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Being able to track the right holders of every musical work over the Internet is crucial for ensuring that creators receive fair payment for the online use of their work. The Global Repertoire Database, an ambitious and innovative project embarked on by a range of stakeholders across the music industry, including author societies, will ensure music creators the world over are properly paid for the work they produce.

The Global Repertoire Database will establish – for the first time – a centralised and authoritative data store of who owns the rights on musical works worldwide and how their right holders are paid when they are used online or via mobile services.

Private copying is becoming a more and more frequent subject of debate. The companies which market copying devices are systematically attacking the system through European and national courts, lobbying and through the press. On behalf of hundreds of thousands of creators we, the undersigned organisations representing authors, performers and producers of musical, audiovisual, literary and visual arts works, feel the need to give a reminder of why private copying combined with fair remuneration remains essential.

Over 50 years ago, the first commercially available recording devices created a dilemma. Copyright as it stood at the time required permission for each act of copying of protected works. It was practically impossible for private users to get permission whenever they wanted to copy something. At the same time, rightsholders were clearly entitled to remuneration for such use of their works.

Last year, 17 author societies from 14 European Union countries alone spent three times the European Union culture budget on cultural and social initiatives. Without their support, European culture would be less vibrant, and Europe’s creators less secure.

Sometimes, author societies talk too much about their role as rights managers (tracking and re-distributing funds that are owed to their members) and not enough about their broader work as cultural and social partners to European creators – their members – everywhere.

Today, we’ll set that record straight.

Most author societies – with the consent of their members – have voluntarily expanded their role to include various activities that protect the social welfare of their members and promote cultural activities where they are based.

Online services like streaming can offer much to both creators and music fans – if users appreciate the importance of using legal sites. Koda – alongside all author societies – welcomes legitimate music sites, and fights against illegal sites that deprive creators of fair payment.

Understanding changes in the way people experience music  helps  author societies monitor and adapt to the needs of both rights holders (creators) and users (music lovers) to make sure their work and function remains invaluable to their members –  and to the European single market as a whole.

Koda, the Danish author society, rigorously tracks how Danes’ listening habits are changing. The society’s latest survey, conducted in January 2012, demonstrates how the digital market-place is growing in Denmark. And that’s something that Koda welcomes.