According to the entity, respect for legislation helps to boost the creative economy, create jobs and strengthen culture
Music is present at popular festivals, cultural events, radio and TV programming and in various businesses in the country. More than entertainment, it is moving cities, creating jobs and being decisive in shaping Brazilian identity.
But music doesn’t emerge alone. It is the result of the work of professionals who spend time and talent to create them. In Brazil, it is determined: whenever a song is performed publicly, it is necessary to pay the creators.
This includes events promoted by city halls, state governments and public bodies. In other words, public authorities must also comply with legislation when holding parties, shows, sporting events or cultural celebrations.
This obligation does not only apply to events with an entry fee. Free ones also need to pay copyright, as was the case with . The STJ recognizes the legitimacy of the charge and the need to pay for the public use of music.
Impact of copyright
In Brazil, the is responsible for collecting and distributing copyrights for public musical performance. It is a private, non-profit institution, managed by 7 collective management associations:
- (Brazilian Association of Music and Arts);
- (Association of Musicians, Arrangers and Conductors);
- (Association of Performers and Musicians);
- (Brazilian Society of Authors, Composers and Music Writers);
- (Independent Society of Composers and Musical Authors);
- (Brazilian Society for the Administration and Protection of Intellectual Rights); and
- (Brazilian Union of Composers).
According to Ecad, these representative organizations work in an integrated manner to guarantee fair remuneration for composers, performers, musicians, publishers and record producers.
To get an idea of the impact and scale of this work, in 2025, more than copyright. In 2026, until March, this number was .
In addition to supporting thousands of families and maintaining musical production in the country, the amount raised returns to the music production chain, boosting the creative economy and strengthening the cultural sector, according to Ecad.
How the value is defined
At shows and events, the promoter is responsible for licensing the music. A recurring mistake, according to the entity, is to believe that copyright is contained in the artists’ fees. However, the fee is payment for the performance of the singer, musician or DJ – exclusively.
Copyright is the remuneration allocated to the composers of the songs performed, even if the performer is the composer of the songs played, and must be paid directly to Ecad.
Another common question is related to charging criteria, which vary depending on the type of event. In cases involving ticket sales, box office revenue is considered as the basis for the calculation. In free events, it is the sound area or musical costs, such as stage structure and fees.
Criteria and context
As it is a private right, music creators have moral and patrimonial rights over the songs. Therefore, the use of these works depends on prior authorization from the holders, who are also responsible for establishing the amount to be charged for the respective use.
In public performance, the rules and pricing criteria are defined by composers and other artists, through the collective management associations to which they are affiliated. These criteria take into account the particularities of each use.
Although the law authorizes collection in the most diverse forms of public enforcement, there are exceptions defined within the scope of collective management. For example, exemption from charges for religious liturgies, such as masses and services. However, events promoted by churches, such as June festivals, fairs and shows, .
Another situation that considers the social context involves community radio stations. In this case, a table with reduced values is applied in relation to commercial radio stations. Thus, collective management seeks to adapt copyright collection to the different realities of music use, ensuring fair remuneration for creators, without disregarding the context of each activity.
Risk to reputation and country
Those who use music without proper licensing can face lawsuits, chargebacks, and reputational damage. When this user is a public entity, such as city halls, Culture departments or legislative TVs, the impact goes beyond the legal risk.
According to Ecad, when public authorities stop paying copyright, the country’s cultural chain is devalued. This scenario, therefore, contrasts with the reference role of public entities in complying with the law.
The entity’s campaign for the public sector brings a concept to summarize the challenge: “Copyright is more than law. It’s a question of justice.”
The phrase recognizes the legal obligation, but proposes something beyond. The idea that behind each song there is a creative work that supports families, produces income and keeps Brazilian cultural production alive.
Valuing the composer is not bureaucracy. It is the recognition that Brazil’s soundtrack has an owner, and that this owner deserves to be remunerated, says Ecad.
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