The creators of a work are free to agree upon a split which is then reported to TONO. If an agreed split is stipulated in the work notification submitted to TONO, that split will apply irrespective of the role the individual has played in the creation of the work.
Please note that the work notification submitted to TONO must reflect who has written the music and lyrics, not the performers when the work is performed or released. Although these may very well be the same people, e.g. in a band, it is important to keep the roles of creator and performer separate.
If no particular split is agreed, the Distribution Plan’s §15 applies. In that case, the role played by each contributor to the creation of the work is decisive.
According to the Distribution Plan, 100 per cent will go to the work’s composer(s) if it is a new and original instrumental piece. The percentages are allocated equally between the composers named in the work notification submitted to TONO.
If an original work contains lyrics, 50 per cent will go to the composer(s) and 50 per cent to the lyricist(s), according to the Distribution Plan.
If the work notification includes an arranger, the arranger(s) will receive 1/3 of the composer(s)’ percentage.
If the work notification includes a translator, the translator(s) will receive 1/3 of the lyricist(s)’ percentage.
The work notification must specify both performance rights percentages and mechanical rights percentages. Performance rights percentages govern TONO’s distributions with respect to, for example, concerts and radio/television broadcasts, while mechanical rights percentages govern NCB’s distributions with respect to, for example, CD releases and synchronisation royalties.
In general, work notifications normally specify equal allocations for performance rights and mechanical rights percentages.
Please note that for partially copyright-free works, the agreed split between protected rights holders may be applied only to the protected percentages. See Table II a and b, as well as Table III a and b in TONO’s Distribution Plan.
The income from Streaming services (e.g. Spotify, Tidal etc.) is distributed with a 70/30 weighing between the work’s performance shares (70%) and mechanical shares (30%).
Streaming of music is regarded to be an exploitation of both performing and mechanical rights. Most of the works will be registered with equal performance and mechanical shares, but if a rights owner is e.g. entitled to a 100% performance share and 50 % mechanical share, the rights owner will be payed out for a total of 85% share for the work:
(100 % * 70 %) + (50 % * 30 %) = 85 %
The income from Download services (iTunes etc.) is distributed with a 30/70 weighing between the work’s performance shares (30%) and mechanical shares (70%).
(Role codes used in work notifications to TONO: C = Composer, A = Lyricist, CA = Composer and Lyricist, AR = Arranger, SA = Translator).
Anyone who creates works of music or lyrics can become a member of TONO and register their songs/musical works with us. As a creator, you are free to use all...
Open in new tabYes, TONO has special copyright rules for the personal yoik that it administers. Copyright protects everyone who creates works of music or other intellectual property, and forms the basis for...
Open in new tabYouTube applies systems that autimatically recognise recorded music, and make it possible to register metadata and connect an uploaded video to registered musical works. If you upload your own music...
Open in new tabWhat are subsidised concerts? Subsidised concerts are concerts whose main repertoire TONO, for reasons of cultural policy, has decided to support with additional funds. These funds derive partly from unidentified...
Open in new tabIn this area, TONO has entered into a separate agreement with the Association of Norwegian Theatres and Orchestras (NTO), which obviates the need for TONO rights holders to negotiate directly...
Open in new tabHERE you will find an application form in PDF for music publishers.
Open in new tabIf you are a concert promoter, please download the Concert Report form in PDF format, and send it by mail or scan it and e-mail it to marked@tono.no. If you are...
Open in new tabHere you will find the WORK NOTIFICATION FORM in PDF for original publishers. If the form relates to a sub-publisher, you must use THIS FORM (In Norwegian). You can send it by...
Open in new tabHere you can download the WORK NOTIFICATION FORM in PDF for creators. You can send it by mail or scan it and email it to WORK@TONO.NO. Remember to sign the form...
Open in new tabIf you are unable to submit the application form ELECTRONICALLY, you can download a PDF version HERE. The form must be completed, signed and returned to us by mail or,...
Open in new tabAs a member of TONO, you authorise TONO to license all public performance, transmission and recording of your music. However, you are still entitled to mange your music yourself in...
Open in new tabWhen you use music together with images, a juxtaposition of sound and pictures occurs. This is called synchronisation. If, for example, you create a video clip with music that you...
Open in new tabIf you want to make your music available online via a music service that offers digital streaming or downloading, you can contact an aggregator. The aggregator is a digital distributor,...
Open in new tabIf you are planning to release music in a physical format (e.g. CD/LP/DVD), you must contact NCB for clearance before going to press. This applies even if the release contains...
Open in new tabIf you want to record a piece of music or make an audio-visual production containing music, you must first obtain a licence to do so from NCB (Nordic Copyright Bureau)....
Open in new tabNo. Creators and publishers are considered equal parties in TONO, and we cannot, on a general basis, provide any assistance with regard to agreements between them. However, we can explain...
Open in new tabThe publisher must submit a so-called declaration of transfer, or financial authorisation, to TONO. This document must specify whether the advance relates to revenues from, for example, record sales, or...
Open in new tabThe publisher can take no more than 33.33 per cent for a performance and no more than 50 per cent for a sound recording. However, it is normal for publishers...
Open in new tabContact The Norwegian Music Publisher Association. They will be able to help you. You can also apply for TONO membership for your publishing company by completing the application form found...
Open in new tabA music publisher can help a music creator to market and stage performances of their works through, for example, promotion and networking – often both at home in Norway and...
Open in new tabIf your music is played on the radio or television abroad, you do not need to report it to us, since this is handled under reciprocal administration contracts with our...
Open in new tabThese channels broadcast from the UK and distributions are therefore calculated by our British affiliate PRS For Music. Any distributions due from these channels will be received via our international...
Open in new tabLive performances mean that the musical work is performed live. For tv performances this means that the musicians are performing the work on screen. For radio performances this means a...
Open in new tabThe distribution of NRK’s radio channels is based on an a factor which relates to the audience numbers per channel, among other things. Additionally, the minute value per channel will...
Open in new tabAll new works that meet the criteria for first performance will automatically be given a special code when a work notification has been submitted and registered. This code is triggered...
Open in new tabIt is not possible to give an exact answer, since the value per minute varies on the various channels – even those belonging to the same broadcaster. The type of...
Open in new tabNo. As a rights holder, you do not need to report performances on radio and television to us. TONO receives detailed music reports directly from the radio and television channels,...
Open in new tabHere is an explanation of how TONO calculates payment settlements for different types of concerts. NOTE! The names used here are fictitious and are only included to illustrate the process...
Open in new tabPlease check this pdf document to see how the royalties payable in the various performance areas are calculated.
Open in new tabConcert royalties are distributed once a year, in September. This distribution includes concerts held during the entire previous year (1 January to 31 December). If your works were performed in...
Open in new tabThe expression “grand rights” is used in connection with performances of a dramatic musical work (e.g. an opera, operetta, musical, pantomime or ballet). The performance of originally written dramatico-musical works,...
Open in new tabWritten consent is required to remove one or more rights holders from a work that is already registered with TONO. It is important to distinguish between performers and creators. Remember...
Open in new tabTONO/NCB give permission for the public performance and recording of copyright-protected musical works on behalf of their creators. However, please note that the first publication is reserved for the creators...
Open in new tabWhen you sign a management contract with TONO, you – as a creator of musical works – give TONO responsibility for managing your performance rights and mechanical rights. You are...
Open in new tabAccording to Norwegian Copyright law, an artistic work is protected by copyright for 70 years after the year its creator(s) deceased. After this, the work becomes copyright free, which means...
Open in new tabThe Norwegian Copyright Act protects the creator’s intellectual property and financial rights and entitlements to the work. If you are concerned that your music may be plagiarised, you should make...
Open in new tabThe creators of a work are free to agree upon a split which is then reported to TONO. If an agreed split is stipulated in the work notification submitted to...
Open in new tabNo. In principle, you do not need to submit any documentation along with your work notification. TONO has a scheme, under which a random sample of works is routinely selected....
Open in new tabTONO uses your work notifications as the basis for the calculation and distribution of royalties due to you. Before we can calculate and pay you for the public performance of...
Open in new tabTONO manages your financial rights in connection with the public performance of your musical works. This means that TONO ensures that you get paid as a rights holder when your...
Open in new tabIn the context of TONO, a “work” is a piece of music or a song. If you have played a part as composer, lyricist and/or arranger, you are a rights...
Open in new tabNo. TONO is not a judicial body and has no authority to adjudicate disputes between two parties in matters relating, for example, to plagiarism or similar copyright infringements. We must...
Open in new tabNo. According to the Norwegian Tax Assessment Act, “fees or other remunerations paid to the creator of an artistic work” are reportable, but TONO has no duty to make deductions...
Open in new tabTONO collects and distributes royalties to composers, lyricists and music publishers for public performances and broadcast works. Gramo does the same for recorded music, but on behalf of the performers...
Open in new tabIt costs nothing to join TONO, nor be a member of TONO. We collect and distribute royalties on a non-profit basis, and deduct an annual administration percentage of approximately 15...
Open in new tabWhen you sign a management agreement with TONO, TONO/NCB will, on your behalf, manage your financial rights and entitlements in connection with public performances and sound recordings of your music....
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