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Authors’ Note: Our thanks to Alec Harris (President of of various revenue streams and entities involved.
GIA Publications and One License) and Mallory Fatke
(Director of Corporate Communications for The • diymusician.cdbaby.com/category/music-rights/—
MLC), who contributed to or reviewed this article to CD Baby’s blog about music rights
make it as accurate and helpful as possible. CD Baby • diymusician.cdbaby.com/music-rights/youtube-
support also provided some information regarding monetization-musicians/—overview of YouTube
their policies. (It’s worth noting that our inquiries to monetization from CD Baby
SoundExchange Support, SongTrust Support, AdRev
Support, and YouTube Support did not receive direct/ • For other distributors/aggregators see tunecore.com
personal answers. Some offered stock replies or links to and distrokid.com.
FAQ pages but declined to answer further questions or
review our article wording. This simply underscores the Third-Party Information:
difficulty for artists of getting clear answers or a com-
prehensive viewpoint on these issues, even from the or- • soundcharts.com/blog
ganizations directly involved!) Most of all, we wish to • royaltyexchange.com/blog/royalty-guides
thank Serona Elton (Head of Educational Partnerships
for The MLC), who kindly put on her music industry • harryfox.com/faq—general information about licens-
professor hat and provided valuable input and correc- ing, terms, rate charts, etc., as well as information
tions that we couldn’t get elsewhere, as well as content about what HFA offers.
throughout this entire licensing article.

Resources NOTES
(note that terminology may sometimes vary slightly
between sources): 1 For an example of one publisher’s complete licensing poli-
cies, see the Beckenhorst Press (where Dan serves as Vice
The MLC: President of Publications and Editor) licensing page:
beckenhorstpress.com/licensing.
• themlc.com/frequently-asked-questions 2 One of the best currently available resources is themlc.com/

• vimeo.com/536917700 — MLC’s explanation of digital-music-royalties-landscape
the big picture 3 Fair warning: the revenue streams from these DSPs are noto-
riously small—literally fractions of a penny per stream—
PROs: so large numbers of plays are required to generate signif-
icant revenue. Search this topic online to see the plethora
• ascap.com/help
of articles written about this problem, and the ongoing
• ascap.com/help/royalties-and-payment/make- attempts to improve the situation.
money-youtube — How ASCAP handles public 4 For more information on what HFA does and doesn’t offer,
performance royalties from YouTube Videos see https://www.harryfox.com/faq.
5 https://www.ascap.com/help/royalties-and-payment/
• bmi.com
make-money-youtube.
6 See https://www.ascap.com/help under “Streaming Royal-
SoundExchange:
ties.”
• soundexchange.com/about/general-faqs/ 7 For more information, see https://support.cdbaby.com/hc/
en-us/articles/360002633912-Facebook-Monetization.
CD Baby:
• support.cdbaby.com/hc/en-us — CD Baby has a
number of helpful articles that discuss the interaction

CHORAL JOURNAL March/April 2023 Volume 63 Number 7 45