EN

[pic] | KOMISIJA EVROPSKIH SKUPNOSTI |

Brussels, 16.7.2008

Bruselj, 16.7.2008

COM(2008) 464 final

COM(2008) 464 konč.

2008/0157 (COD)

2008/0157 (COD)

Proposal for a

Predlog

EUROPEAN PARLIAMENT AND COUNCIL DIRECTIVE

DIREKTIVA EVROPSKEGA PARLAMENTA IN SVETA

amending Directive 2006/116/EC of the European Parliament and of the Council on the term of protection of copyright and related rights

o spremembi Direktive 2006/116/ES Evropskega parlamenta in Sveta o trajanju varstva avtorske pravice in določenih sorodnih pravic

{SEC(2008) 2287}

(predložila Komisija) {SEC( 2008) 2287}{SEC(2008) 2288}

{SEC(2008) 2288}

OBRAZLOŽITVENI MEMORANDUM

(presented by the Commission)

1. OZADJE PREDLOGA

EXPLANATORY MEMORANDUM

- Razlogi za predlog in njegovi cilji

1. Context of the proposal

Cilj tega predloga je izboljšanje socialnega položaja izvajalcev, zlasti studijskih glasbenikov, ob upoštevanju, da vse več izvajalcev preživi obdobje 50 let, ki trenutno velja za varstvo njihovih izvedb.

· Grounds for and objectives of the proposal

Množična proizvodnja fonogramov je v bistvu pojav, ki se je začel v petdesetih letih prejšnjega stoletja. Brez ustreznih ukrepov bo v naslednjih 10 letih vse več izvedb, posnetih in izdanih med leti 1957 in 1967, izgubilo varstvo. Ko na fonogramu posneta izvedba ne bo več varovana, bo v vsaki večji državi članici približno 7 000 izvajalcev, v manjših državah članicah pa ustrezno manjše število, izgubilo ves dohodek, ki izhaja iz avtorskih honorarjev po pogodbi in obveznih nadomestil za oddajanje in javno priobčevanje njihovih izvedb v barih in diskotekah.

The proposal aims to improve the social situation of performers, and in particular sessions musicians, taking into account that performers are increasingly outliving the existing 50 year period of protection for their performances.

To vpliva na glavne izvajalce (ki prejemajo avtorske honorarje po pogodbi), še bolj pa na tisoče anonimnih studijskih glasbenikov (ki ne prejemajo avtorskih honorarjev, ampak so odvisni izključno od obveznih nadomestil), ki so prispevali k fonogramom v poznih petdesetih in šestdesetih letih in so svoje izključne pravice podelili proizvajalcem fonogramov za pavšalno plačilo („odkup“). Njihova „enkratna pravična nadomestila“ za oddajanje in priobčitev javnosti, ki niso nikoli dodeljene proizvajalcu fonograma, bodo prenehala.

The large scale production of phonograms is essentially a phenomenon that commenced in the 1950s. If nothing is done, over the next 10 years an increasing amount of performances recorded and released between 1957 and 1967 will lose protection. Once their performance fixed in a phonogram is no longer protected, around 7000 performers in any of the big Member States and a correspondingly smaller number in the smaller Member States will lose all of their income that derives from contractual royalties and statutory remuneration claims from broadcasting and public communication of their performances in bars and discotheques.

Poleg tega se želi s predlogom uvesti enoten način za izračun trajanja varstva, ki se uporablja za skladbe, ki vsebujejo tudi besedilo in h katerim je prispevalo več avtorjev. Glasbeno delo, npr. pop glasba ali opera, tako pogosto vključuje besedilo (ali libreto) in partituro. V različnih državah članicah so takšne skladbe, napisane v soavtorstvu, uvrščene kot eno delo različnih avtorjev z enotnim trajanjem varstva, ki se začne s smrtjo zadnjega preživelega soavtorja, ali kot ločena dela z ločenim trajanjem varstva, ki se začne s smrtjo posameznega avtorja, ki prispeva k skladbi.

This affects featured performers (those who receive contractual royalties) but especially the thousands of anonymous session musicians (those who do not receive royalties and rely solely on statutory remuneration claims) who contributed to phonograms in the late fifties and sixties and have assigned their exclusive rights to the phonogram producer against a flat fee payment ('buy out'). Their 'single equitable remuneration' payments for broadcasting and communication to the public, which are never assigned to the phonogram producer, would cease.

To pomeni, da bo v nekaterih državah članicah[1] skladba z besedilom zaščitena do 70 let po smrti zadnjega preživelega avtorja, medtem ko bo v drugih državah[2] vsak prispevek izgubil varstvo 70 let po tem, ko umre njegov avtor. Te razlike v trajanju, ki se uporabljajo za skladbo, so pripeljale do težav pri upravljanju avtorskih pravic po Skupnosti v primeru del, napisanih v soavtorstvu. Prav tako so pripeljale do težav pri čezmejni distribuciji avtorskih honorarjev v različnih državah članicah.

In addition, the proposal also seeks to introduce a uniform way of calculating the term of protection that applies to a musical composition with words which contains the contributions of several authors. For example, a musical piece, for instance pop music or an opera, often includes lyrics (or a libretto) and a musical score. In different Member States, such co-written musical compositions are either classified as a single work of joint authorship with a unitary term of protection, running from the death of the last surviving co-author or as separate works with separate terms running from the death of each contributing author.

- Splošno ozadje

This means that in some Member States [1], a musical composition with words will be protected until 70 years after the last contributing author dies, while in other Member States [2], each contribution will lose protection 70 years after its author dies. These discrepancies in term that apply to one musical composition lead to difficulties in administering copyright in co-written works across the Community. It also leads to difficulties in cross-border distribution of royalties for exploitation that occurs in different Member States.

Socialni položaj izvajalcev

· General context

Trenutni zaposlitveni položaj in pogoji povprečnega evropskega izvajalca niso preveč dobri. Samo slavni izvajalci, tako imenovani glavni umetniki, ki imajo z večjo glasbeno založbo podpisano avtorsko pogodbo, lahko živijo od svojega poklica. V Združenem kraljestvu je na primer v letu 2001 samo 5 % izvajalcev zaslužilo več kot 10 000 GBP na leto. Poleg tega od 77 do 89,5 % vsega dohodka, ki se razdeli izvajalcem, dobi 20 % največjih izvajalcev[3]. Ekonomisti so pokazali, da so za glasbeno industrijo značilne velike razlike med večino malo znanih izvajalcev, ki malo zaslužijo, in velikimi zaslužki „super zvezdniških“ izvajalcev[4].

The social situation of performers

Poleg tega socialni položaj izvajalcev ni preveč varen. Veliko izvajalcev težko najde zadostno zaposlitev in večina potrebuje še druge zaposlitve, da dopolnjuje svoj dohodek[5]. Na splošno samo 5 % izvajalcev dejansko živi od svojega poklica – vsi drugi morajo iskati vzporedno zaposlitev.

The current employment status and conditions for the average European performer are not very rewarding. Only famous performers, so-called featured artists that have signed a royalty-bearing contract with a major record label, are able to make a living from their profession. For instance, in the UK, in 2001, only 5% of performers earned over £10000 annually. Moreover, between 77 and 89.5% of all income distributed to performers goes to the top 20% of performers [3]. Economists have shown that the great discrepancies between the low earning of the majority of little-known performers and the significant earnings of "superstar" performers are endemic to the music industry [4].

Izvajalci običajno prenesejo svoje najbolj ekonomsko pomembne izključne avtorske pravice na glasbene založbe prek pogodbe. V večini primerov imajo posamezni izvajalci malo pogajalske moči[6]. Izvajalci so pri podpisu pogodbe s proizvajalcem fonogramov na splošno pripravljeni podpisati ponujeno pogodbo, ker jim ugled in prisotnost v medijih, ki ju dobijo s podpisom pogodbe z glasbeno založbo, dajeta možnost pridobiti veliko poslušalcev. Zato se izvajalci težko pogajajo o vrsti pogodbe ali kakšno plačilo bodo prejeli. Studijski glasbeniki, tj. glasbeniki, ki so najeti priložnostno, da igrajo za eno snemanje, pa se sploh ne morejo pogajati, svoje avtorske pravice morajo trajno prenesti proti enkratnemu plačilu.

Moreover, the social situation of performers is not very secure. It is difficult for performers to find sufficient employment and most need other jobs to supplement their incomes [5]. Overall, only 5% of performers actually make a living from their profession – all the others have to seek parallel employment.

Pogodbeni odnosi med glasbenimi založbami in nastopajočimi izvajalci so zelo različni, vendar praviloma spadajo v dve kategoriji[7]:

Performers usually transfer their most economically significant exclusive copyrights to record companies via contract. In most cases, individual performers have little bargaining power [6]. When signing a contract with a phonogram producer, performers are generally willing to accept the contract they are offered because the reputation and exposure gained by signing with a record label gives them the possibility of reaching a broad audience. Consequently, it is difficult for performers to negotiate which type of contract or which level of remuneration they will obtain. Session musicians, i.e., musicians that are hired on an ad hoc basis to play for a recording 'session', cannot negotiate at all, they have to transfer their copyrights 'in perpetuity' against a one off payment.

- Studijski umetniki običajno dobijo pavšalno plačilo, ker producenti odkupijo njihovo izključno avtorsko pravico. V skladu s tem se njihovo nadomestilo ne poveča, če je plošča zelo uspešna.

Contractual relations between record companies and performing artists vary greatly but typically fall into two categories: [7]

- Pogodbe glavnih umetnikov običajno predvidevajo nadomestilo na podlagi avtorske pogodbe. Izvajalci običajno dobijo neto avtorski honorar v znesku 5–15 % prihodkov, odvisno od njihove slave in pogajalske moči[8].

· Session artists are generally paid a flat fee as their exclusive copyrights are bought out by the producer. Accordingly, their remuneration does not increase if the record becomes a huge success.

Odbitek različnih stroškov proizvajalca nosilcev zvoka od plačila avtorskega honorarja tudi lahko zelo zmanjša nadomestilo izvajalcem. Ti odbitki so pogosto oblikovani strokovno in vključeni v zapleteni pravni dokumentaciji[9]. V praksi je po različnih pogodbenih odbitkih (za stroške, ki jih imajo producenti, kot so glasbeni video, promocija, stroški izvorne kopije), povprečni odstotek avtorskih honorarjev, ki ga izvajalci dejansko dobijo, lahko nižji. Ker se večina zvočnih posnetkov izvajalcev ne proda v zadostnem številu, da bi se glasbeni založbi povrnila njena začetna naložba (samo 1 od 8 glasbenih zgoščenk je dobičkonosna)[10], se avtorski honorarji pogosto sploh ne izplačajo.

· Featured artists' contracts usually provide for a royalty-based remuneration. Depending on their fame and bargaining power, performers usually receive net royalties of 5-15% of revenues [8].

Izvajalci pa prejemajo prihodke tudi iz drugih virov. Dohodek dobivajo od kolektivnih organizacij, ki uveljavljajo tako imenovane sekundarne pravice do nadomestila. Obstajajo trije glavni viri; (1) pravično nadomestilo za oddajanje in priobčitev javnosti, (2) dajatve za zasebno kopiranje in (3) pravično nadomestilo za prenos izvajalčeve pravice dajanja v najem. Vsi ti viri se pogosto imenujejo „sekundarni“ viri dohodka in jih izvajalcem neposredno plačajo njihove kolektivne organizacije. Pogodbeni dogovori z glasbenimi založbami ne vplivajo na ta plačila.

The deduction of a variety of record producers' costs from the royalty payments can also significantly undermine the remuneration of performers. These deductions are often formulated in technical terms and included in complex legal documents [9]. In practice, after the various contractual deductions (for costs borne by the producers such as music videos, promotion, master costs), the average percentage of royalties actually received by performers can be lower. Moreover, as most performers' sound recordings do not sell enough copies for the record company to recoup its initial investment (only 1 in 8 CDs is profitable) [10], royalty payments are often not paid out at all.

Veliko evropskih izvajalcev (glasbenikov in pevcev) začne svojo kariero v zgodnjih dvajsetih letih. To pomeni, da bodo ob zaključku sedanjega 50-letnega varstva stari nekaj več kot 70 let in verjetno je, da bodo živeli do svojega osemdesetega ali devetdesetega leta (povprečna pričakovana življenjska doba v EU je 75 let za moške in 81 let za ženske). Zato se izvajalci ob koncu svojega življenja soočajo z dohodkovno vrzeljo, ker jim glasbene založbe ne plačujejo več avtorskih honorarjev, niti ne dobivajo nadomestila za oddajanje ali javno predvajanje njihovih zvočnih posnetkov. Za studijske glasbenike, ki igrajo spremljevalno glasbo, in za manj znane umetnike to pomeni, da se dohodek od oddajanja in javnega predvajanja zmanjša, ko so v najbolj ranljivem obdobju življenja, tj. ko se približujejo upokojitvi. Ko bo varstvo avtorskih pravic poteklo, bodo izgubili tudi potencialni prihodek od prodaje zgodnjih izvedb na internetu.

However, performers also receive revenue from other sources. They receive income from collecting societies which administer so-called secondary remuneration claims. There are three principal sources: (1) equitable remuneration for broadcasting and communication to the public, (2) private copying levies and (3) equitable remuneration for the transfer of the performers' rental right. All of these sources are commonly referred to as 'secondary' sources of income and are paid to performers directly through their collecting societies. These payments are not affected by their contractual arrangements with the record companies.

Ko izvajalcem potečejo pravice, so tudi bolj izpostavljeni sporni uporabi njihovih izvedb, kar škodi njihovemu imenu in ugledu. Izvajalci so tudi v slabšem položaju v primerjavi z avtorji, katerih dela so varovana še 70 let po njihovi smrti. To se ne zdi pošteno, ker so izvajalci danes ne samo prav tako potrebni kot avtorji, ampak so tudi bolj prepoznavni zaradi komercialnega uspeha zvočnega zapisa.

Many European performers (musicians or singers) start their career in their early 20's. That means that when the current 50 year protection ends, they will be in their 70's and likely to live well into their 80's and 90's (average life expectancy in the EU is 75 years for men and 81 years for women). As a result, performers face an income gap at the end of their lifetimes, as they lose royalty payments from record companies as well as remuneration due for the broadcasting or public performance of their sound recordings. For session musicians, who play background music, and lesser known artists, that means that broadcasting and public performance income decreases when they are at the most vulnerable period of their lives, i.e. when they are approaching retirement. Once copyright protection expires, they will also lose out on potential revenue when their early performances are sold on the Internet.

Gospodarski izzivi, s katerimi se soočajo proizvajalci fonogramov

Moreover, when their rights expire performers are exposed to potentially objectionable uses of their performance which are harmful to their name or reputation. Performers are also at a disadvantage as compared to authors whose works are protected until 70 years after their death. This could be seen as unfair since performers are nowadays not only just as necessary as authors but also more identifiable with the commercial success of a sound recording.

Glavni izziv, s katerim se soočajo proizvajalci fonogramov, je izginjanje trgov za zgoščenke in nezadostna nadomestitev prihodkov od spletne prodaje. Slednje je posledica medsebojnega piratstva. Industrija posnete glasbe v EU proda vse manj nosilcev zvoka: prodaja glasbenih zgoščenk je bila največja leta 2000, od takrat pa pada s povprečno stopnjo 6 %[11]. Ocene kažejo, da bo v prihodnje prodaja fizičnih albumov še padla z 12,1 milijarde USD v letu 2006 na 10,3 milijarde USD do leta 2010[12]. Od leta 2001 je skupni evropski trg posnete glasbe izgubil 22 % svoje vrednosti[13].

The economic challenges faced by phonogram producers

Prihodki na splošno in zlasti dobički so se znižali, večinoma zaradi povečanega piratstva. Januarja 2006 je publikacija glasbene dejavnosti „Billboard“ navedla, da je bilo v celem letu 2005 na svetu 350 milijonov zakonitih prenosov in 250 milijonov nezakonitih prenosov na teden . Glasbena industrija navaja, da je bila približno tretjina vseh kupljenih zgoščenk v letu 2005 piratskih – skupaj 1,2 milijarde zgoščenk. EMI je v letu 2006 za preprečevanje piratstva in varstvo industrijske lastnine porabil več kot 10 milijonov GBP.

As regards producers of phonograms, the principal challenges they face are the evaporation of the CD markets and the insufficient replacement revenue from online sales. The latter is due to peer-to-peer piracy. The EU recorded music industry has suffered a decline in record sales: sales of music CDs peaked in 2000 and have been falling at an average rate of 6% ever since [11]. Estimates for the future show a continued decrease in physical album sales from $12.1bn in 2006 to $10.3bn by 2010 [12]. Since 2001, the total European market for recorded music has lost 22% of its value [13].

Zaradi izgube dohodka se je celotno število zaposlenih v Universalu, ki je bilo v letu 2003 12 000, v letu 2006 zmanjšalo na 7 600[14]. Po prvem zmanjšanju števila zaposlenih v letu 2006 je EMI napovedal še drugo zmanjšanje za 2 000 delovnih mest (približno ena tretjina zaposlenih) v januarju 2008[15]. EMI je poleg tega objavil, da namerava strožje izbirati umetniška partnerstva kljub temu, da je že leta 2006 znatno skrajšal svoj seznam umetnikov[16]. EMI tudi zmanjšuje stroške oglaševanja[17].

Revenues in general and profits in particular have decreased, largely due to increased piracy. In January 2006 the music trade publication ‘Billboard’ indicated that, worldwide, there were 350 million legal downloads for the whole year of 2005, but that there were also 250 million illegal downloads per week. The music industry indicates that approximately a third of all CDs bought in 2005 in the world were pirated – a total of 1.2 billion CDs. EMI's expenditure on anti-piracy and protection of IP for 2006 was in excess of £10m.

V teh okoliščinah se evropska panoga nosilcev zvoka sooča z izzivom ohraniti stalen tok prihodkov, potrebnih za naložbe v nove talente. Glasbene založbe trdijo, da vlagajo približno 17 % svojih prihodkov v razvoj novih talentov, tj. za podpisovanje pogodb z novimi talenti, promocijo neizkušenih talentov in izdelavo inovativnih posnetkov. Zato bi daljše trajanje varstva ustvarilo dodatni dohodek za financiranje novih talentov in glasbene založbe bi lahko bolje porazdelile tveganje pri razvoju novega talenta. Zaradi negotovih dobičkov (samo eden od osmih zvočnih posnetkov je uspešen) in tako imenovane „informacijske asimetrije“ tak prihodek pogosto ni na voljo na kapitalskih trgih.

Due to losses in revenue, Universal's total number of employees which in 2003 amounted to 12000 was down to 7600 in 2006 [14]. After an initial reduction in employees in 2006, EMI also announced a second reduction of 2000 jobs (about one third of its work force) in January 2008 [15]. EMI indicated in addition an intention to be more selective with its artist partnerships despite a significant reduction in its artist roster already in 2006 [16]. EMI has also been reducing its advertising expenditure [17].

Glasbena dela, napisana v soavtorstvu

In these circumstances, the European record industry faces the challenge of keeping up the steady revenue stream necessary to invest in new talent. Record companies claim that they invest around 17% of their revenues in the development of new talent, i.e. to sign new talent, promote untried talent and produce innovative recordings. Therefore, a longer term of protection would generate additional income to help finance new talent and would allow record companies to better spread the risk in developing new talent. Due to uncertain returns (only one in eight sound recordings is successful) and so-called 'information asymmetries' such revenue is often not available on capital markets.

Glasba je večinoma napisana v soavtorstvu. Npr. pri operi se pogosto avtorji, ki napišejo glasbo, razlikujejo od tistih, ki napišejo besedilo. Poleg tega je pri glasbenih zvrsteh, kot so jazz, rock in pop glasba, ustvarjalni proces pogosto skupinske narave.

Co-written musical works

Analiza najpopularnejših francoskih pesmi v obdobju 1919–2005 kaže, da je bilo 77 % teh pesmi napisanih v soavtorstvu. Podobna analiza najpopularnejših pesmi v Združenem kraljestvu v obdobju 1912–2003 kaže, da je bilo 61 % teh pesmi napisanih v soavtorstvu[18]. Še ena raziskava o na novo ustvarjenih delih, ki je zajela okoli 2 000 na novo registriranih del pri španski družbi za upravljanje kolektivnih pravic (SGAE) v obdobju 2005–2006 odkriva, da je bilo več kot 60 % takšnih del napisanih v soavtorstvu[19].

Music is overwhelmingly co-written. For example, regarding opera, there are often different authors to the music and to the lyrics. Moreover, in musical genres such as jazz, rock and pop music, the creative process is often collaborative in nature.

Opera „Pelléas et Mélisande“ kaže, kako različne metode izračuna trajanja varstva za skladbe, napisane v soavtorstvu, pripeljejo do različnih pogojev varstva za to skladbo v različnih državah članicah. Skladatelj Debussy je umrl leta 1919, libretist Maeterlinck pa je umrl dosti kasneje, in sicer leta 1946. V državah članicah, ki uporabljajo enotno trajanje (npr. Francija, Portugalska, Španija, Grčija, Litva), je celotna opera zaščitena do leta 2016 (trajanje življenja zadnjega preživelega avtorja Maeterlincka plus dodatnih sedemdeset let). V državah, ki obravnavajo glasbo in libreto kot dve različni deli (npr. Združeno kraljestvo, Nizozemska, Avstrija, Poljska, Slovenija) ali deli, ki ju je mogoče uporabiti ločeno (npr. Češka republika, Madžarska, Nemčija), je varstvo za glasbo prenehalo veljati leta 1989, samo besedilo (libreto) pa ostaja zaščiteno do leta 2016.

An analysis of the most popular French songs for the period 1919-2005 shows that 77 % of those songs are co-written. A similar analysis of the most popular songs in the UK for the period 1912-2003 shows that 61% of those songs are co-written. [18] Regarding newly created works, another survey sampling around 2000 newly registered works with SGAE the Spanish collective rights management society, in 2005-2006, reveals that over 60% of such works are co-written. [19]

Drugi primeri vključujejo: opereto Johanna Straussa „Cigan baron“[20]; pesem „Fascination (Love in the afternoon)“, za katero je napisal glasbo Fermo D. Marchetti (umrl leta 1940) in besedilo Maurice de Féraudy (umrl leta 1932), pesem „When Irish Eyes Are Smiling“, za katero je napisal glasbo Ernest R. Ball (umrl leta 1927) in besedilo Chauncey Olcott (umrl leta 1932) in George Graff, ml. (umrl leta 1973).

The opera "Pelléas et Mélisande" illustrates how the different methods of calculating the term for co-written musical compositions results in different terms of protection for this composition across different Member States. Debussy, the composer, died in 1919, while Maeterlinck, the librettist, died much later in 1946. In those Member States that apply a unitary term (e.g., France, Portugal, Spain, Greece, Lithuania) the entire opera remains protected up to the year 2016 (life of the last surviving author, Maeterlinck plus seventy years). In those countries that consider the music and the libretto as two distinct works (e.g., United Kingdom, Netherlands, Austria, Poland, Slovenia) or two works that can be exploited separately (e.g., Czech Republic, Hungary, Germany) the protection of the music expired in 1989 while only the words (the libretto) remain protected until 2016.

V slednjem primeru bi bila v tistih državah članicah, ki uporabljajo enotno trajanje varstva, celotna pesem „When Irish eyes are smiling“ zaščitena do leta 2043. V tistih državah, ki obravnavajo glasbo in besedilo kot različni deli ali težijo k ločeni uporabi, je varstvo za glasbo prenehalo veljati leta 1977, besedilo pa bo zaščiteno do leta 2043.

Other examples include: Johann Strauss' operetta 'The Gipsy Baron' [20]; the song 'Fascination (Love in the afternoon)', music by Fermo D. Marchetti (died 1940) and lyrics by Maurice de Féraudy (died 1932); the song 'When Irish Eyes Are Smiling', music by Ernest R. Ball (died 1927) and lyrics by Chauncey Olcott (died 1932) and George Graff, Jr. (died 1973).

- Obstoječe določbe na področju, na katero se nanaša predlog

In the latter example, in those Member States that apply a unitary term, the entire song "When Irish eyes are smiling" would be protected until 2043. In those countries that consider the music and the lyrics as distinct works or apt for separate exploitation, the protection for the music expired in 1997 while only the lyrics would be protected until 2043.

Pogoji za varstvo avtorskih in sorodnih pravic so bili usklajeni z Direktivo 93/98/EGS, ki je bila nato kodificirana z Direktivo 2006/116/ES. Kodifikacija ni povzročila nobenih vsebinskih sprememb Direktive. Trajanje varstva za izvajalce in proizvajalce fonogramov v navedenih direktivah je 50 let od objave, sedanji predlog pa bi to varstvo podaljšal na 95 let od objave. Ta direktiva ne vsebuje nobenih posebnih pravil za skladbe z besedilom, napisane v soavtorstvu.

· Existing provisions in the area of the proposal

- Usklajenost z drugimi politikami in cilji Unije

The terms of protection for copyright and related rights were harmonised by Directive 93/98/EEC which was subsequently codified by Directive 2006/116/EC. The codification did not entail any substantive changes to the Directive. The term of protection for performers and phonogram producers is set out at 50 years after publication in these Directives whereas the current proposal would extend that protection to 95 years after publication. The current Directive contains no specific rules on co-written musical compositions with words.

Ta predlog je usklajen s cilji EU spodbujati socialno varstvo in vključenost. Izvajalci, zlasti studijski glasbeniki, so kljub znatnemu prispevku k evropski živahni kulturni raznolikosti, med najslabše plačanimi v Evropi. Poleg tega se industrija nosilcev zvoka, ki promovira evropske izvajalce in dela v evropskih studiih, sooča z velikimi izzivi, ki slabijo njeno konkurenčnost: hitro naraščajoče piratstvo v več delih Skupnosti je povzročilo znatne izgube. Zdi se, da je sposobnost glasbene industrije financirati nove talente in se prilagoditi dematerializirani distribuciji zelo omejena.

· Consistency with the other policies and objectives of the Union

2. POSVETOVANJE Z ZAINTERESIRANIMI STRANMI IN OCENA UčINKA

This proposal is in line with the objectives of the EU to promote social welfare and inclusion. Performers, and especially session musicians, are among the poorest earners in Europe, despite their considerable contribution to Europe's vibrant cultural diversity. In addition, the sound record industry that promotes European performers and produces in European studios faces significant challenges which undermine its competitiveness: rampant online piracy in many parts of the Community has lead to significant losses. The ability of the music industry to finance new talent and adapt to dematerialised distribution appears severely undermined.

- Posvetovanje z zainteresiranimi stranmi

2. Consultation of interested parties and impact assessment

Posvetovalne metode, glavni ciljni sektorji in splošni profil vprašancev

· Consultation of interested parties

V okviru Pregleda zakonodajnega okvira ES na področju avtorskih in sorodnih pravic je bil 19. julija 2004 objavljen Delovni dokument služb Komisije. Zainteresirane stranke so bile pozvane, da predložijo svoje pripombe do 31. oktobra 2004. Od 139 prejetih prispevkov je 76 stališč vsebovalo pripombe na Direktivo 93/98/ES, ki usklajuje trajanje varstva avtorske pravice in določenih sorodnih pravic.

Consultation methods, main sectors targeted and general profile of respondents

V letih 2006 in 2007 so službe Komisije imele dvostranska srečanja z različnimi zainteresiranimi stranmi, na katerih so bolj podrobno razpravljali o pomembnih vprašanjih. Komisija je pripravila vprašalnik in ga v okviru teh dvostranskih razprav razdelila glavnim zainteresiranim stranem. Združenja izvajalcev in industrija nosilcev zvoka so predložili bolj ali manj podrobne odgovore.

In the context of the Review of the EC legal framework in the field of copyright and related rights, a Commission Staff Working Paper was published on 19 July 2004. Interested parties were invited to submit their comments by 31 October 2004. Of the 139 contributions received, 76 position papers commented on Directive 93/98/EC harmonising the term of protection of copyright and certain related rights.

Povzetek odgovorov in njihovo upoštevanje

During 2006-2007, Commission services had meetings with a variety of stakeholders on a bilateral basis to discuss relevant issues in more detail. A questionnaire was prepared by the Commission and distributed to major stakeholders in the framework of these bilateral discussions. More or less detailed responses were received from performers' associations and the recording industry.

Podaljšanje trajanja so podprla združenja izvajalcev, industrija nosilcev zvoka, kolektivne organizacije, glasbeni založniki, nastopajoči izvajalci in glasbeni menedžerji. Proti podaljšanju trajanja so bili telekomunikacije, knjižnice, porabniki in podjetja s področja proste uporabe. Argumenti tistih, ki so bili proti podaljšanju trajanja, so obravnavani v oceni učinkov različnih možnosti.

Summary of responses and how they have been taken into account

- Zbiranje in uporaba izvedenskih mnenj

Responses in favour of term extension came from performers' associations, the recording industry, collecting societies, music publishers, performing artists and music managers. Those against term extension were telecoms, libraries, consumers and public domain companies. The arguments of those against term extension were addressed in the analysis of impacts of the various options.

Zunanje izvedensko mnenje ni bilo potrebno.

· Collection and use of expertise

- Ocena učinka

There was no need for external expertise.

Ocena učinka (na voljo na http://ec.europa.eu/internal_market/copyright/term-protection/term-protection_en.htm ) predstavlja sedem možnosti in obravnava šest možnosti. Analizirane so bile naslednje možnosti: (1) neukrepanje, (2) podaljšati trajanje varstva na „doživljenjsko ali 50 let“ samo za izvajalce, (3) podaljšati trajanje varstva na 95 let za izvajalce in proizvajalce fonogramov, (4) spodbujati moralne pravice izvajalcev, (5) v pogodbe o zvočnih posnetkih uvesti klavzulo „uporabi ali izgubi“ in (6) ustanovitev sklada za studijske glasbenike.

· Impact assessment

Vse možnosti so ocenjene glede naslednjih šest operativnih ciljev: (1) postopoma prilagoditi varstvo avtorjev in izvajalcev; (2) nekoliko povečati nadomestilo izvajalcem; ( 3) zmanjšati razlike v varstvu med EU in ZDA; (4) nekoliko povečati vire A&R , tj. razvoj novih talentov; (5) zagotoviti, da je glasba na voljo po primernih cenah; in (6) spodbujati digitalizacijo retrospektivnih izdaj. Ocena učinka ugotavlja, da „neukrepanje“ ni priporočljiva možnost. Če ne bo nič storjenega, bo v naslednjih desetih letih na tisoče evropskih izvajalcev, ki so svoje izvedbe posneli v poznih petdesetih in šestdesetih letih, izgubilo ves dohodek od avtorskih honorarjev po pogodbi ali obveznih nadomestil za oddajanje in priobčitev javnosti. To bi imelo velike družbene in kulturne učinke. Ravno tako bi morala industrija zvočnih posnetkov zmanjšati izdelavo novih zvočnih posnetkov v Evropi. Proizvodnjo bi bilo mogoče treba prilagoditi ameriškemu okusu, ker je v ZDA trajanje varstva daljše.

The impact assessment (available at http://ec.europa.eu/internal_market/copyright/term-protection/term-protection_en.htm) presents a total of seven options and discusses six of them. The options analysed were: (1) do nothing, (2) extend the term of protection to 'life or 50 years' for performers only, (3) extend the term of protection to 95 years for performers and phonogram producers, (4) promote performers' moral rights, (5) introduce a 'use it or lose it' clause in sound recording contracts and (6) establish a fund dedicated to session musicians.

Ocena učinka preučuje učinek možnosti, ki ne vključujejo trajanja pravic izvajalcev in proizvajalcev nosilcev zvoka (možnosti 3a, b, c in d).

All options are assessed against the following six operational objectives: (1) gradually align authors' and performers' protection; (2) incrementally increase the remuneration of performers; (3) diminish the discrepancies in protection between the EU and US; (4) incrementally increase A&R resources, i.e., the development of new talent; (5) ensure availability of music at reasonable prices; and (6) encourage digitisation of back catalogue. The IA concludes that 'doing nothing' is not an advisable option. If nothing is done, thousands of European performers whose performances were recorded in the late fifties and sixties would lose all of their contractual royalty income or statutory remuneration for broadcasting and communication to the public over the next ten years. This would have considerable social and cultural impacts. Equally, the sound recording industry would be obliged to cut down on the creation of new sound recordings in Europe. Production might have to be tailored to US tastes where a longer term of protection prevails.

Možnost 3a (neodpovedljiva pravica do pravičnega nadomestila za spletno prodajo) se zdi obetavna, vendar na tej stopnji prezgodnja. Ni jasno, kdo bi zagotovil to dodatno obvezno nadomestilo in težko je oceniti, kakšne bi bile finančne koristi. Možnost 3b (krepitev moralnih pravic) nima finančnega učinka na izvajalce in proizvajalce nosilcev zvoka in zato ne bi dodatno prispevala k nadomestilu izvajalcem. Možnost 3c, klavzula „uporabi ali izgubi“, bi bila koristna za izvajalce, ker bi lahko zagotovili, da so njihove izvedbe na voljo na trgu. To bi lahko pozitivno vplivalo na njihova nadomestila in tudi podpiralo razpoložljivost prej neuporabljenega repertoarja. Po drugi strani pa bi ločeno uporabo te možnosti lahko šteli za neupravičen regulativni poseg v nedotakljivost pogodb v teku. Možnost 3d, sklad, ki bi ga ustanovili proizvajalci fonogramov, bi bila zelo koristna za studijske glasbenike, ki so prenesli vse svoje izključne pravice kot del pogodb o začetnem „odkupu“. Proizvajalci nosilcev zvoka bi morali rezervirati najmanj 20 % dodatnega prihodka, ustvarjenega s prodajo fonogramov, za katere se odločijo, da jih bodo v podaljšanem trajanju komercialno izkoriščali. Ocena učinka pa kaže, da bi pričakovani dobički v podaljšanem trajanju zadoščali za financiranje 20 % rezervacij v korist studijskih glasbenikov (glej spodaj).

The IA considers the impact of options not involving the term of performers' and record producers' rights (Options 3a, b, c and d).

Možnosti, ki vključujejo podaljšanje trajanja (2a „doživljenjsko ali 50 let“ in 2b „95 let za izvajalce in proizvajalce nosilcev zvoka“) se zdijo bolj primerne za doseganje vseh šestih ciljev politike. Možnosti 2a in 2b prinašata finančne koristi izvajalcem in tako bi izvajalci lahko več časa namenili svojim umetniškim dejavnostim.

Option 3a (unwaivable right to equitable remuneration for online sales) appears promising, but at this stage premature. It is unclear who would pay for this additional statutory remuneration claim and it is hard to estimate the financial benefit it would bring. Option 3b (the strengthening of moral rights), has no financial impact on performers and record producers and would thus not make an incremental contribution to performers' remuneration. Option 3c, the 'use it or lose it' clause, would be beneficial to performers by allowing them to make sure their performances are available on the market. This could positively impact on their remuneration and also foster availability of previously unused repertoire. On the other hand, this option, if applied in isolation, might be considered as an undue regulatory interference in the sanctity of ongoing contracts. Option 3d, the fund to be set up by phonogram producers, would be very beneficial for session musicians who transferred all their exclusive rights as part of their initial 'buy out' contracts. Record producers, however, would have to set aside at least 20% of the additional revenue generated by the sale of those phonograms they choose to commercially exploit during the term extension. The impact assessment does show, however, that the expected profits in the extended term would suffice to finance the 20% set aside in favour of session musicians (see below).

Možnost 2a, ki trajanje povezuje z življenjem izvajalca, bi prispevala k uskladitvi pravnega varstva izvajalcev in avtorjev. Odražala bi osebno naravo umetniških prispevkov izvajalcev in priznala, da so izvajalci za to, da ljudje lahko poslušajo glasbo, prav tako pomembni kot avtorji. Izvajalcem bi tudi omogočila, da v času svojega življenja nasprotujejo škodljivi uporabi njihov del. Vendar bi povezovanje varstva z življenjsko dobo izvajalcev povzročilo zapleten položaj v primeru, ko so na zvočnem zapisu prispevki več izvajalcev. Treba bi bilo oblikovati pravila za določitev, čigava smrt je podlaga za rok trajanja varstva. Kot dokazuje stalna negotovost glede trajanja pri delih, napisanih v soavtorstvu, bi to povzročilo veliko upravno obremenitev. Poleg tega možnost 2a ne bi povečala virov A&R, ki so na razpolago proizvajalcem nosilcev zvoka.

Options involving a term extension (2a "life or 50 years" and 2b "95 years for performers and record producers") seem to be rather more suitable in contributing towards the six policy objectives. Both options 2a and 2b bring financial benefits to performers and would thus allow more performers to dedicate more time to their artistic activities.

Možnost 2b bi povečala sredstva A&R, ki bi jih imeli proizvajalci fonogramskih nosilcev zvoka, in bi tako imela dodaten pozitiven učinek na kulturno raznolikost. Ocena učinka tudi dokazuje, da od podaljšanja trajanja nimajo nujno koristi samo slavni glavni izvajalci. Medtem ko slavni glavni izvajalci zagotovo zaslužijo večino prihodkov iz avtorskih pravic, ki se izpogajajo z glasbenimi založbami, pa so vsi izvajalci, tako glavni umetniki kot studijski glasbeniki, upravičeni do tako imenovanih „sekundarnih“ virov dohodka, kot je enkratno pravično nadomestilo, ko se zvočni posnetek, ki vključuje njihove izvedbe, oddaja ali javno izvaja. Podaljšanje trajanja bi zagotovilo, da ti viri dohodka v času izvajalčevega življenja ne bi prenehali. Izvajalci uporabijo že majhno povečanje dohodka, da lahko več časa namenijo svojih umetniškim poklicem in manj zaposlitvi s krajšim delovnim časom. Poleg tega je za tisoče anonimnih studijskih glasbenikov, ki so bili na vrhuncu kariere v poznih petdesetih in šestdesetih, „enkratno pravično nadomestilo“ za oddajanje njihovih posnetkov pogosto edini vir dohodkov iz umetniške kariere.

Option 2a, by linking the term to the life of a performer, would contribute to aligning the legal protection of performers and authors. It would reflect the personal nature of performers' artistic contributions and recognise that performers are as essential as authors to bringing music to the public. It would also allow performers to object to derogatory uses of their works during their lifetime. But linking the term of protection to the lifetime of performers would create complex situations when a sound track comprises contributions by several performers. Rules would then need to be established on how to determine whose death triggers the term of protection. This would be, as the continued uncertainty on the term applicable to co-written works demonstrates, entail a significant administrative burden. In addition, Option 2a would not increase the A&R resources available to record producers.

Možnost 2b je poleg tega, da zagotavlja večjo razpoložljivost A&R, tudi lažje izvesti kot možnost 2a, ker trajanja varstva ne povezuje s pogosto zelo različnim trajanjem življenja posameznih soizvajalcev, ampak z enotnim datumom, tj. objavo fonograma, ki vsebuje izvedbo.

Option 2b would increase the pool of A&R resources available to phonogram record producers and could thus have an additional positive impact on cultural diversity. The IA also demonstrates that the benefits of a term extension are not necessarily skewed in favour of famous featured performers. While featured performers certainly earn the bulk of the copyright royalties that are negotiated with the record companies, all performers, be it featured artists or session musicians, are entitled to so-called 'secondary' income sources, such as single equitable remuneration when the sound recording incorporating their performances is broadcast or performed in public. A term extension would ensure that these income sources do not cease during the performer's lifetime. Even incremental increases in income are used by performers to buy more time to devote to their artistic careers, and to spend less time on part time employment. Moreover, for the thousands of anonymous session musicians who were at the peak of their careers in the late fifties and sixties, 'single equitable remuneration' for the broadcasting of their recordings is often the only source of income left from their artistic career.

Po drugi strani pa bi bil vpliv na uporabnike minimalen. To velja za obvezna nadomestila in prodajo zgoščenk:

In addition to ensuring the increased availability of A&R, option 2b is also easier to implement than option 2a, because it does not link the term of protection to the, sometimes very different lifetimes of individual co-performers but to a uniform date, i.e., the publication of the phonogram that contains the performance.

- Prvič, „enkratno pravično nadomestilo“ za oddajanje in izvedbo glasbe na javnih krajih bi ostalo enako, ker se ta plačila izračunajo kot odstotek prihodkov RTV postaje ali drugega operaterja (parameter, ki ni odvisen od tega, za koliko fonogramov še veljajo avtorske pravice in za koliko ne).

On the other hand, the impact on users would be minimal. This is true in relation to statutory remuneration claims and for the sale of CDs:

- Empirične študije tudi kažejo, da cene zvočnih posnetkov, za katere ne veljajo več avtorske pravice, niso nižje od zvočnih posnetkov, za katere veljajo avtorske pravice. Študija Price Waterhouse Coopers je ugotovila, da ni sistematskih razlik med cenami posnetkov, za katere veljajo avtorske pravice in cenami posnetkov, za katere avtorske pravice ne veljajo. Je najbolj izčrpna študija do danes in zajema 129 albumov, posnetih od leta 1950 do 1958. Na tej podlagi ugotavlja, da ni jasnih dokazov, da se posnetki, za katere so se avtorske pravice iztekle, sistematično prodajajo po nižjih cenah od posnetkov, ki so še varovani.

· First, the 'single equitable remuneration' due for broadcasting and performances of music in public venues would remain the same as these payments are calculated as a percentage of the broadcasters or other operators revenue (a parameter independent of how many phonograms are in or out of copyright).

Pri analizi učinka avtorskih ali sorodnih pravic na cene so bile obravnavane tudi druge študije. Večina je osredotočenih na knjige. Vendar celo v tej kategoriji niso bile ugotovljene splošne razlike med cenami vzorci knjig, za katere še veljajo avtorske pravice, in knjig, za katere te pravice ne veljajo več, ali pa je učinek avtorske pravice na ceno izredno odvisen od modela in zato dobljene ocene niso preveč trdne. Ker ni široko sprejetih modelov in dolžine obdobja, je pošteno reči, da ni jasnih dokazov, da se bodo cene zvišale zaradi podaljšanja trajanja.

· Empirical studies also show that the price of sound recordings that are out of copyright are not lower than that of sound recordings in copyright. A study by Price Waterhouse Coopers concluded that there was no systematic difference between prices of in-copyright and out-of copyright recordings. It is the most comprehensive study to date and covers 129 albums recorded between 1950 and 1958. On this basis, it finds no clear evidence that records in which the related rights have expired are systematically sold at lower prices than records which are still protected.

Na splošno bi daljše trajanje imelo pozitiven učinek na izbiro potrošnikov in kulturno raznolikost. Dolgoročno bi bilo to zato, ker bi podaljšanje trajanja koristilo kulturni raznolikosti, ker bi zagotovilo vire za financiranje in razvoj novih talentov. Kratkoročno do srednjeročno podaljšanje trajanja glasbene družbe spodbuja k digitalizaciji in trženju retrospektivnih izdaj starih posnetkov. Jasno je že, da spletna distribucija daje enkratne priložnosti za trženje količine zvočnih posnetkov, ki je brez primere.

Other studies have been considered in analysing the impact of copyright or related rights on prices. Most of them focus on books. However, even in this category, either no overall price difference is found between the samples of books in- or out-of-copyright, or, the impact of copyright on the price is extremely model-dependant and therefore the estimates obtained cannot be seen as very robust. Given the lack of widely accepted models and the length of the time span, it is fair to say that there is no clear evidence that prices will increase due to term extension.

Učinek tako imenovanih proizvajalcev za prosto uporabo bi bil minimalen. Medtem ko bi take družbe morale dlje čakati na izdelavo fonogramov, za katere so se pravice izvajalcev in proizvajalcev fonogramov iztekle, dela, izvedena na fonogramu, ne bi zgubila varstva, ko preneha trajanje varstva fonograma. To pa zato, ker delo, izvedeno na fonogramu, ostane varovano celo življenje avtorja (pisca pesmi ali skladatelja), ki je napisal delo. Ker pravice avtorja veljajo celo življenje pisca pesmi ali skladatelja plus sedemdeset let, lahko varstvo avtorske pravice za glasbeno delo traja od 140 do 160 let. Ne drži, da je izvedba, posneta na fonogramu, v „prosti uporabi“, ko se izteče varstvo izvajalcev in proizvajalcev fonogramov.

Overall, the extended term should have a positive impact on consumer choice and cultural diversity. In the long run, this is because a term extension will benefit cultural diversity by ensuring the availability of resources to fund and develop new talent. In the short to medium term, a term extension provides record companies with an incentive to digitise and market their back catalogue of old recordings. It is already clear that internet distribution offers unique opportunities to market an unprecedented quantity of sound recordings.

Klavzula „uporabi ali izgubi“ v pogodbah med izvajalci in producenti bi bila koristna za izvajalce, ker bi pomenila, da bi bili v boljšem položaju pri zagotavljanju, da njihovo delo doseže javnost, če bi se proizvajalci fonogramov odločili, da starejših fonogramov ne objavijo ali kako drugače ponudijo javnosti.

The impact on so-called public domain producers would be minimal. While those companies could that they have to wait longer to produce phonograms in which the performers and phonogram producers' rights have expired, the works performed in a phonogram would not lose protection once the term of protection for the phonogram expires. This is because the work performed on a phonogram remains protected for the life of the author (songwriter and composer) who wrote the work. As authors' rights last for the life of the songwriter or the composer plus seventy years, copyright protection for a musical work can last for between 140 and 160 years. It is therefore wrong to say that a performance fixed in a phonogram is in the 'public domain' once the protection for performers and phonogram producers lapses.

Možnost b, ki krepi in usklajuje moralne pravice izvajalcev, bi izvajalcem prinesla nekaj nedenarnih koristi, ker bi jim omogočila omejiti sporno uporabo njihovih izvedb. Krepitev moralnih pravic pa nima nobenega finančnega učinka na izvajalce in proizvajalce nosilcev zvoka in zato ne bi dodatno prispevala k nadomestilu izvajalcem.

A 'use it or lose it' clause in contracts between performers and their producer would be beneficial for performers as it would mean that they would be in a better position to ensure their creative output reaches the public, should the phonogram producer decide not to publish or otherwise offer older sound phonograms to the public.

Oblikovanje sklada za studijske glasbenike bi bila koristno za to skupino in bi zagotovilo, da so vključeni v finančne koristi podaljšanja trajanja, iz katerega bi bili sicer na podlagi svojih pogodb o „odkupu“ večinoma izključeni. Učinek sklada na studijske glasbenike bi bil pozitiven, ker bi se povprečni dodatni letni prihodek izvajalca v 45-letnem trajanju povečal od 47 EUR do 737 EUR na 130 EUR do 2065 EUR, kar pomeni, da bi se skoraj potrojil[21].

Option b, strengthening and harmonising the moral rights of performers, would bring some non-pecuniary benefits to performers, by allowing them to restrict objectionable uses of their performances. However, the strengthening of moral rights has no financial impact on performers and record producers and would thus not make an incremental contribution to performers' remuneration.

Učinek na proizvajalce nosilcev zvoka bi bil negativen, vendar ga je treba preučiti glede na koristi podaljšanja trajanja. V 45-letnem podaljšanju trajanja bi bile koristi podaljšanja trajanja za proizvajalce nosilcev zvoka znižane od 758 milijonov EUR na 607 milijonov EUR (najvišja ocena) ali od 39 milijonov EUR na 31 milijonov EUR (najnižja ocena). Posledično bi se zmanjšal tudi dodatni prihodek, na voljo za A&R, in sicer od 129 milijonov EUR na 103 milijone EUR (najvišja ocena) ali od 6,7 milijonov EUR na 5,3 milijone EUR (najnižja ocena). Ocena učinka analizira stroškovno strukturo zgoščenke in ugotavlja, da bodo producenti še imeli spodbude za trženje zvočnih posnetkov v podaljšanjem trajanju in da bodo še vedno ustvarjali približno 17 % dobiček.

The creation of a fund for session musicians would be beneficial to that group and would ensure that they are included in the financial benefits of a term extension, which they would otherwise be largely excluded from under their "buy out" contracts. The fund's impact on session musicians would be positive, as the average performer' additional annual revenues during a 45-year term would rise from between € 47 and € 737 to between € 130 and € 2065, i.e., would almost triple [21].

3. PRAVNI ELEMENTI PREDLOGA

The impact on record producers would be negative, but should be considered against the benefits of the term extension. In the course of a 45 year term extension, the benefits of the extension of term for record producers would be reduced from € 758 million to € 607 million (high end estimate) or from € 39 million to € 31 million (low end estimate). Consequently, this would also reduce the additional revenue available for A&R from € 129 million to € 103 million (high end estimate) or from € 6.7 million to € 5.3 million (low end estimate). The IA analyses the cost structure of a CD and concludes that there will remain incentives for producers to market sound recordings during the extended term and still make a profit of approximately 17%.

- Povzetek predlaganih ukrepov

3. Legal elements of the proposal

Predlaga se podaljšanje varstva za izvajalce in proizvajalce fonogramov od 50 let na 95 let. Z namenom doseči pravo ravnovesje med koristmi glasbenih založb in glavnimi umetniki ter pristnimi socialnimi potrebami studijskih glasbenikov, vsebuje predlog nekatere spremljevalne ukrepe, kot je vzpostavitev sklada za studijske glasbenike, uvedba klavzul „uporabi ali izgubi“ v pogodbe med izvajalci in proizvajalci fonogramov in novega začetka za pogodbe v podaljšanem obdobju po začetnih 50 letih. Ta predlog bi uvedel spremembe Direktive 2006/116/ES.

· Summary of the proposed action

- Pravna podlaga

The proposal is to extend the term of protection for performers and phonogram producers to from 50 years to 95 years. In order to achieve the right balance between the benefits to record companies and featured artists and the genuine social needs of sessions musicians, the proposal contains certain accompanying measures such as establishing a fund for session musicians, introducing 'use it or lose it' clauses in contracts between performers and phonogram producers and a 'clean slate' for contracts in the extended period beyond the initial 50 years. This proposal would introduce amendments to Directive 2006/116/EC.

Členi 47(2), 55 in 95 Pogodbe ES.

· Legal basis

- Načelo subsidiarnosti

Articles 47(2), 55 and 95 of the EC Treaty

Predlog je v izključni pristojnosti Skupnosti. To področje je v „izključni pristojnosti“ zato, ker obstoječa zakonodaja iz Direktive 2006/116/ES (Direktiva) določa popolno uskladitev. Direktiva predvideva sočasno minimalno in maksimalno uskladitev. To pomeni, da države članice ne morejo predvideti niti daljšega niti krajšega trajanja varstva, kot je predpisano z Direktivo (uvodna izjava 2). Načelo subsidiarnosti se zato ne uporablja.

· Subsidiarity principle

- Načelo sorazmernosti

The proposal falls under the exclusive competence of the Community. The reason why the Community has 'exclusive competence' in this area is because the existing legislation, as contained in Directive 2006/116/EC (the Directive) provides full harmonisation. The Directive provides for minimum and maximum harmonisation concurrently. This means that Member States may neither provide for shorter or for longer terms of protection than those prescribed by the Directive (recital 2). The subsidiarity principle therefore does not apply.

Predlog je skladen z načelom sorazmernosti iz naslednjih razlogov.

· Proportionality principle

Zgoraj navedene operativne cilje: (1) postopoma prilagoditi varstvo avtorjev in izvajalcev; (2) nekoliko povečati nadomestilo izvajalcem; (3) zmanjšati razlike v varstvu med EU in ZDA; (4) nekoliko povečati vire A&R , tj. razvoj novih talentov; (5) zagotoviti, da je glasba na voljo po primernih cenah; in (6) spodbujati digitalizacijo retrospektivnih izdaj, je mogoče najbolje doseči s spremembo trajanja varstva izvajalcev in producentov. Čeprav se pogosto omenjajo drugi družbeni ukrepi v korist izvajalcev (subvencije, vključitev v sisteme socialne varnosti), se taki ukrepi redko uresničijo, status in preživljanje ustvarjalcev pa sta običajno povezana z avtorskimi honorarji in obveznimi nadomestili, ki izhajajo iz avtorskih pravic. Predlog, ki temelju na trajanju, bi tako povečal dohodek za izvajalce.

The proposal complies with the proportionality principle for the following reason(s).

V okviru pristopov, ki temeljijo na trajanju, je pristop na trajanju, ki ga sproži enoten dogodek, kot je objava fonograma, očitno bolj priporočljiv od trajanja, ki temelji na življenjski dobi posameznega izvajalca. Povezovanje trajanja varstva izvajalcev z življenjem posameznika bi povzročilo povečanje zakonodajne obremenitve za države članice in znatno pravno negotovost glede določanja dogodka, ki sproži trajanje. Razlog za to so težave v zvezi z določanjem enotnega sprožitvenega trenutka v primeru soizvedb. Soizvedbe so norma, tj. izvedbe skupin, orkestrov ali glavnih umetnikov, ki jih spremljajo studijski glasbeniki. Trenutno ni nobenih pravil za izračun trajanja varstva v takih primerih, ker je dogodek, ki sproži trenutno trajanje varstva, objava izvedbe. Če je dogodek, ki sproži trajanje varstva, smrt izvajalca, se v primeru, ko več izvajalcev prispeva k posnetku ali izvedbi, pojavi vprašanje, čigava smrt sproži trajanje. V primeru več so-izvajalcev se zdi, da bi bilo primerno izračunati trajanje od smrti zadnjega preživelega izvajalca. Vendar trenutno v Skupnosti ni predpisov na tem področju. Analogija s trajanjem varstva avtorskih pravic del, napisanih v soavtorstvu, ni v veliko pomoč, ker tudi za izračun trajanja varstva za dela, napisana v soavtorstvu, ni predpisov Skupnosti.

The above mentioned operational objectives: (1) gradually align authors' and performers' protection; (2) incrementally increase the remuneration of performers; (3) diminish the discrepancies in protection between the EU and US; (4) incrementally increase A&R resources, i.e., the development of new talent; (5) ensure availability of music at reasonable prices; and (6) encourage digitisation of back catalogue, can best be achieved by changes to the performers' and producers term of protection. Although other social measures in favour of performers are often mentioned (subsidies, inclusion in social security schemes), such measures have rarely materialised and the status and livelihood of creators is usually linked to royalties and remuneration payments that stem from copyright. A term-based proposal would thus increase income for performers.

Predlog podaljšati varstvo za izvajalce in proizvajalce fonogramov bi pomenil številčno spremembo (nadomestitev 50 s 95) veljavne nacionalne zakonodaje o sorodnih pravicah v državah članicah EU. Spremljevalni ukrepi državam članicam dopuščajo prožnost glede načina uporabe in upravno obremenitev nosijo bolj proizvajalci fonogramov in kolektivne organizacije.

Within the term based approaches, the approach based on a term that is triggered by a uniform event, such as publication of a phonogram is clearly preferable to a term based on the individual life of a performer. Linking the term of protection of performers to their individual life would lead to increased legislative burdens for Member States and considerable legal uncertainty as to the determination of the event that triggers the term. This is because of difficulties in relation to establish a uniform trigger point in cases of co-performances. Co-performances are the norm, i.e. performances by a band, an orchestra or a featured artists accompanied by session musicians. There are currently no rules providing for the calculation of the term of protection in such cases, because the event which triggers the current term of protection is the publication of the performance. If the event triggering the term of protection is the death of a performer, then, when several performers contribute to a recording or performance, the issue would arise whose death triggers the term. In cases of several co-performers it would seem appropriate to calculate the term from the death of the last surviving performer. However, there are currently no Community rules on this matter. The analogy with the term of copyright protection of co-written works is of limited assistance, as there are no Community rules on the calculation of the term of protection for co-written works either.

Sprememba nacionalne zakonodaje o avtorskih pravicah bi bila minimalna in ne bi bilo nobenega finančnega bremena za državne organe. Empirične študije tudi kažejo, da cena zvočnih posnetkov, za katere ne veljajo več avtorske pravice, ni nižja od cene zvočnih posnetkov, za katere veljajo avtorske pravice. Nedavna študija Price Waterhouse Coopers ni našla nobenih jasnih dokazov, da se posnetki, za katere so se avtorske pravice iztekle, sistematično prodajajo po nižjih cenah od posnetkov, ki so še varovani.

The proposal to extend the term of protection for performers and phonogram producers would mean a numerical change (substituting 50 by 95) to the current national legislation on related rights found in the EU Member States. The accompanying measures leave flexibility to MS on how to apply them and the administrative burden falls more on the phonogram producers and collecting societies.

Proizvajalci fonogramov bodo morali prispevati v sklad in kolektivne organizacije bodo morale upravljati te prihodke. Vendar bi se upravna obremenitev, ki je del rezerviranja 20 % prihodkov, ustvarjenih s prodajo fonogramov, ki vsebujejo izvedbe studijskih glasbenikov v podaljšanem trajanju, izravnala s koristmi, ki bi jih od podaljšanja trajanja imeli studijski glasbeniki. Raven sklada vzpostavlja ravnotežje med potrebo ustvariti občuten dodatni prirastek prihodkov studijskih glasbenikov in potrebo zagotoviti, da bodo proizvajalci fonogramov še vedno ustvarjali zadostne dobičke pri prodaji, da bodo imeli spodbudo tržiti fonograme v podaljšanem trajanju.

The change in national copyright laws would be minimal and there would be no financial burden on any public authorities. Empirical studies also show that the price of sound recordings that are out of copyright is not lower than that of sound recordings in copyright. A recent study by Price Waterhouse Coopers finds no clear evidence that records in which the related rights have expired are systematically sold at lower prices than records which are still protected.

Preprost modelni izračun v oceni učinka kaže, da bi 20 % delež vzpostavil pravo ravnotežje med donosnostjo fonogramov, ki se izkoriščajo v podaljšanem trajanju, in vzpostavitvijo opredmetene dodane koristi za izvajalce. Ta izračun poskuša meriti učinek, ki bi ga sklad na podlagi prihodka imel na stopnjo dobička glasbenih založb v letih po podaljšanju trajanja.

Phonogram producers will have to each contribute to a fund and collecting societies will have to administer these revenues. However, their administrative burden inherent in setting aside 20% of revenues that are generated with the sales of phonograms containing performances by session musicians during the extended term would be offset by the advantages session musicians will enjoy through term extension. The level of the fund strikes a balance between the need to generate and appreciable incremental increase in the revenues of session musicians and the need to ensure that phonogram producers still derive sufficient profits from sales to have an incentive to market phonograms in the extended term.

Povprečni skupni dobiček iz poslovanja na ravni družbe največjih družb za fonograme (dobiček pred obrestmi, davki in amortizacijo/prihodki) znaša po lastnih podatkih v letu 2007 9,1 % (EMI 3,3 % - Universal 12,8 % - Warner 14 % - BMG 6,2 %). Kot je že bilo omenjeno, IFPI navaja, da je samo ena od osmih zgoščenk dobičkonosna.

A simple model calculation in the IA shows that a 20% share would strike the right balance between the profitability of phonograms that are exploited in the extended term and the creation of a tangible added benefit for performers. This calculation attempts to measure the impact that a revenue-based fund would have on record labels' profit margin in the years after term extension.

Če je samo 1 od 8 zgoščenk dobičkonosna in je povprečna stopnja dobička 9,1 %, mora ta dobičkonosna zgoščenka ustvarjati dobiček, ki je dovolj visok, da pokrije sedem nedobičkonosnih zgoščenk in da je skupni dobiček še vedno 9,1 %.

Average self-declared overall company-wide operating margin of the phonogram majors (EBITA/revenue) in 2007 is 9.1% (EMI 3.3% - Universal 12.8% - Warner 14% - BMG 6.2%). As mentioned above, according to IFPI, only one CD in eight is profitable.

Na tej podlagi lahko ugibamo dobičkonosnost ene uspešne zgoščenke tako, da primerjamo njeno stopnjo dobička s stopnjo dobička preostalih sedmih zgoščenk. Ob predpostavki, da je 5 zgoščenk („b“ do „f“ v zgledu) na pragu dobička (dobiček = 0), kar je izredno optimistično, in imata 2 zgoščenki („g“ in „h“) izgubo (za „g“ je izguba 30; za „h“ je izguba 40), mora uspešna zgoščenka „a“ ustvariti velik dobiček. V našem zgledu je stopnja dobička 60 %.

If only 1 in 8 CDs is profitable and the average profit rate is 9.1%, this one profitable CD must be generating a profit margin that is high enough to compensate for seven unprofitable CDs and still produce an aggregate profit of 9.1%.

Proizvajalci fonogramov bodo v podaljšanjem trajanju ponovno izdajali „visoko cenjene“ zgoščenke, tj. zgoščenke z zelo visokimi stopnjami dobička, sklad na podlagi prihodkov (rezerviranje 20 % prihodkov, doseženih z visoko cenjenimi zgoščenkami) bi pomenil, da bi bilo 20 % prihodkov, pripisanih zgoščenki „a“ (tj. 20 % od 250 = 50), rezerviranih za izvajalce. Zato bi bila stopnja dobička proizvajalcev fonogramov tudi po upoštevanju sklada v podaljšanem obdobju še vedno 100/250 = 40 %.

On this basis, one can venture a guess at the profitability of the one successful CD by comparing its profit margin with that of the remaining seven CDs. Assuming that: 5 CDs ("b" through "f" in the example) break even (profit = 0), which is extremely optimistic and 2 CDs ("g" and "h") make a loss (for "g" the loss is 30; for "h" the loss is 40); then the successful CD "a" has to make a substantial profit. In our example the profit margin is 60%.

[pic]Kot je že bilo omenjeno, bi sklad, ki bi temeljil na rezervaciji 20 % prihodkov, ustvarjenih s fonogrami v podaljšanem trajanju, potrojil korist posameznih izvajalcev od podaljšanja trajanja.

As phonogram producers will focus on reissuing the "premium" CDs during the extended term, i.e., those with very high profit margins, a revenue-based fund (setting aside 20% of revenue achieved with the premium CDs) would mean that 20% of the revenue attributed to CD "a", 250 (i.e., 50) would be set aside for performers. Therefore, even after taking into account the fund, the phonogram producers' profit margin in the extended term would still be 100/250=40%.

Predlagana rešitev za skladbe z besedilom je najmanj vsiljiv instrument, da se doseže enotno trajanje varstva za skladbe.

(...PICT...)

Učinek tega predlaganega novega člena 1(7) bi bil, da bi bila skladba z besedilom samo za namen izračuna trajanja varstva obravnavana kot skupno delo več avtorjev, ne glede na to, ali je ta skladba z besedilom po nacionalnih predpisih opredeljena kot skupno delo več avtorjev.

As mentioned above, a fund based on setting aside 20% of revenue that is generated by phonograms in the extended term would triple the benefit that individual performers derive from an extension of term.

Ta pristop je v skladu z načelom subsidiarnosti. Ne posega v določanje držav članic, katero delo je opredeljeno kot skupno delo več avtorjev. Po drugi strani uvaja najnižjo raven uskladitve, tako da bi bilo trajanje varstva za vse skladbe z besedilom, ki vsebujejo dva ali več ločenih prispevkov, izračunano na enoten način.

The proposed remedy on musical compositions with words is the least intrusive instrument to achieve a uniform term for musical compositions.

- Izbira instrumentov

The effect of this proposed new Article 1(7) would be that, only for the purpose of calculating its term of protection, a musical composition with words would be treated as if it were a work of joint authorship, whether or not this composition with words would qualify as a work of joint authorship under national rules.

Predlagani instrument je direktiva. Druga sredstva ne bi zadoščala, ker je bilo trajanje varstva že usklajeno z direktivo, edina možnost podaljšanja trajanja je sprememba navedene direktive.

This approach is in line with the subsidiarity principle. It would leave intact Member States discretion to determine what work constitutes a work of joint authorship. On the other hand, it introduces a minimum level of harmonisation, so that the term of all musical compositions with words which contain two or more separate contributions would be calculated in a uniform way.

4. PRORAčUNSKE POSLEDICE

· Choice of instruments

Predlog nima posledic za proračun Skupnosti.

The proposed instrument is a Directive. Other means would not be adequate since the term of protection was already harmonised via a Directive, the only possibility to extend this term is to amend the said Directive.

5. DODATNE INFORMACIJE

4. Budgetary implication

- Evropski gospodarski prostor

The proposal has no implication for the Community budget.

Predlagani akt zadeva vprašanja EGP in ga je zato treba razširiti na Evropski gospodarski prostor.

5. Additional information

- Podrobna obrazložitev predloga

· European Economic Area

Člen 1 spreminja obstoječa člena 3(1) in 3(2) Direktive 2006/116, ki ureja trajanje varstva, ki se uporablja za izvedbe (člen 3(1)) in fonograme (člen 3(2)). Obstoječe obdobje trajanja 50 let bi se podaljšalo za fonograme in v njih zajete izvedbe na 95 let.

The proposed act concerns an EEA matter and should therefore extend to the European Economic Area.

Besedilo določa, da če je fonogram zakonito izdan ali priobčen javnosti v 50 letih od izdelave posnetka, trajajo pravice 95 let od izdaje ali priobčitve javnosti. Če je izvedba zajeta na fonogramu, ki je zakonito izdan ali priobčen javnosti v 50 letih od izdelave posnetka, trajajo pravice 95 let od izdaje ali priobčitve javnosti.

· Detailed explanation of the proposal

Novo predlagani člen 10a bi uvedel niz ukrepov, ki spremljajo podaljšanje trajanja, člen 10(5) pa bi vseboval pravila o tem, na katere fonograme in izvajalce vpliva predlog.

Article 1 amends the existing Articles 3(1) and 3(2) of Directive 2006/116 which governs the term of protection applicable to performances (Article 3(1)) and phonograms (Article 3(2)). The existing term of 50 years would be extended for both the phonogram and the performance embodied therein to 95 years.

Cilj ukrepov iz člena 10a je večinoma zagotoviti, da glavni in pogodbeni izvajalci, katerih izvedbe so posnete na fonogramu, lahko učinkovito izkoristijo predlagano podaljšanje trajanja.

The text provides that if a phonogram is lawfully published or communicated to the public within 50 years of its fixation, the rights shall expire 95 years after publication or communication to the public. If a performance is embodied in a phonogram which is lawfully published or communicated to the public within 50 years of its fixation, the rights shall expire 95 years after publication or communication to the public

Člen 10a (3), (4) in (5) predvideva izboljšanje stanja, ko morajo studijski glasbeniki (glasbeniki, ki ne dobivajo ponavljajočih se plačil avtorskih honorarjev) ob vzpostavitvi pogodbenega odnosa s proizvajalcem fonograma pogosto prenesti na proizvajalce fonogramov svoje izključne pravice reproduciranja, distribuiranja in „dajanja na voljo“. Studijski glasbeniki prenesejo svoje izključne pravice za plačilo v enkratnem znesku („odkup“).

The newly proposed Article 10a would introduce a series of measures accompanying the term extension while Article 10(5) would contain the rules on which phonograms and performances are affected by the proposal.

Predlagano izboljšanje za „odkup“ je, da bodo studijski glasbeniki dobili pravico prejemati letno plačilo iz namenskega sklada. Za financiranje teh izplačil morajo proizvajalci fonogramov najmanj enkrat letno rezervirati najmanj 20 odstotkov prihodkov od izključnih pravic distribuiranja, dajanja v najem, reproduciranja in „dajanja na voljo“ fonogramov, ki brez podaljšanja trajanja ne bi bili več varovani na podlagi člena 3. Da bi države članice studijskim glasbenikom zagotovile čim bolj enakomerno razdeljevanje, smejo zahtevati, da se razdeljevanje teh denarnih sredstev zaupa kolektivnim organizacijam, ki zastopajo izvajalce.

The aim of the measures contained in Article 10a is largely to ensure that featured and non-featured performers whose performances are fixed in a phonogram effectively benefit from the proposed term extension.

Prihodki producentov, ki izhajajo iz enkratnega pravičnega nadomestila za oddajanje in priobčitev javnosti ter pravičnega nadomestila za zasebno kopiranje niso vključeni v prihodke, ki jih je treba rezervirati v korist studijskih glasbenikov, ker se ti sekundarni zahtevki nikoli ne prenesejo na proizvajalce fonogramov. Poleg tega niso vključeni prihodki producentov, ki izhajajo iz dajanja fonogramov v najem, ker imajo izvajalci še vedno neodpovedljivo pravico do pravičnega nadomestila za tako izkoriščanje na podlagi člena Direktive 2006/115/ES.

Article 10a (3), (4) and (5) envisage to remedy the situation that session musicians (musicians that do not enjoy recurring contractual royalty payments), upon entering into a contractual relationship with a phonogram producer, often have to transfer their exclusive rights of reproduction, distribution and 'making available' to the phonogram producers. Session musicians transfer their exclusive rights against a one-off payment ('buy out').

Člen 10a (6) predvideva obvezno klavzulo „uporabi ali izgubi“. Če proizvajalec fonogramov ne objavi fonograma, ki bi brez podaljšanja trajanja prešel v prosto uporabo, pravice do posnetka izvedbe na zahtevo izvajalca preidejo nazaj na slednjega in pravice do fonograma prenehajo veljati. Če leto po podaljšanju trajanja niti proizvajalec fonogramov niti izvajalec ne dasta fonograma na voljo javnosti, prenehajo veljati pravice od fonograma in pravice od posnete izvedbe.

The proposed remedy for the 'buy out' is that session musicians will obtain a claim to receive a yearly payment from a dedicated fund. In order to fund these payments, phonogram producers are under an obligation to set aside, at least once a year, at least 20 percent of the revenues from the exclusive rights of distribution, rental, reproduction and 'making available' of phonograms which, in the absence of term extension, would no longer be protected under Article 3. In order to ensure the most granular possible level of distribution to session musicians, Member States may require that distribution of these monies is entrusted to collecting societies representing performers.

Za klavzulo „uporabi ali izgubi“ izdaja fonograma pomeni ponujanje izvodov fonograma javnosti s soglasjem imetnika pravic pod pogojem, da so ti primerki ponujeni javnosti v razumni količini. Izdaja vključuje tudi drugačno gospodarsko izkoriščanje fonograma, kot je dajanje fonograma na voljo spletnim prodajalcem na drobno.

Producers' revenues deriving from single equitable remuneration for broadcasting and communication to the public and fair compensation for private copying shall not be included in the revenues to be set aside in favour of session musicians, as these secondary claims are never transferred to phonogram producers. Moreover, producer's revenues deriving from the rental of phonograms shall not be included, as performers still benefit from an unwaiverable right to equitable remuneration from such exploitation, under Article 5 of Directive 2006/115/EC .

Dodatni namen klavzule je, da se zagotovi, da se fonogrami, ki jih ne želi uporabljati niti proizvajalec fonograma niti izvajalec „zaklenejo“. To tudi pomeni, da bodo imeli „osiroteli“ fonogrami, za katere ni mogoče opredeliti ali najti proizvajalca fonograma niti izvajalca, koristi od klavzule, saj takšnih „osirotelih“ fonogramov ne bo uporabljal niti proizvajalec niti izvajalec. Vse vrste fonogramov, ki se ne uporabljajo, bodo tako na voljo za prosto uporabo.

Article 10a (6) provides for a statutory 'use it or lose it' clause. Therefore, if a phonogram producer does not publish a phonogram, which, but for the term extension, would be in the public domain, the rights in the fixation of the performance shall, upon his request, revert to the performer and the rights in the phonogram shall expire. Further, if after one year subsequent to the term extension, neither the phonogram producer nor the performer made the phonogram available to the public, the rights in the phonogram and the rights in the fixation of the performance shall expire.

Namen te klavzule je, da izvajalci, katerih izvedbe, posnete na fonogramu, ne izdajajo več prvotni proizvajalci fonogramov, po 50 letih spet pridobijo nadzor nad izvedbo in jo sami dajo na voljo javnosti. Po drugi strani pa se mora pravica producentov izteči, da se zagotovi, da prizadevanja izvajalcev, da lahko dajo svoje izvedbe na voljo čim širši javnosti, niso ovirana.

For the purposes of the 'use it or lose it' clause, publication of a phonogram means the offering of copies of the phonogram to the public, with the consent of the right holder, and provided that copies are offered to the public in reasonable quantity. Publication would also comprise otherwise commercial exploitation of a phonogram, such as making the phonogram available to online retailers.

Ta pobuda predlaga, naj se podaljšanje trajanja uporablja za izvedbe in zvočne posnetke, za katere se na dan sprejetja spremenjene direktive začetno 50-letno trajanje varstva še ni izteklo. Ne bo retroaktivno razširjeno na izvedbe, ki so do tega datuma že v prosti uporabi. Merilo je enostavno za uporabo in ta pristop je že bil uporabljen v Direktivi 2001/29/ES.

A further purpose of the clause is to ensure that phonograms which neither the phonogram producer nor the performers wish to exploit are not 'locked up'. This also means that orphan phonograms, for which neither the phonogram producer nor the performers can be identified or found, will benefit from the clause because such orphan phonograms will not be exploited by either the producer or the performer. All types of phonograms which are not exploited would thus be available for public use.

Uveden je nov člen 1(7) za uporabo enotne metode izračuna trajanja varstva za skladbe z besedilom. Člen 1(7) je oblikovan po obstoječem členu 2, v katerem je navedena metoda za izračun trajanja varstva kinematografskih ali avdiovizualnih del. V skladu s členom 1(7) se takrat, ko je skladba objavljena z besedilom, trajanje varstva izračuna od smrti zadnje preživele osebe, tj. avtorja besedila ali skladatelja.

This clause has the purpose of allowing performers whose performances fixed in a phonogram are no longer published by the original phonogram producer after the initial 50 year term to regain control over their performance and make it available to the public themselves. On the other hand, the producers' right should expire in order to ensure that the performers' efforts to make their performances available as widely as possible are not hindered.

Člen 2

This initiative proposes that the term extension apply to performances and sound recordings whose initial term of protection of 50 years has not expired at the date of adoption of the amended Directive. It will not retroactively extend to performances that had already fallen into the public domain by this date. This criterion is simple to apply and is an approach already used in Directive 2001/29/EC.

Člen 2 spremembe direktive določa pravila za prenos spremembe direktive.

The new Article 1(7) is introduced to apply a uniform method of calculating the term of protection of musical compositions with words. Article 1(7) is modelled on the existing Article 2, which provides a method for calculating the term of protection for cinematographic or audiovisual works. Under Article 1(7), when a musical composition is published with lyrics, the term of protection shall be calculated from the death of the last surviving person: the author of the lyrics or the composer of the music.

Člen 3

Člen 3 spremembe direktive se nanaša na začetek veljavnosti spremembe direktive.

Article 2

Člen 4

Article 2 of the amending Directive provides for the rules on transposition of the amending Directive.

Člen 4 spremembe direktive navaja, da je sprememba direktive naslovljena na države članice.

Article 3

2008/0157 (COD)

Article 3 of the amending Directive relates to the date of entry into force of the amending Directive.

Predlog

Article 4

DIREKTIVA EVROPSKEGA PARLAMENTA IN SVETA

Article 4 of the amending Directive indicates that the amending Directive is addressed to Member States.

o spremembi Direktive 2006/116/ES Evropskega parlamenta in Sveta o trajanju varstva avtorske pravice in sorodnih pravic

2008/0157 (COD)

EVROPSKI PARLAMENT IN SVET EVROPSKE UNIJE STA –

Proposal for a

ob upoštevanju Pogodbe o ustanovitvi Evropske skupnosti in zlasti členov 47(2), 55 in 95 Pogodbe,

EUROPEAN PARLIAMENT AND COUNCIL DIRECTIVE

ob upoštevanju predloga Komisije[22],

amending Directive 2006/116/EC of the European Parliament and of the Council on the term of protection of copyright and related rights

ob upoštevanju mnenja Evropskega ekonomsko-socialnega odbora[23],

THE EUROPEAN PARLIAMENT AND THE COUNCIL OF THE EUROPEAN UNION,

v skladu s postopkom, določenim v členu 251 Pogodbe ,

Having regard to the Treaty establishing the European Community, and in particular Articles 47(2), 55 and 95 thereof,

ob upoštevanju naslednjega:

Having regard to the proposal from the Commission [22],

(1) V skladu z Direktivo 2006/116/ES z dne 12. decembra 2006 o trajanju varstva avtorske pravice in določenih sorodnih pravic[24] je trajanje varstva za izvajalce in proizvajalce fonogramov 50 let.

Having regard to the opinion of the European Economic and Social Committee [23],

(2) Za izvajalce se to obdobje začne z izvedbo ali, če je bil posnetek izvedbe izdan ali priobčen javnosti v 50 letih od datuma izvedbe, 50 let od prve takšne izdaje ali prve priobčitve javnosti, odvisno od tega, kaj se je zgodilo prej.

Acting in accordance with the procedure laid down in Article 251 of the Treaty,

(3) Za proizvajalce fonogramov se obdobje začne z izdelavo posnetka ali objavo v 50 letih od izdelave posnetka, ali – če ni bil objavljen – s priobčitvijo javnosti v 50 letih od izdelave posnetka.

Whereas:

(4) Družbeno priznan pomen umetniškega prispevka izvajalcev se mora odražati v ravni varstva, ki priznava njihov ustvarjalni in umetniški prispevek.

(1) Under Directive 2006/116/EC of 12 December 2006 on the term of protection of copyright and certain related rights [24], the term of protection for performers and producers of phonograms is 50 years.

(5) Izvajalci običajno začnejo kariero mladi in trenutno 50-letno trajanje varstva za njihove izvedbe, posnete na fonogramih, in za fonograme pogosto izvedb ne varuje v celem njihovem življenju. Zato se izvajalci ob koncu svojega življenja soočajo z dohodkovno vrzeljo. Pogosto tudi ne morejo uveljavljati svojih pravic, da bi preprečili ali omejili sporno uporabo izvedb v času njihovega življenja.

(2) In the case of performers this period starts with the performance or, when the fixation of their performance is published or communicated to the public within 50 years after the performance is made, 50 years from the first such publication or the first such communication to the public, whichever is the earliest.

(6) Prihodki, ki izhajajo iz izključnih pravic reproduciranja in dajanja na voljo, kakor je določeno v Direktivi 2001/29/ES Evropskega parlamenta in Sveta z dne 22. maja 2001 o usklajevanju določenih vidikov avtorske in sorodnih pravic v informacijski družbi[25], ter pravičnega nadomestila za reproduciranje za privatno uporabo skladno z navedeno direktivo, ter iz izključnih pravic distribuiranja in dajanja v najem v skladu z Direktivo 2006/115/ES Evropskega parlamenta in Sveta z dne 12. decembra 2006 o pravici dajanja v najem in pravici posojanja ter o določenih pravicah, sorodnih avtorski pravici, na področju intelektualne lastnine[26], bi morali biti izvajalcem na voljo vsaj v času njihovega življenja.

(3) For phonogram producers the period starts with the fixation of the phonogram or from its publication within 50 years after fixation, or, if not published, from its communication to the public within 50 years after fixation.

(7) Trajanje varstva za posnetke izvedb in za fonograme je zato treba podaljšati na 95 let od objave fonograma in na njem posnete izvedbe. Če fonogram ali izvedba, posneta na fonogramu, ni objavljena v prvih 50 letih, varstvo traja 95 let od prve priobčitve javnosti.

(4) The socially recognised importance of the creative contribution of performers needs to be reflected in a level of protection that acknowledges their creative and artistic contributions.

(8) Izvajalci morajo običajno ob vzpostavitvi pogodbenega odnosa s proizvajalcem fonograma na proizvajalce fonogramov prenesti svoje izključne pravice reproduciranja, distribuiranja, dajanja v najem in dajanja na voljo posnetkov svojih izvedb. V zameno izvajalci vnaprej dobijo avtorske honorarje in plačila šele, ko proizvajalec fonogramov povrne začetno predplačilo in odšteje pogodbeno določene odbitke. Izvajalci, ki igrajo spremljevalno glasbo in se ne pojavijo na seznamu tistih, ki so prispevali k izvedbi („pogodbeni izvajalci“), običajno svoje izključne pravice prenesejo proti plačilu v enkratnem znesku (neponavljajoče se nadomestilo).

(5) Performers generally start their careers young and the current term of protection of 50 years with regard to performances fixed in phonograms and for phonograms often does not protect their performances during their entire lifetime. Therefore, performers face an income gap at the end of their lifetimes. They are also often not able to rely on their rights to prevent or restrict objectionable uses of their performances that occur during their lifetimes.

(9) Zaradi pravne varnosti je treba določiti, da – če ni jasnih navedb o nasprotnem – velja pogodbeni prenos ali dodelitev pravic do posnetkov izvedb, izvedena pred datumom, do katerega morajo države članice sprejeti ukrepe za izvajanje direktive, tudi v podaljšanem trajanju.

(6) The revenues derived from the exclusive rights of reproduction and making available, as provided for in Directive 2001/29/EC of the European Parliament and of the Council of 22 May 2001 on the harmonisation of certain aspects of copyright and related rights in the information society [25], as well as fair compensation for reproductions for private use within the meaning of that Directive, and from the exclusive rights of distribution and rental within the meaning of Directive 2006/115/EC of the European Parliament and of the Council of 12 December 2006 on rental right and lending right and on certain rights related to copyright in the field of intellectual property [26] should be available to performers for at least their lifetime.

(10) Da se zagotovi, da imajo izvajalci, ki so prenesli svoje izključne pravice na proizvajalce fonogramov pred podaljšanjem trajanja varstva, dejanske koristi od tega podaljšanja, je treba uvesti niz spremljevalnih prehodnih ukrepov. Te ukrepe je treba uporabljati za pogodbe med izvajalci in proizvajalci fonogramov, ki še naprej veljajo v podaljšanem trajanju.

(7) The term of protection for fixations of performances and for phonograms should therefore be extended to 95 years after publication of the phonogram and the performance fixed therein. If the phonogram or the performance fixed in a phonogram has not been published within the first 50 years, then the term of protection should run for 95 years from the first communication to the public.

(11) Prvi spremljevalni prehodni ukrep bi moral biti, da morajo proizvajalci fonogramov najmanj enkrat letno rezervirati najmanj 20 odstotkov prihodkov od izključnih pravic distribuiranja, reproduciranja in dajanja na voljo fonogramov, ki bi bili brez podaljšanja trajanja varstva zaradi zakonite objave ali zakonite priobčitve javnosti v prosti uporabi.

(8) Upon entering into a contractual relationship with a phonogram producer, performers normally have to transfer to the phonogram producers their exclusive rights of reproduction, distribution, rental and making available of fixations of their performances. In exchange, performers are paid an advance on royalties and enjoy payments only once the phonogram producer has recouped the initial advance and made any contractually defined deductions. Performers who play in the background and do not appear in the credits ("non-featured performers") usually transfer their exclusive rights against a one-off payment (non recurring remuneration).

(12) Prvi prehodni spremljevalni ukrep ne sme povzročati nesorazmerne upravne obremenitve za male in srednje velike proizvajalce fonogramov. Zato lahko države članice izvzamejo iz tega ukrepa določene proizvajalce fonogramov, ki so obravnavani kot mali in srednje veliki, zaradi letnih prihodkov, ki so bili pridobljeni s komercialno uporabo fonogramov.

(9) For the sake of legal certainty it should be provided that in the absence of clear indications to the contrary, a contractual transfer or assignment of rights in the fixation of the performance concluded before the date by which Member States are to adopt measures implementing the directive shall continue to produce its effects for the extended term.

(13) Ta denarna sredstva je treba rezervirati izključno v korist izvajalcev, katerih izvedbe so posnete na fonogramu in ki so svoje pravice prenesli na proizvajalca fonogramov proti plačilu v enkratnem znesku. Na ta način rezervirana denarna sredstva je treba na individualni osnovi razdeliti pogodbenim umetnikom najmanj enkrat letno. Države članice smejo zahtevati, da se razdeljevanje teh denarnih sredstev zaupa kolektivnim organizacijam, ki zastopajo izvajalce. Ko se razdeljevanje teh denarnih sredstev zaupa kolektivnim organizacijam, se lahko uporabljajo nacionalna pravila o nerazdeljivih prihodkih.

(10) In order to ensure that performers who have transferred their exclusive rights to phonogram producers before the extension of the term of protection actually benefit from that extension, a series of accompanying transitional measures should be introduced. These measures should apply to contracts between performers and phonogram producers which actually continue to produce their effects for the extended term.

(14) Vendar člen 5 Direktive 2006/115 o pravici dajanja v najem in pravici posojanja ter o določenih pravicah, sorodnih avtorski pravici, na področju intelektualne lastnine izvajalcem že daje neodpovedljivo pravico do pravičnega nadomestila za najem, med drugim, fonogramov. Prav tako v pogodbeni praksi izvajalci običajno ne prenesejo na proizvajalce fonogramov svojih pravic do enkratnega pravičnega plačila za oddajanje in priobčitev javnosti na podlagi člena 8(2) Direktive 2006/115/ES in do pravičnega nadomestila za reprodukcije za privatno uporabo na podlagi člena 5(2)(b) Direktive 2001/29/ES. Zato izračun skupnega zneska, ki ga mora proizvajalec fonogramov nameniti za plačilo dodatnih nadomestil, ne sme upoštevati prihodkov proizvajalca fonogramov, ki izhajajo iz dajanja fonogramov v najem in iz enkratnega pravičnega nadomestila za oddajanje in priobčitev javnosti ter pravičnega nadomestila za zasebno kopiranje.

(11) A first accompanying transitional measure should be that phonogram producers are under an obligation to set aside, at least once a year, at least 20 percent of the revenues from the exclusive rights of distribution, reproduction and making available of phonograms which, in the absence of the extension of the term of protection as a result of lawful publication or lawful communication, would be in the public domain.

(15) Drugi spremljevalni prehodni ukrep bi moral biti, da pravice do posnetka izvedbe preidejo nazaj na izvajalca, če se proizvajalec fonogramov vzdrži dajanja v prodajo zadostne količine primerkov fonograma, ki bi bil, razen v podaljšanem trajanju, v prosti uporabi, ali dajanja takega fonograma na voljo javnosti. Zato bi se morale pravice proizvajalcev fonogramov izteči, da bi se izognili situaciji, ko bi te pravice obstajale skupaj s pravicami izvajalca do posnetka izvedbe, pri čemer pravice slednjega niso več prenesene na proizvajalca fonograma ali dodeljene proizvajalcu fonograma.

(12) The first transitional accompanying measure should not entail a disproportionate administrative burden on small and medium sized phonogram producers. Therefore, Member States shall be free to exempt certain phonogram producers who are deemed small and medium by reason of the annual revenue achieved with the commercial exploitations of phonograms.

(16) Ta spremljevalni ukrep bi moral zagotoviti tudi, da fonogram ni več varovan, če ne preide po določenem obdobju po podaljšanem trajanju v prosto uporabo, ker ga imetniki pravic ne uporabljajo ali ker proizvajalca fonograma ali izvajalcev ni mogoče najti ali identificirati. Če po tem, ko je izvajalec ponovno pridobil svojo avtorsko pravico in imel dovolj časa, da da v prosto uporabo fonogram, ki brez podaljšanja trajanja varstva ne bi bil več varovan, fonogram ni bil dan v prosto uporabo, pravica do fonograma in do posnetka izvedbe preneha veljati.

(13) Those monies should be reserved solely for the benefit of performers whose performances are fixed in a phonogram and who have transferred their rights to the phonogram producer against a one-off payment. The monies set aside in this manner should be distributed to non-featured performers at least once a year on an individual basis. Member States may require that distribution of those monies is entrusted to collecting societies representing performers. When the distribution of those monies is entrusted to collecting societies, national rules on non-distributable revenues may be applied.

(17) Ker ciljev predlaganih spremljevalnih ukrepov države članice same ne morejo zadovoljivo doseči, ker bi nacionalni ukrepi na tem področju bodisi povzročili izkrivljanje pogojev konkurence bodisi vplivali na obseg izključnih pravic proizvajalcev fonogramov, opredeljenih v zakonodaji Skupnosti, in jih je zato lažje doseči na ravni Skupnosti, lahko Skupnost sprejme ukrepe v skladu z načelom subsidiarnosti iz člena 5 Pogodbe. V skladu z načelom sorazmernosti iz navedenega člena ta direktiva ne presega okvira, ki je potreben za dosego teh ciljev.

(14) However, Article 5 of Directive 2006/115 on rental right and lending right and on certain rights related to copyright in the field of intellectual property already grants performers an unwaivable right to equitable remuneration for the rental, inter alia, of phonograms. Likewise, in contractual practice performers do not usually transfer to phonogram producers their rights to claim a single equitable remuneration for broadcasting and communication to the public under Article 8(2) of Directive 2006/115/EC and to fair compensation for reproductions for private use under Article 5(2)(b) of Directive 2001/29/EC. Therefore, in the calculation of the overall amount to be dedicated by a phonogram producer to payments of the supplementary remuneration, no account should be taken of revenues which the phonogram producer has derived from the rental of phonograms and from a single equitable remuneration for broadcasting and communication to the public and fair compensation for private copying should.

(18) V nekaterih državah članicah se za skladbe z besedilom uporablja enotno trajanje varstva, ki se izračuna od smrti zadnjega preživelega avtorja, v drugih državah članicah pa se uporablja ločeno trajanje varstva za glasbo in besedilo. Večina skladb z besedilom nastane v soavtorstvu. Pri operi se npr. avtorji, ki napišejo glasbo, pogosto razlikujejo od tistih, ki napišejo besedilo. Poleg tega je pri glasbenih zvrsteh, kot so jazz, rock in pop glasba, ustvarjalni proces pogosto skupinske narave.

(15) A second accompanying transitional measure should be that the rights in the fixation of the performance should revert to the performer if a phonogram producer refrains from offering for sale in sufficient quantity copies of a phonogram which, but for the term extension, would be in the public domain or from making such a phonogram available to the public. As a consequence, the rights of the phonogram producer in the phonogram should expire, in order to avoid a situation in which these rights would coexist with those of the performer in the fixation of the performance whilst the latter rights are no longer transferred or assigned to the phonogram producer.

(19) Trajanje varstva pri skladbah z besedilom zato ni usklajeno, kar ovira prosto gibanje blaga in storitev, npr. pri čezmejnih kolektivnih storitvah upravljanja.

(16) This accompanying measure should also ensure that a phonogram is no longer protected once it is not made available to the public after a certain period of time following the term extension, because rightholders do not exploit it or because the phonogram producer or the performers cannot be located or identified. If, upon reversion, the performer has had a reasonable period of time to make available to the public the phonogram which, but for the term extension, would be no longer protected, the phonogram is not made available to the public, the rights in the phonogram and in the fixation of the performance should expire.

(20) Direktivo 2006/116/ES je torej treba ustrezno spremeniti –

(17) Since the objectives of the proposed accompanying measures cannot be sufficiently achieved by the Member States, as national measures in that field would either lead to distortion of the conditions of competition or affect the scope of exclusive rights of the phonogram producer which are defined by Community legislation and can therefore, be better achieved at Community level, the Community may adopt measures, in accordance with the principle of subsidiarity as set out in Article 5 of the Treaty. In accordance with the principle of proportionality, as set out in that Article, this directive does not go beyond what is necessary in order to achieve those objectives.

SPREJELA NASLEDNJO DIREKTIVO:

(18) In certain Member States, musical compositions with words are applied a single term of protection, calculated from the death of the last surviving author, while in other Member States, separate terms of protection apply for music and lyrics. Musical compositions with words are overwhelmingly co-written. For example, regarding opera, there are often different authors to the music and to the lyrics. Moreover, in musical genres such as jazz, rock and pop music, the creative process is often collaborative in nature.

Člen 1

(19) Consequently, the harmonisation of the term of protection in musical compositions with words is incomplete, giving rise to impediments to the free movement of goods and services, such as cross-border collective management services.

Direktiva 2006/116/ES se spremeni:

(20) Directive 2006/116/EC should therefore be amended accordingly,

- (1) Drugi stavek člena 3(1) se nadomesti z naslednjim:

HAVE ADOPTED THIS DIRECTIVE:

„Če

Article 1

- pa je bil v tem času posnetek izvedbe, ki ni na fonogramu, zakonito izdan ali zakonito priobčen javnosti, trajajo pravice izvajalcev 50 let od prve izdaje ali prve priobčitve javnosti, odvisno od tega, kaj se je zgodilo prej.

Directive 2006/116/EC is amended as follows:

- pa je bil v tem času posnetek izvedbe na fonogramu zakonito izdan ali zakonito priobčen javnosti, trajajo pravice izvajalcev 95 let od prve izdaje ali prve priobčitve javnosti, odvisno od tega, kaj se je zgodilo prej.“

– (1) The second sentence of Article 3(1) is replaced by the following:

- (2) V drugem in tretjem stavku člena 3(2) se številka „50“ nadomesti s številko „95“.

"However,

- (3) V člen 10 se vstavi naslednji odstavek 5: „5.

- if a fixation of the performance otherwise than in a phonograph is lawfully published or lawfully communicated to the public within this period, the rights shall expire 50 years from the date of the first such publication or the first such communication to the public, whichever is the earlier,

"5. Člen 3(1) in (2) v različici, spremenjeni z Direktivo [// vstaviti : št. spremembe direktive ], se še naprej uporablja za posnetke izvedb in fonograme, v zvezi s katerimi sta izvajalec in proizvajalec fonogramov dne [ vstaviti datum, do katerega morajo države članice prenesti spremembo direktive, kakor je navedeno v členu 2 spodaj ] še varovana na podlagi teh določb.“

- if a fixation of the performance in a phonograph is lawfully published or lawfully communicated to the public within this period, the rights shall expire 95 years from the date of the first such publication or the first such communication to the public, whichever is the earlier."

- (4) Vstavi se naslednji člen 10a:

– (2) In the second and third sentence of Article 3(2) the cipher "50" is replaced by the cipher "95"

„ Člen 10a

– (3) In Article 10 the following paragraph 5 is inserted:

Prehodni ukrepi, ki se nanašajo na prenos direktive [// vstaviti: št. spremembe direktive ]

"5. Article 3 (1) and (2) in their version as amended by Directive [// insert: Nr. of the amending directive] shall continue to apply only to fixations of performances and phonograms in regard of which the performer and the phonogram producer are still protected, by virtue of these provisions, on [insert date before which Member States are to transpose the amending directive, as mentioned in Article 2 below]."

1. Če ni jasnih navedb o nasprotnem, velja pogodba, sklenjena pred [ vstaviti datum, do katerega morajo države članice prenesti spremembo direktive, kakor je navedeno v členu 2 spodaj ], s katero je izvajalec prenesel ali dodelil svoje pravice do posnetka izvedbe na proizvajalca fonograma (v nadaljnjem besedilu: „pogodba o prenosu ali dodelitvi“), tudi po tem, ko izvajalec in proizvajalec fonograma v skladu s členom 3(1) in (2) v različici pred spremembo z Direktivo [// vstaviti: št. te spremembe direktive] ne bi bila več varovana glede posnetka izvedbe oziroma fonograma.

– (4) The following Article 10 a is inserted:

2. Odstavki 3 do 6 tega člena se uporabljajo za pogodbe o prenosu ali dodelitvi, ki veljajo tudi po tem, ko izvajalec in proizvajalec fonograma v skladu s členom 3(1) in (2) v različici pred spremembo z Direktivo [// vstaviti: št. te spremembe direktive ]/ES izvajalec in proizvajalec fonograma ne bi bila več varovana glede posnetka izvedbe oziroma fonograma.

"Article 10a

3. Kadar pogodba o prenosu ali dodelitvi daje pravico izvajalcu zahtevati neponavljajoče se nadomestilo, ima izvajalec pravico od proizvajalca fonograma dobiti dodatno letno nadomestilo za vsako polno leto, v katerem v skladu s členom 3(1) in (2) v različici pred spremembo z Direktivo [// vstaviti: št. te spremembe direktive ]/ES izvajalec in proizvajalec fonograma ne bi bila več varovana glede posnetka izvedbe oziroma fonograma.

Transitional measures relating to the transposition of directive [// insert: Nr. of the amending directive]

4. Skupni znesek, ki ga mora proizvajalec fonogramov nameniti za plačilo dodatnih nadomestil iz odstavka 3, ustreza najmanj 20 % prihodkov, ki v letu pred letom, za katero se zagotovi navedeno nadomestilo, izhajajo iz reprodukcije, distribucije in dajanja v najem fonogramov, glede katerih v skladu s členom 3(1) in (2) v različici pred spremembo z Direktivo [// vstaviti: št. te spremembe direktive ]/ES izvajalec in proizvajalec fonograma 31. decembra navedenega leta ne bi bila več varovana.

1. In the absence of clear indications to the contrary, a contract, concluded before [insert date before which Member States are to transpose the amending directive, as mentioned in Article 2 below], whereby a performer has transferred or assigned his rights in the fixation of his performance to a phonogram producer (hereinafter: a "contract on transfer or assignment"), shall be deemed to continue to produce its effects beyond the moment at which, by virtue of Article 3 (1) and (2) in their version before amendment by Directive [// insert: Nr. of this amending directive], the performer and the phonogram producer would be no longer protected in regard of, respectively, the fixation of the performance and the phonogram.

Države članice lahko zagotovijo, da proizvajalcu fonograma, katerega skupni letni prihodki v letu pred letom, za katerega se plača navedeno nadomestilo, ne presegajo minimalnega praga v višini 2 milijona EUR, ni treba nameniti vsaj 20 % prihodkov, ki v letu pred letom, za katero se plača navedeno nadomestilo, izhajajo iz reprodukcije, distribucije in dajanja v najem fonogramov, glede katerih v skladu s členom 3(1) in (2) v različici pred spremembo z Direktivo [// vstaviti: št. te spremembe direktive]/ES izvajalec in proizvajalec fonograma 31. decembra navedenega leta ne bi bila več varovana.

2. Paragraphs 3 to 6 of this article shall apply to contracts on transfer or assignment which continue to produce their effects beyond the moment at which, by virtue of Article 3 (1) and (2) in their version before amendment by Directive [// insert: Nr. of this amending directive]/EC, the performer and the phonogram producer would be no longer protected in regard of, respectively, the fixation of the performance and the phonogram.

5. Države članice lahko določijo, ali in v kakšnem obsegu je uveljavljanje pravice do pridobitve dodatnega letnega nadomestila iz odstavka 3 po kolektivnih organizacijah obvezno.

3. Where a contract on transfer or assignment gives the performer a right to claim a non recurring remuneration, the performer shall have the right to obtain an annual supplementary remuneration from the phonogram producer for each full year in which, by virtue of Article 3 (1) and (2) in its version before amendment by Directive [// insert: Nr. of this amending directive]/EC, the performer and the phonogram producer would be no longer protected in regard of, respectively, the fixation of the performance and the phonogram.

6. Če po tem, ko v skladu s členom 3(1) in (2) v različici pred spremembo z Direktivo [// vstaviti: št. te spremembe direktive ]/ES izvajalec in proizvajalec fonograma ne bi bila več varovana glede posnetka izvedbe oziroma fonograma, proizvajalec fonograma preneha dajati zadostne količine primerkov fonograma v prodajo ali na voljo javnosti po žici ali brezžično, tako da imajo posamezniki iz prebivalstva dostop do njih na kraju in v času, ki ga sami izberejo, lahko izvajalec prekine pogodbo o prenosu ali dodelitvi. Kadar fonogram vsebuje posnetek izvedb več izvajalcev, lahko izvajalci pogodbo o prenosu ali dodelitvi prekinejo samo skupaj. Če se pogodba o prenosu ali dodelitvi prekine na podlagi stavkov 1 ali 2, pravice proizvajalca fonograma do fonograma prenehajo veljati.

4. The overall amount to be dedicated by a phonogram producer to payments of the supplementary remuneration referred to in paragraph 3 shall correspond to at least 20 percent of the revenues which he has derived, during the year preceding that for which the said remuneration is paid, from the reproduction, distribution and making available of those phonograms in regard of which, by virtue of Article 3 (1) and (2) in their version before amendment by Directive [// insert: Nr. of this amending directive]/EC, the performer and the phonogram producer would be no longer protected on 31 December of the said year.

Če leto po tem, ko v skladu s členom 3(1) in (2) v različici pred spremembo z Direktivo [// vstaviti: št. te spremembe direktive ]/ES izvajalec in proizvajalec fonograma ne bi bila več varovana glede posnetka izvedbe oziroma fonograma, fonogram ni dan v prosto uporabo po žici ali brezžično, tako da imajo posamezniki iz prebivalstva dostop do njih na kraju in v času, ki ga sami izberejo, pravice proizvajalca fonograma do fonograma in pravice izvajalcev v zvezi s posnetkom izvedbe prenehajo veljati.“

Member States may provide that a phonogram producer whose total annual revenue, during the year preceding that for which the said remuneration is paid, does not exceed a minimum threshold of € 2 million, shall not be obliged to dedicate at least 20 percent of the revenues which he has derived, during the year preceding that for which the said remuneration is paid, from the reproduction, distribution and making available of those phonograms in regard of which, by virtue of Article 3 (1) and (2) in their version before amendment by Directive [// insert: Nr. of this amending directive]/EC, the performer and the phonogram producer would be no longer protected on 31 December of the said year.

- (5) Vstavi se naslednji člen 1(7):

5. Member States may regulate whether and to what extent administration by collecting societies of the right to obtain an annual supplementary remuneration referred to in paragraph 3 may be imposed.

„Varstvo skladb z besedilom preneha 70 let po smrti zadnje preživele osebe od naštetih oseb, ne glede na to, ali so te osebe določene kot soavtorji, tj. avtor besedila in skladatelj.“

6. If, after the moment at which, by virtue of Article 3 (1) and (2) in their version before amendment by Directive [// insert: Nr. of this amending directive]/EC, the performer and the phonogram producer would be no longer protected in regard of, respectively, the fixation of the performance and the phonogram, the phonogram producer ceases to offer copies of the phonogram for sale in sufficient quantity or to make it available to the public, by wire or wireless means, in such a way that members of the public may access them from a place ant at a time individually chosen by them, the performer may terminate the contract on transfer or assignment. Where a phonogram contains the fixation of the performances of a plurality of performers, they may terminate their contracts on transfer or assignment only jointly. If the contract on transfer or assignment is terminated pursuant to sentences 1 or 2, the rights of the phonogram producer in the phonogram shall expire.

Člen 2 Prenos

If, one year after the moment at which, by virtue of Article 3 (1) and (2) in their version before amendment by Directive [// insert: Nr. of this amending directive]/EC, the performer and the phonogram producer would be no longer protected in regard of, respectively, the fixation of the performance and the phonogram, the phonogram is not made available to the public, by wire or wireless means, in such a way that members of the public may access them from a place and at a time individually chosen by them, the rights of the phonogram producer in the phonogram and the rights of the performers in relation to the fixation of their performance shall expire. "

1. Države članice sprejmejo in objavijo zakone in druge predpise, potrebne za uskladitev s to direktivo. Komisiji nemudoma posredujejo besedilo teh predpisov in korelacijsko tabelo med predpisi in direktivo.

– (5) The following Article 1(7) is inserted:

Te določbe uporabljajo od […].

"The term of protection of a musical composition with words shall expire 70 years after the death of the last of the following persons to survive, whether or not these persons are designated as co-authors: the author of the lyrics and the composer of the music"

Države članice se v sprejetih predpisih sklicujejo na to direktivo ali pa sklic nanjo navedejo ob njihovi uradni objavi. Države članice določijo način sklicevanja.

Article 2

2. Države članice predložijo Komisiji besedila temeljnih predpisov nacionalne zakonodaje, sprejetih na področju, ki ga ureja ta direktiva.

Člen 3

Transposition

Ta direktiva začne veljati dan po objavi v Uradnem listu Evropske unije .

1. Member States shall adopt and publish, by at the latest, the laws, regulations and administrative provisions necessary to comply with this Directive. They shall forthwith communicate to the Commission the text of those provisions and a correlation table between those provisions and this Directive.

Člen 4

They shall apply those provisions from […].

Direktiva je naslovljena na države članice.

When Member States adopt those provisions, they shall contain a reference to this Directive or be accompanied by such a reference on the occasion of their official publication. Member States shall determine how such reference is to be made.

V Bruslju, […]

2. Member States shall communicate to the Commission the text of the main provisions of national law which they adopt in the field covered by this Directive.

Za Evropski parlament Za Svet

Article 3

Predsednik Predsednik

This Directive shall enter into force on the day following that of its publication in the Official Journal of the European Union.

[1] Belgija, Bolgarija, Estonija, Francija, Grčija, Italija (za opere), Latvija, Litva, Portugalska, Španija, Slovaška.

Article 4

[2] Avstrija, Ciper, Češka republika, Danska, Nemčija, Finska, Madžarska, Irska, Italija (razen za opere), Luksemburg, Malta, Nizozemska, Poljska, Romunija, Slovenija, Švedska in Združeno kraljestvo.

This Directive is addressed to the Member States.

[3] Študija AEPO – „Performers' Rights in European Legislation: Situation and Elements for Improvement.“, julij 2007, str. 89.

Done at Brussels,

[4] Za pregled gospodarskih „superzvezdniških teorij“ glej R. Towse, „Creativity, Incentive and Reward“ (2000), str. 99–108.

For the European Parliament For the Council

[5] FIM – Obravnava EP 31.1.2006 in srečanje v uradih Komisije 16. marca 2006. Na primer Luciano Pavarotti in Sting sta bila na začetku učitelja, Elton John pa je delal v embalažnem oddelku glasbene založbe.

The President The President

[6] V več primerih so posredovala sodišča, ki so ovrgla pretirano stroge sporazume, upoštevajoč zlasti „ogromno neenakost pogajalske moči, pogajalske zmožnosti, razumevanja in zastopanja“ med umetniki in strokovnjaki zabavne industrije“, Silvertone Records Limited proti Mountfield in drugim, [1993] EMLR 152.

[1] Belgium, Bulgaria, Estonia, France, Greece, Italy (for operas), Latvia, Lithuania, Portugal, Spain, Slovakia.

[7] Prilagojeno iz prispevka Naxosa na vprašalnik Komisije – maj 2006.

[2] Austria, Cyprus, Czech Republic, Denmark, Germany, Finland, Hungary, Ireland, Italy (except for operas), Luxembourg, Malta, the Netherlands, Poland, Romania, Slovenia, Sweden, and the UK.

[8] Študija CIPIL, str. 36.

[3] AEPO study – "Performers' Rights in European Legislation: Situation and Elements for Improvement.", July 2007, p. 89

[9] To je povzročilo, da so sodišča ugotovila, da se umetniki kot so rock skupina "Stone Roses" in Elton John premalo zavedajo včasih čezmernih odbitkov, ki se uporabljajo za izračunavanje avtorskih honorarjev, glej Silvertone Records Limited proti Mountfield in drugim, [1993] EMLR 152.

[4] For a survey of economic "superstar theories", see R. Towse, "Creativity, Incentive and Reward" (2000), pp. 99-108.

[10] Pripomba IFPI.

[5] FIM – EP Hearing 31.1.2006 and meeting in Commission offices on 16 March 2006. For example, Luciano Pavarotti and Sting were initially teachers and Elton John worked in the packaging department of a record company.

[11] „Back to the Digital Future: The Role of Copyrights in Sustaining Creativity and Diversity in the Music Industry“, stran 3, april 2006, profesor Joseph Lampel, Cass Business School, London.

[6] In several instances courts have intervened to cast aside excessively harsh agreements, noting in particular the "immense inequality in bargaining power, negotiation ability, understanding and representation" between artists and professionals of the entertainment industries", Silvertone Records Limited v. Mountfield and Others, [1993] EMLR 152.

[12] Številke iz PricewaterhouseCoopers, Financial Times, 6. julij 2006.

[7] Adapted from contribution from Naxos to Commission questionnaire – May 2006.

[13] Članek iz Times-a, 14. februar 2007.

[8] CIPIL Study, p.36.

[14] Pogovor z IFPI – in Johnom Kennedyjem - 29/3/2006 v Enoti za avtorske pravice DG MARKT.

[9] This has led courts to conclude that artists such as the "Stone Roses" rock band or Elton John were insufficiently aware of the sometimes excessive deductions operated from the basis for calculating royalties, see Silvertone Records Limited v. Mountfield and Others, [1993] EMLR 152.

[15] International Herald Tribune, The Associated Press, 14. januar 2008

[10] Comment from IFPI.

[16] EMI-jev odziv na Gowers Review, 2006. Delovna sila EMI je bila zmanjšana za eno tretjino na 6 000 oseb.

[11] "Back to the Digital Future: The Role of Copyrights in Sustaining Creativity and Diversity in the Music Industry", page 3, April 2006, Professor Joseph Lampel, Cass Business School, London.

[17] Stroški oglaševanja v glasbeni industriji so se leta 2002 znižali za 25 %, v letu 2003 pa za 7 %. Štiri največje glasbene založbe so med 100 največjimi porabniki za oglaševanje in 2 med njimi sta med 20 največjimi porabniki. („Evolution of the recorded music industry value chain“, anonimno poročilo) str. 13.

[12] Figures from PricewaterhouseCoopers, Financial Times, 6 July 2006.

[18] Podatke je zagotovila Mednarodna zveza glasbenih založnikov.

[13] Article from the Times, 14 February 2007.

[19] GESAC, september 2006.

[14] Interview with IFPI - and John Kennedy - on 29/3/2006 in Copyright Unit of DG MARKT.

[20] Johann Strauss je umrl leta 1899, eden od avtorjev libreta Leo Stein pa leta 1921. Glasba je v Nemčiji v prosti uporabi od leta 1929, besedilo pa je bilo zaščiteno do leta 1991. V Belgiji je bila celotna opereta zaščitena do leta 1981, v Italiji pa do konca leta 1977.

[15] International Herald Tribune, The Associated Press, January 14, 2008

[21] Ker bi sklad črpal iz prihodka glasbenih založb, prihodki glavnih umetnikov ne bi bili oškodovani. Skupni vpliv na proizvajalce bi bil tako pozitiven.

[16] EMI response to Gowers Review, 2006. EMI's workforce was reduced by a third to 6,000 persons.

[22] UL C , , str. .

[17] Advertising expenditure by music industry dropped by 25% in 2002 and 7% in 2003. The four music majors are in the top 100 spenders on advertising and 2 of them are in the top 20. ("Evolution of the recorded music industry value chain", anonymous report) p. 13.

[23] UL C , , str. .

[18] Figures provided by the International Confederation of Music Publishers (ICMP).

[24] Ul L 372, 27.12.2006, str. 12.

[19] GESAC, September 2006.

[25] UL L 167, 22.6.2001, str. 10.

[20] Johann Strauss died in 1899, while one of the authors of the libretto, Leo Stein, died in 1921. The music was in the public domain in Germany in 1929, while the text was protected until 1991. In Belgium, the entire operetta was protected until 1981, and in Italy, until the end of 1977.

[26] Ul L 376, 27.12.2006, str. 28.

[21] As the fund would be drawn from the income of record companies, the revenues of featured artists would not be adversely affected. The overall impact for performers would thus be positive.

[22] OJ C , , p. .

[23] OJ C , , p. .

[24] OJ L 372, 27.12.2006, p. 12.

[25] OJ L 167, 22.6.2001, p.10.

[26] OJ L 376, 27.12.2006, p. 28.

--------------------------------------------------