ascap.com/help/registering-your-music/Splitsville
  126. https://www.royaltyexchange.com/blog/understanding-copyrights-in-music-royalties
  127. https://copyrightalliance.org/music-licenses-and-royalties/
  128. https://soundcharts.com/blog/performance-royalties-vs-mechanical
  129. https://www.royaltyexchange.com/blog/mechanical-and-performance-royalties-whats-the-difference
  130. https://dittomusic.com/en/blog/how-much-does-spotify-pay-per-stream
  131. https://www.corderolawgroup.com/blog/2025/360-deals-music-industry
  132. https://www.indiemusicacademy.com/blog/music-royalties-explained
  133. https://www.forbes.com/sites/billrosenblatt/2020/09/14/new-riaa-numbers-show-that-cds-are-all-but-dead-and-downloads-are-on-life-support/
  134. https://www.riaa.com/u-s-sales-database/
  135. https://www.nytimes.com/2015/03/11/business/media/blurred-lines-infringed-on-marvin-gaye-copyright-jury-rules.html
  136. https://www.bbc.com/news/entertainment-arts-46550714
  137. https://www.riaa.com/record-companies-bring-landmark-cases-for-responsible-ai-againstsuno-and-udio-in-boston-and-new-york-federal-courts-respectively/
  138. https://www.copyright.gov/circs/circ50.pdf
  139. https://www.copyright.gov/registration/performing-arts/
  140. https://www.copyright.gov/circs/circ38a.pdf
Add your contribution
Related Hubs
User Avatar
No comments yet.