i have started writing a sonification of a poem, for piano and an audio track of sound effects.
the audio track also includes the declamation of the text of the poem, recited directly by the author. specifically, it is a poem by totò (antonio de curtis).
when I find myself performing it in public, what kind of SIAE obligations would I be facing?
considering the fact that the sound track of the poem will be slightly manipulated with specific software (considering it as a structural part of the entire composition), how should the work be considered at the time of deposit in SIAE?
When you present the recording of the track, you should also attach the form for the arrangement. At this stage, by paying a fee of about twenty euros (if I remember correctly), a commission evaluates the royalty percentages that will then be recognized in case of income.
The process is quite long and requires you to present both the original and the arrangement, in order to give them the necessary elements for evaluation.
Valchiria should be right, the procedures are those; the problem is that in SIAE (which I find absurd, but not for them since they make good sums every 5 years, if we multiply by all those who use that method, both registered and unregistered), lyrics are deposited in the Olaf section, unpublished works, and one must see whether at the time Totò wrote it was "incorporated" into a screenplay or a theatrical show, where? And how was it archived in SIAE, because they have surely laid their hands on it.
G
Gerardo
Member
Reply 6 by Gerardo
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277
ScalaQuaranta wrote:
i wouldn't know, I am not very well-versed in the subject.
However, it is fundamental. If the name Totò is written, obviously 70 years have not passed since his death. Therefore, authorization from the rights holders is required or rather, the rights holders will never complain if you follow the standard procedure proposed by Valchiria.
