INDUSTRY FIELD GUIDE
Musical performance segment rights records for AI
A live performance may include an original introduction, an owned song and music the group cannot authorize for a new use.
NAICS 711130 · Musical Groups and Artists
A live performance may include an original introduction, an owned song and music the group cannot authorize for a new use. Copyright Office materials distinguish a musical composition from a sound recording. A group can map those elements without offering a concert archive. U.S. Copyright Office on compositions and recordings
Build a mock set list and two original spoken practice segments, or use dummy ranges. Mark the source for each range, which rights are documented and where there is a hold. Ask the reviewer to distinguish the underlying work, performance, and recording. Include a separate video derivative so permission does not carry over by assumption.
Exclude venue recordings, fan footage, licensed music, actual set agreements and any identifiable audience without authority. Confirm performer, recording and site permissions.
Describe a performance rights inventory
Original Fiund exercise
The set list does not collapse composition, performance and recording authority
A dummy concert timeline uses original spoken segments and described music placeholders. There is no actual song, audience, venue recording or third-party composition in the packet.
| Record | Source | What it records |
|---|---|---|
| MPF1 | Practice set clock | 0–10 seconds original spoken introduction A; 10–25 owned-song placeholder B; 25–35 external-song placeholder C. |
| MPF2 | Fictional grant inventory | A has spoken-text, performer and audio U grants. B composition U grant exists, recording/performer grants unresolved. C excluded. |
| MPF3 | Video derivative V1 | Maps 0–10 from A, but register supplies audio-only recording permission and no V1 grant. |
Question for the model
Which audio segment has all the stated U layers documented, and can the composition grant or audio approval establish B or V1's remaining scope?
Show the reference answer and checks
MPF2 documents the stated text, performance and audio layers for A's 0–10-second segment. B's composition grant does not resolve its separate performer and recording questions, while C is excluded. MPF3's V1 is a video derivative with no supplied video grant. Keep those work and modality layers separate rather than clearing an entire set or video from an owned song or audio-only approval.
- Using a composition grant as the missing recording and performer authority.
- Extending audio permission to a separately identified video derivative.
Fields to preserve
- Segment boundaries and source work
- Defines which part of the set is requested.
- Composition, performance and recording grants
- Keeps distinct subjects inspectable.
- Derivative modality
- Prevents an audio status from silently covering video.
Test another case
Clear B's audio layers but leave C excluded. Ask about an excerpt spanning seconds 20–30 to test a mixed-permission range.
Use dummy ranges and original spoken practice material. Exclude concerts, fan footage, licensed music, audience identities and real set agreements.
Discuss a contribution
Describe the sources you control, the task they could support and what has already been checked. Use the existing-data assessment for an archive or the collection brief for a new recording project. The contributor agreement defines Fiund’s licensing authority and compensation. A guide or fictional exercise does not establish an accepted collection or a sale.