On this page, you will find TONO’s membership agreement, membership terms, and distribution tables.
You can also read them directly on this page — click the links below to go straight to the relevant section: the membership agreement, the membership terms, and the distribution tables.
The rightsholder and TONO hereby enter into a Membership Agreement as described in Articles 6 and 7 of TONO’s Articles of Association. The terms and conditions are at all times subject to the provisions of TONO’s Articles of Association and the provisions adopted pursuant thereto.
The rightsholder assigns to TONO for exclusive management the rights of a copyright nature that the rightsholder currently holds, and – for the duration of this agreement – will subsequently hold, subject to the limitations agreed pursuant to Article 7 of TONO’s Articles of Association. TONO’s right of disposal includes:
a. the performance right, transmission right, and sound recording right to musical works with or without lyrics, with the exception of the performance right to musico-dramatic works;
b. the performance rights to musico-dramatic works if this has been agreed in a specially created ‘Supplementary Agreement on the Management of Musico-Dramatic Rights’.
However, TONO’s right of disposal does not include non-commercial use, cf. Clause 5, the rightsholder’s moral rights under Section 5 of the Norwegian Copyright Act and the right to consent to adaptations of the rightsholder’s works under Section 6, first paragraph, of the Norwegian Copyright Act. The rightsholder retains the aforementioned rights.
Any agreement on the use of works managed by TONO shall be entered into by TONO or the person authorised by TONO. The remuneration for such use shall be paid to TONO or the person authorised by TONO to receive the remuneration. Neither may the rightsholder enter into an agreement on the use of works managed by TONO, nor receive direct payment for such use from users of works, as long as the Membership Agreement is in force. (See, however, any supplementary agreement for musico-dramatic works).
If, prior to enrolment in TONO, the rightsholder has entered into an agreement on the assignment of the copyright to works to be managed by TONO, the rightsholder is obliged to inform TONO thereof. In such cases, the rightsholder shall, upon request, furnish TONO with a copy of the assignment agreement, in order for TONO to be able to determine its scope.
TONO has the right and duty to manage the rightsholder’s and all other rightsholders’ works in the common interest. TONO also has the right and duty to protect the rightsholder against infringements of the rights to which TONO has a right of disposal under this agreement. TONO is therefore entitled, on behalf of the rightsholder, to request prosecution and penalties, as well as to request an injunction and to claim remuneration and compensation and other sanctions in the event of any infringement of the rightsholder’s rights under the Norwegian Copyright Act that may take place. TONO also has the right, if necessary, to take legal action against a third party for the recovery of remuneration.
The rightsholder may limit its assignment to TONO’s management, so that TONO only manages certain categories of rights. TONO divides the rights into the following categories:
1. Recording on audio media
2. Recording on audiovisual media
3. Synchronisation
4. Public performance
5. Broadcasting on radio and television
6. Internet
In addition, the rights may be divided geographically.
If the rightsholder wishes to limit assignment by withdrawing a category of rights from TONO’s management, this may be done by contacting TONO’s member service in connection with the conclusion of this Membership Agreement, or with a notice period of six months to the end of a calendar year.
A withdrawal of a rights category will include all the member’s works in the relevant rights category. It is not possible to withdraw management at the level of works or, for example, works with a specific music publisher.
TONO is obliged to pay remuneration to the rightsholder for the use of the rights under this agreement in accordance with TONO’s Articles of Association in force from time to time and the provisions that have been or will be adopted pursuant to these.
At the same time as entering into this agreement, the rightsholder is obliged to register with TONO the works at the rightsholder’s disposal, and gradually register new works as described from time to time in TONO’s Membership Terms or other provisions. A condition for receiving remuneration for the use of a work is that it is correctly registered.
The rightsholder may authorise such use that is not covered by TONO’s exclusive management under Clauses 1 and 2, including non-commercial use of rights or categories of rights. TONO’s Board of Directors has stipulated more detailed conditions for what is to be understood as non-commercial use in this context:
If the rightsholder dies during the term of this agreement, the rightsholder’s rights and duties under the agreement shall be transferred to the person(s) who inherit the rights by law or by will.
This agreement shall cease to apply:
a. six months after TONO has received written notice of cancellation from a rightsholder, but not before the end of a calendar year. The Board of Directors may resolve to shorten the deadline in the individual case.
b. when the rightsholder no longer holds the composer’s or lyricist’s rights.
These terms may be amended by TONO’s Board of Directors, with the exception of Clauses 10 to 15, which, until further notice, remain within the competence of the Annual Meeting, cf. the resolution of TONO’s Annual Meeting on 10 June 2025.
1. The rightsholder shall, in the manner determined by the Board of Directors, register with TONO musical works in which the rightsholder has rights. A music publisher may register musical works on behalf of other rightsholders. If registration has not taken place by the time the musical work is made available to the general public, or by the deadline set by the Board of Directors, the right to distribution for the year in question shall lapse.
2. The registration shall contain the following information:
a) Title and nature of the musical work, number of movements, and independent parts;
b) Rightsholders in the music work;
c) Estimated playing time for the entire musical work and independent parts of it;
d) Additional information that is deemed necessary.
3. If there is any doubt as to whether the work may be registered as eligible for distribution, cf. Clause 7, TONO may demand that a copy of the musical work be sent to it in written and/or recorded form. If documentation in such a case is not provided within a reasonable time, the case shall be decided on the basis of the available information. The decision may be appealed to the Music and Lyrics Committee, cf. Clause 16.
The consent of all rightsholders in the work shall be obtained before the work is registered. TONO may at any time require documentation that such consent has been given. If it proves impossible to contact the rightsholder and it must be assumed that the rightsholder would have given consent, the management may approve the work without such documentation. The decision may be appealed to the Music and Lyrics Committee.
4. Consent, as described in Clause 3, second paragraph, does not give the right to a share in the distribution amount of the musical work unless there is a written confirmation from the author or from his or her music publisher that such a share is granted.
5. Deliberately incorrect information in connection with the registration of a musical work may result in cancellation of the management contract, cf. Article 6 (6) of the Articles of Association.
6. For musical works managed by an organisation with which TONO has a reciprocal agreement, the provisions set out in the agreement and CISAC’s regulations apply.
7. Musical works that are registered in accordance with the requirements shall be registered as eligible for distribution, unless:
a) the musical work is not managed by TONO because there is no Membership Agreement with any rightsholder who has rights in the work;
b) the musical work is not protected in Norway;
c) the musical work constitutes plagiarism or otherwise infringes the rights of an author or music publisher;
d) the musical work is of such a nature that it cannot be included in TONO’s repertoire;
e) the rightsholder named in the musical work is not a member of TONO or does not have a management contract with an organisation with which TONO has a reciprocal agreement. In such a case, the rightsholder should be requested to apply for membership if it must be assumed that the person concerned fulfils the conditions for this.
8. When a musical work has been registered, TONO shall inform the member thereof and of what the registration entails. If a musical work cannot be registered in accordance with Clause 7, the member shall be notified thereof and of the reason why the work cannot be registered.
9. Musical works managed by an organisation with which TONO has a reciprocal agreement are eligible for distribution, unless the work falls under Clause 7(b), (c), or (d).
10. Main rules
a) The author’s share of the musical work shall consist of the work’s distribution amount, less any share that may accrue to the music publisher pursuant to Clause 14.
b) The composer’s share shall consist of the author’s share, less any shares that may accrue to other authors of the musical work pursuant to Clauses 11, 12, and 13. When new lyrics are set to music that is not protected in Norway, the composer’s share shall, as a general rule, amount to one-sixth.
c) The rules on the allocation of the musical work’s shares apply unless other allocation has been agreed between the rightsholders.
d) A rightsholder’s share is eligible for distribution when the work is registered in accordance with Clauses 1 to 7.
11. Adaptor’s share
a) An adaptation is recognised as eligible for a share when it involves a change to the original work that substantially contains newly composed material, but without losing the identity of the original work. Changes to the form, harmonisation and/or instrumentation, etc. of the original work will only be accepted as an adaptation if the change involves an effort of a particularly innovative nature.
b) The adaptor’s share is one-half the composer’s share.
c) When adapting musical works that are not protected in Norway, the Music and Lyrics Committee may, upon performance, determine the adaptor’s share equal to the full composer’s share. Upon sound recording, the adaptor’s share shall be automatically increased to the full composer’s share.
d) Upon adaptations of musical works with protected lyrics, and where the lyrics accompany the adaptation, authorisation shall also be obtained from the lyricist.
12. Arranger’s share
a) An arrangement shall be approved as eligible when it contains elements of an innovative nature, but without significantly changing the original work’s form, harmonisation or thematic/rhythmic material. The following changes to the original work do not qualify for an arranger’s share:
I) Additions or changes to dynamics, phrasing, ornamentation, fingering, etc.;
II) Simplifications, abbreviations or editorial changes;
III) Transpositions or pure transcriptions;
IV) Instrumentation of a non-innovative nature;
V) Other similar changes;
b) The arranger’s share amounts to one-third of the composer’s share.
c) When arranging musical works that are not protected in Norway, the arranger’s share is automatically increased to the full composer’s share.
d) Upon arrangement of musical works with protected lyrics, and where the lyrics accompany the arrangement, authorisation shall also be obtained from the lyricist.
13. Lyricist’s share
Original lyrics
a) The author of the original lyrics is entitled to a share of the musical work’s distribution amount, cf. TONO’s allocation tables, even when the musical work is performed/sound-recorded without lyrics.
b) If the lyrics are written to pre-existing music, the author of the lyrics is only entitled to a share when the musical work is performed/sound-recorded with the author’s lyrics.
c) If there are multiple lyrics for the same musical work, the lyricist’s share is only granted to the author of the performed/sound-recorded lyrics. For translation (sub-lyrics), see (f), (I), and (II).
d) If a musical work with lyrics has been the subject of an approved adaptation or arrangement without the use of the lyrics, the lyricist’s share shall lapse.
e) The lyricist’s share amounts to one-half of the author’s share. If the lyrics are written for music that is not protected in Norway, the lyricist’s share is automatically increased to the full author’s share upon sound recording.
Translations and adaptations of public-domain original lyrics
f) When using a text that is not protected in Norway, the lyricist’s share is generally one-sixth.
I. Translations (sub-lyrics) of public-domain original lyrics
When translating original lyrics that are not protected in Norway, the translator is assigned the lyricist’s share. If neither the music nor the original lyrics are protected in Norway, the translator’s share is automatically increased to the full author’s share upon sound recording.
II. Adaptations of public-domain original lyrics
Upon adaptation (rewriting) of original lyrics that are not protected in Norway, the Music and Lyrics Committee may award the lyricist’s share to the person who has made the adaptation (rewriting). In cases where the adapted lyrics appear as new original lyrics, the Music and Lyrics Committee may award the full lyricist’s share. If neither the music nor the original lyrics are protected in Norway, the share of the person who has made the adaptation (rewriting) is automatically increased to the full author’s share upon sound recording.
Translations (sub-lyrics) of protected original lyrics
g) If a translation of the original lyrics is approved by the original author or his/her music publisher, the translator is awarded one-third of the lyricist’s share. In the case of musical works created or presumed to have been created in collaboration between composer and author, the translation shall also be approved by the composer.
Lyrical adaptation
h) A lyrical adaptation that appears as a new and independent poetic work may be approved as original lyrics by the Music and Lyrics Committee.
Musical works with a significant disparity between the amount of lyrics and music
i) For a work in which there is a significant disparity between the amount of lyrics and music, the rightsholders may request TONO’s advice regarding the allocation between music and lyrics in the work. When substantial sections of a musical work contain music without lyrics, TONO may reduce the lyricist’s share in relation to the playing time of the musical work. Lyrics without music are not normally included in the playing time.
Lyricist’s share for revue-dramatic performance
j) Even if a remunerative performance of the musical work takes place, a lyricist’s share will not be granted for a revue-dramatic performance when the author is a contributor entitled to a percentage share in the revue, or when he receives direct remuneration in any other way. If the lyrics are performed in a context other than revue drama, or if sound is recorded, the lyricist’s share is granted according to the usual rules.
14. Publisher’s share
A. Original publisher
a) In order for a music publisher to be entitled to a share of a musical work’s distribution amount, the music publisher must have entered into a publishing contract for the musical work in question with its author(s). If the music publisher does not have a contract with all of the rightsholders in the musical work, those with whom the music publisher does not have a contract will receive their full share with a corresponding reduction in the publisher’s share. The composer and lyricist of protected works may enter into a publishing agreement jointly or separately. The share which the publisher is entitled to under TONO’s allocation plan on the basis of such an agreement may not be taken from the music publisher through publishing agreements entered into by the adapter/arranger/translator with their own music publisher, without the consent of the composer’s/lyricist’s music publisher. The music publisher must also have a management contract with TONO or another organisation with which TONO has a reciprocal agreement, cf. Article 6 of TONO’s Articles of Association.
b) The publishing contract must grant the publisher the right to a share in the distribution amount of the musical work in accordance with this clause, and must grant the music publisher both the exclusive right and duty to publish the musical work for the agreed period as well as for the agreed geographical area.
c) The publisher shall register its rights in the musical work with TONO at the time the publisher’s share is to be allocated. The registration shall be accompanied by a copy of the work.
d) Upon performance, the publisher’s share is allocated from the year in which the work is published, unless otherwise agreed between the author and music publisher. Such an agreement shall be sent to TONO together with the registration of the musical work. Upon sound recording, the publisher’s share is allocated from the distribution period in which the contract is signed. Allocation of a share, as described, may only take place when the musical work is registered before the distribution work is completed for the relevant distribution period.
e) Publication is deemed to have taken place when the musical work is available in such a number of printed/published copies that it is assumed to satisfy the needs of general commerce, and in a form that enables performance of the work as created by the author.
f) The publisher’s share amounts to:
I) Performance: − Original work: One-third of the distribution amount of the musical work − Adaptation of musical works that are not protected in Norway: One-third of the distribution amount of the musical work − Arrangement of such a musical work that is not protected in Norway: One-sixth of the musical work’s distribution amount.
II) Sound recording: − Original works, adaptations and arrangements of musical works that are not protected in Norway: One-third of the publisher’s share may be increased by up to one-half of the distribution amount when the author and music publisher agree on this (see (h)).
III) In musical works where only the lyrics are protected in Norway: − One-sixth of the distribution amount when the work is performed with the lyrics, and one-third of the distribution amount when the work is recorded with the lyrics.
g) If the music publisher has a contract with the author for parts of a musical work, the publisher’s share is only allocated for the parts for which the music publisher has a contract. The music publisher may nevertheless receive a share of the entire work if the publishing contract expressly states this.
h) If the publisher has paid an advance to the author, the publisher may collect the author’s distribution until the advance has been In such cases, the author and the publisher must submit a declaration to TONO to this effect. If the advance relates to specific compositions, the declaration shall also contain the titles of the compositions. TONO will continue to send distribution vouchers to the author even if the advance has not been recovered. The music publisher shall notify TONO when the advance has been recovered by the music publisher. If NCB assesses that special circumstances apply in a country, the Music and Lyrics Committee may authorise exceptions to these provisions.
B. Sub-publisher
a) In order for a sub-publisher to be entitled to a share of a musical work’s distribution amount, the sub-publisher must have entered into a publishing contract for the musical work in question with the original publisher. The contract shall preferably be entered into for a minimum of three years, and the sub-publisher must be affiliated with TONO or an organisation with which TONO has a reciprocal agreement. The sub-publishing agreement may either be for individual works or so-called catalogue agreements.
Norwegian works sub-published abroad
j) A music publisher may, by written agreement with the author, assign its rights under the publishing contract in whole or in part to a foreign sub-publisher for specific territories and periods, cf. (i). In such cases, the total publisher’s share is increased by up to one-half of the distribution amount for the musical work in the territory/period in question. If the musical work is recorded in a new arrangement or with translated lyrics in connection with sub-publishing abroad, the total share for the original and sub-publisher may be increased to 2/3 by agreement between the author and publisher. The prerequisite is that the share of the arranger/translator in question is covered by the total publisher’s share. In the case of payment of advances from foreign sub-publishers, (h) shall apply correspondingly.
Foreign works sub-published in Norway
k) For eligible foreign musical works sub-published in Norway, the publisher’s share approved by the relevant organisation with which TONO has a reciprocal agreement is allocated. In the case of adaptation and arrangement of musical works that are not protected in Norway, or when only the lyrics are protected in Norway, the publisher’s share is allocated in accordance with TONO’s allocation rules.
15. Allocation tables
See an overview of TONO’s distribution tables further down on this page.
In the first instance, all cases concerning specific documentation and distribution issues are considered by TONO’s management.
a) A decision made by TONO’s management, the Distribution Committee or the Music and Lyrics Committee may be appealed to TONO by a rightsholder affected by the decision. Appeals must be submitted in writing, accompanied by documentation, and within the deadlines described below, calculated from the date the decision is received by the rightsholder. The body that made the decision subject to appeal may choose to reverse its decision.
b) TONO’s management settles a rightsholder’s complaints concerning distribution and the like. Complaints must be submitted within six weeks of the distribution/notification reaching the rightsholder. The management’s decisions on complaints may be appealed within three weeks to the Distribution Committee in cases relating to the performance, and to the Music and Lyrics Committee in cases not relating to the performance. In cases of doubt, the Board of Directors decides which body is the correct appeal body. The decision of the Distribution Committee or the Music and Lyrics Committee may be appealed within three weeks to the Board of Directors, which will consider the matter and make a final decision.
c) The appeal deadline for other decisions made by the Distribution Committee or the Music and Lyrics Committee is six weeks. If the Distribution Committee or the Music and Lyrics Committee upholds its decision, the appeal shall be heard by the Board of Directors, which shall make the final decision.
d) The lyricist/translator only has the right of appeal if the person concerned is the sole protected author of the musical work.
e) If the deadline for lodging an appeal is exceeded, the right of appeal shall lapse.
f) If a rightsholder has not registered a musical work in which the person concerned has rights by the time the distribution of theperformance report in question has been finalised, the right of appeal for the performance in question lapses. In cases where this has particularly unreasonable consequences, the Music and Lyrics Committee may nevertheless submit an appeal to the Board of Directors, which shall make a final decision on the matter on the recommendation of the Committee.
g) Appeals from companies with which TONO has a reciprocal agreement are considered in accordance with the agreement in question and CISAC’s regulations.
h) If a rightsholder is of the opinion that distribution amounts received from a company with which TONO has a reciprocal agreement cannot be correct, the enquiry shall be forwarded to the company in question.
i) The general provisions on impartiality apply to the handling of appeals.
17. Corrections
a) Corrections made following a timely appeal by the rightsholder shall take effect from and including the distribution affected by the correction. If the original decision was due to the rightsholder providing incorrect or incomplete information, the correction shall nevertheless take effect as described in (b), first paragraph.
b) Corrections made on its own initiative shall take effect from the distribution period that has not ended when the correction is made.
In special cases, and in particular if there is an error on TONO’s part, the Board of Directors may, on the recommendation of the Music and Lyrics Committee, give the correction retroactive effect, but not for more than three completed distribution years.
This is an overview of TONO’s distribution tables, as referred to in clause 15 of the Membership Terms: Distribution Tables.
| A. Unpublished works (manuscripts) | K | AR | T | O | F |
|---|---|---|---|---|---|
| Composer | 100,00 | ||||
| Composer/Adapter | 50,00 | 50,00 | |||
| Composer/Arranger | 66,67 | 33,33 | |||
| Composer/Author | 50,00 | 50,00 | |||
| Composer/Adapter/Author | 25,00 | 25,00 | 50,00 | ||
| Composer/Arranger/Arranger | 33,33 | 16,67 | 50,00 | ||
| Composer/Author/Sub author | 50,00 | 33,33 | 16,67 | ||
| Comp./Adapt./Auth./Sub author | 25,00 | 25,00 | 33,33 | 16,67 | |
| Comp./Arrang./Auth./Sub author | 33,33 | 16,67 | 33,33 | 16,67 |
| B. Original published works | K | AR | T | O | F |
|---|---|---|---|---|---|
| Composer | 66,67 | 33,33 | |||
| Composer/Adapter | 33,34 | 33,33 | 33,33 | ||
| Composer/Adapter | 44,45 | 22,22 | 33,33 | ||
| Composer/Author | 33,34 | 33,33 | 33,33 | ||
| Composer/Adapter/Author | 16,67 | 16,67 | 33,33 | 33,33 | |
| Composer/Arranger/Author | 22,23 | 11,11 | 33,33 | 33,33 | |
| Composer/Author/Sub author | 33,34 | 22,22 | 11,11 | 33,33 | |
| Comp./Adapt./Auth./Sub author | 16,67 | 16,67 | 22,22 | 11,11 | 33,33 |
| Comp./Arrang./Auth./Sub author | 22,23 | 11,11 | 22,22 | 11,11 | 33,33 |
| C. Subpublished works | K | AR | T | O | F |
|---|---|---|---|---|---|
| Composer | 50,00 | 50,00 | |||
| Composer/Adapter | 25,00 | 25,00 | 50,00 | ||
| Composer/Arranger | 33,33 | 16,67 | 50,00 | ||
| Composer/Author | 25,00 | 25,00 | 50,00 | ||
| Composer/Adapter/Author | 12,50 | 12,50 | 25,00 | 50,00 | |
| Composer/Arranger/Author | 16,67 | 8,33 | 25,00 | 50,00 | |
| Composer/Author/Sub author | 25,00 | 16,67 | 8,33 | 50,00 | |
| Comp./Adapt./Auth./Sub author | 12,50 | 12,50 | 16,67 | 8,33 | 50,00 |
| Comp./Arrang./Auth./Sub author | 16,67 | 8,33 | 16,67 | 8,33 | 50,00 |
| A. Unpublished works (manuscripts) | K | AR | O | Public domain T | F |
|---|---|---|---|---|---|
| Composer/Lyrics in the public domain | 83,33 | 16,67 | |||
| Composer/Adapter/Lyrics in the public domain | 41,67 | 41,67 | 16,67 | ||
| Composer/Arranger/Lyrics in the public domain | 55,55 | 27,78 | 16,67 | ||
| Composer/Lyrics in the public domain/Sub author | 83,33 | 16,67 | |||
| Comp./Adapt./Lyrics in the public domain/Sub author | 41,67 | 41,66 | 16,67 | ||
| Comp./Arrang./Lyrics in the public domain/Sub author | 55,55 | 27,78 | 16,67 |
| B. Original published works | K | AR | O | Public domain T | F |
|---|---|---|---|---|---|
| Composer/Lyrics in the public domain | 55,56 | 11,11 | 33,33 | ||
| Composer/Adapter/Lyrics in the public domain | 27,78 | 27,78 | 11,11 | 33,33 | |
| Composer/Arranger/Lyrics in the public domain | 37,04 | 18,52 | 11,11 | 33,33 | |
| Composer/Lyrics in the public domain/Sub author | 55,56 | 11,11 | 33,33 | ||
| Composer/Lyrics in the public domain/Sub author | 27,78 | 27,78 | 11,11 | 33,33 | |
| Comp./Arrang./Lyrics in the public domain/Sub author | 37,04 | 18,52 | 11,11 | 33,33 |
| C. Subpublished works | K | AR | O | Public domain T | F |
|---|---|---|---|---|---|
| Composer/Lyrics in the public domain | 41,67 | 8,33 | 50,00 | ||
| Composer/Adapter/Lyrics in the public domain | 20,84 | 20,83 | 8,33 | 50,00 | |
| Composer/Arranger/Lyrics in the public domain | 27,78 | 13,89 | 8,33 | 50,00 | |
| Composer/Lyrics in the public domain/Sub author | 41,67 | 8,33 | 50,00 | ||
| Comp./Adapt./Lyrics in the public domain/Sub author | 20,84 | 12,50 | 8,33 | 50,00 | |
| Comp./Arrang./Lyrics in the public domain/Sub author | 27,78 | 13,89 | 8,33 | 50,00 |
| A. Unpublished works (manuscripts) | K | AR | O | Public domain T | F |
|---|---|---|---|---|---|
| Composer/Lyrics in the public domain | 100,00 | ||||
| Composer/Adapter/Lyrics in the public domain | 50,00 | 50,00 | |||
| Composer/arranger/Lyrics in the public domain | 66,67 | 33,33 | |||
| Composer/Lyrics in the public domain/Sub author | 83,33 | 16,67 | |||
| Comp./Adapt./Lyrics in the public domain/Sub author | 41,66 | 41,67 | 16,67 | ||
| Comp./Arrang./Lyrics in the public domain/Sub author | 55,55 | 27,78 | 16,67 |
| B. Original published works | K | AR | O | Public domain T | F |
|---|---|---|---|---|---|
| Composer/Lyrics in the public domain | 66,67 | 33,33 | |||
| Composer/Adapter/Lyrics in the public domain | 33,34 | 33,33 | 33,33 | ||
| Composer/Arranger/Lyrics in the public domain | 44,45 | 22,22 | 33,33 | ||
| Composer/Lyrics in the public domain/Sub author | 55,56 | 11,11 | 33,33 | ||
| Comp./Adapt./Lyrics in the public domain/Sub author | 27,78 | 27,78 | 11,11 | 33,33 | |
| Comp./Arrang./Lyrics in the public domain/Sub author | 37,04 | 18,52 | 11,11 | 33,33 |
| C. Sub-published works | K | AR | O | Public domain T | F |
|---|---|---|---|---|---|
| Composer/Lyrics in the public domain | 50,00 | 50,00 | |||
| Composer/Adapter/Lyrics in the public domain | 25,00 | 25,00 | 50,00 | ||
| Composer/Arranger/Lyrics in the public domain | 33,33 | 16,67 | 50,00 | ||
| Composer/Lyrics in the public domain/Sub author | 41,67 | 8,33 | 50,00 | ||
| Comp./Adapt./Lyrics in the public domain/Sub author | 20,83 | 20,84 | 8,33 | 50,00 | |
| Comp./Arrang./Lyrics in the public domain/Sub author | 27,78 | 13,89 | 8,33 | 50,00 |
| A. Unpublished works (manuscripts) | Public domain K | AR | T | O | Public domain T | F |
|---|---|---|---|---|---|---|
| Adapter | 50,00 | 50,00 | ||||
| Arranger | 66,67 | 33,33 | ||||
| Adapter/Copyright-protected lyrics | 25,00 | 25,00 | 50,00 | |||
| Arranger/Copyright-protected lyrics | 16,67 | 83,33 | ||||
| Adapt./Copyright-protected lyrics/Sub author | 25,00 | 25,00 | 33,33 | 16,67 | ||
| Arranger/Copyright-protected lyrics/Sub author | 16,67 | 55,55 | 27,78 | |||
| Adapter/Lyrics in the public domain | 25,00 | 25,00 | 50,00 | |||
| Arranger/Lyrics in the public domain | 33,33 | 16,67 | 50,00 | |||
| Adapter/Lyrics in the public domain/Sub author | 25,00 | 25,00 | 16,67 | 33,33 | ||
| Arranger/Lyrics in the public domain/Sub author | 33,33 | 16,67 | 16,67 | 33,33 | ||
| Cpyright-protected lyrics alone | 16,67 | 83,33 | ||||
| Translated lyrics alone | 50,00 | 16,67 | 33,33 |
| B. Original published works (manuscript) | Public domain K | AR | T | O | Public domain T | F |
|---|---|---|---|---|---|---|
| Adapter | 33,33 | 33,34 | 33,33 | |||
| Arranger | 55,55 | 27,78 | 16,67 | |||
| Adapter/Copyright-protected lyrics | 16,66 | 16,67 | 33,33 | 33,33 | ||
| Arranger/Copyright-protected lyrics | 11,11 | 55,56 | 33,33 | |||
| Adapt./Copyright-protected lyrics/Sub author | 16,66 | 16,67 | 22,22 | 11,11 | 33,33 | |
| Arranger/Copyright-protected lyrics/Sub author | 11,11 | 37,04 | 18,52 | 33,33 | ||
| Adapter/Lyrics in the public domain | 16,66 | 16,67 | 33,33 | 33,33 | ||
| Arranger/Lyrics in the public domain | 27,78 | 13,89 | 41,66 | 16,67 | ||
| Adapter/Lyrics in the public domain/Sub author | 16,67 | 16,67 | 11,11 | 22,22 | 33,33 | |
| Arranger/Lyrics in the public domain/Sub author | 27,78 | 13,89 | 13,89 | 27,77 | 16,67 | |
| Copyright-protected lyrics alone | 11,11 | 55,56 | 33,33 | |||
| Translated lyrics alone | 41,67 | 13,89 | 27,77 | 16,67 |
| C. Sub-published works | Public domain K | AR | T | O | Public domain T | F |
|---|---|---|---|---|---|---|
| Adapter | 25,00 | 25,00 | 50,00 | |||
| Arranger | 50,00 | 25,00 | 25,00 | |||
| Adapter/protected lyrics | 12,50 | 12,50 | 25,00 | 50,00 | ||
| Arranger/Copyright-protected lyrics | 8,33 | 41,67 | 50,00 | |||
| Adapt./Copyright-protected lyrics/Sub author | 12,50 | 12,50 | 16,67 | 8,33 | 50,00 | |
| Arranger/Copyright-protected lyrics/Sub author | 8,33 | 27,78 | 13,89 | 50,00 | ||
| Adapter/Lyrics in the public domain | 12,50 | 12,50 | 25,00 | 50,00 | ||
| Arranger/Lyrics in the public domain | 25,00 | 12,50 | 37,50 | 25,00 | ||
| Adapter/Lyrics in the public domain/Sub author | 12,50 | 12,50 | 8,33 | 16,67 | 50,00 | |
| Arranger/Lyrics in the public domain/Sub author | 25,00 | 12,50 | 12,50 | 25,00 | 25,00 | |
| Copyright-protected lyrics alone | 8,33 | 41,67 | 50,00 | |||
| Translated lyrics alone | 37,50 | 12,50 | 25,00 | 25,00 |
| A. Unpublished works (manuscripts) | Public domain K | AR | T | O | Public domain T | F |
|---|---|---|---|---|---|---|
| Adapter | 100,00 | |||||
| Arranger | 100,00 | |||||
| Adapter/Copyright-protected lyrics | 50,00 | 50,00 | ||||
| Arranger/Copyright-protected lyrics | 16,67 | 83,33 | ||||
| Adapt./Copyright-protected lyrics/Sub author | 50,00 | 33,33 | 16,67 | |||
| Arranger/Copyright-protected lyrics/Sub author | 16,67 | 55,55 | 27,78 | |||
| Adapter/Lyrics in the public domain | 100,00 | |||||
| Arranger/Lyrics in the public domain | 100,00 | |||||
| Adapter/Public domain lyrics/Sub author | 50,00 | 50,00 | ||||
| Arranger/Lyrics in the public domain/Sub author | 50,00 | 50,00 | ||||
| Copyright-protected lyrics alone | 100,00 | |||||
| Translated lyrics alone | 100,00 |
| B. Original published works (manuscript) | Public domain K | AR | T | O | Public domain T | F |
|---|---|---|---|---|---|---|
| Adapter | 66,67 | 33,33 | ||||
| Arranger | 66,67 | 33,33 | ||||
| Adapter/Copyright-protected lyrics | 33,34 | 33,33 | 33,33 | |||
| Arranger/Copyright-protected lyrics | 11,11 | 55,56 | 33,33 | |||
| Adapt./Copyright-protected lyrics/Sub author | 33,34 | 22,22 | 11,11 | 33,33 | ||
| Arranger/Copyright-protected lyrics/Sub author | 11,11 | 37,04 | 18,52 | 33,33 | ||
| Adapter/Lyrics in the public domain | 66,67 | 33,33 | ||||
| Arranger/Lyrics in the public domain | 66,67 | 33,33 | ||||
| Adapter/Lyrics in the public domain/Sub author | 33,34 | 33,33 | 33,33 | |||
| Arranger/Lyrics in the public domain/Sub author | 33,33 | 33,33 | 33,33 | |||
| Copyright-protected lyrics alone | 66,67 | 33,33 | ||||
| Translated lyrics alone | 66,67 | 33,33 |
| C. Subpublished works (manuscript) | Public domain K | AR | T | O | Public Dmain T | F |
|---|---|---|---|---|---|---|
| Adapter | 50,00 | 50,00 | ||||
| Arranger | 50,00 | 50,00 | ||||
| Arranger/Copyright-protected lyrics | 25,00 | 25,00 | 50,00 | |||
| Arranger/Copyright-protected lyrics | 8,33 | 41,67 | 50,00 | |||
| Adapt./Copyright-protected lyrics/Sub author | 25,00 | 16,67 | 8,33 | 50,00 | ||
| Arranger/Copyright-protected lyrics/Sub author | 8,33 | 27,78 | 13,89 | 50,00 | ||
| Adapter/Lyrics in the public domain | 50,00 | 50,00 | ||||
| Arranger/Lyrics in the public domain | 50,00 | 50,00 | ||||
| Adapter/Lyrics in the public domain/Sub author | 25,00 | 25,00 | 50,00 | |||
| Arranger/Lyrics in the public domain/Sub author | 25,00 | 25,00 | 50,00 | |||
| Copyright-protected lyrics alone | 50,00 | 50,00 | ||||
| Translated lyrics alone | 50,00 | 50,00 |