To check your royalties, log in to the COSCAP Payment System

For further information about CPS, please contact COSCAP.

Songwriters and Publishers

Join as a Writer

Benefit from collective management of the copyright in your songs.

Join as a

Join as a Publisher

Benefit from collective management of your assigned copyrights.

Join as a

Work Registration Form

Song writers and publishers should use this form to notify COSCAP of any new songs that they have published. 

Search ISWC

You can search the International Standard Work Code (ISWC) database to see if a particular song is within this database which we use.

Performers and Producers of Sound Recordings

Join as a Performer

Get paid for your performances on master recordings.

Join as a

Join as a Producer

Get paid for public perfomances of your master recordings.

Join as a

Sound Recordings Registration Form

Performers and Producers of Sound Recordings should use this form to notify COSCAP of any new songs that they have produced.


Use this form to apply for an International Standard Recording Code (ISRC). It provides a unique identifier for each of your songs.


Live Performance Reporting

Song writers and publishers should use this form to notify COSCAP whenever their songs are performed live.

Search BMAT

Members can search the BMAT database directly to see if their recordings have been uploaded.  To upload your songs please contact COSCAP.

Distribution Rules Summary

This document serves as a summary of the COSCAP Distribution Rules, specifically the policies and methods employed for performing right distributions effective 28 January 2017.

COSCAP Banking Information Form

As of January 1st, 2018 all royalty payments will be paid directly to bank accounts.  Use this form to notify us of your bank details.

COSCAP uses BMAT's Vericast monitoring system.

Uploading your songs to the Vericast system helps us keep track of your songs played on radio.

Upcoming Music Festivals

Frequently Asked Questions

In popular music an arrangement is a setting of a piece of music, which may have been composed by the arranger or by someone else. Most commonly, this is a matter of providing instrumentation for the songwriter or composer’s basic melody and harmony. It may add details omitted by the composer, or it may replace those originally given and be merely based on the original work.

In classical music an arrangement is a setting of any composition for a different medium other than the one for which it was created: e.g. a piano piece may be arranged for full orchestra, or an orchestral composition may be arranged for solo piano. Often arrangement involves considerable reworking of the original material, in conformance with the resources of the final medium.

As with composition, the ready availability of sound recording equipment has changed the understanding of what arrangement means. At one stage, credit for an arrangement would only be given to a person who had produced a written musical score or written chart of some sort. More recently, any original treatment of an existing work that is available for repeated performance by other players may qualify to be loosely called an arrangement. An unscored arrangement may be called a head chart (it is in the head of the musician(s)). Every time a piece of music is performed it has an arrangement, which may or may not have been done by a professional arranger.

An arrangement may specify or vary some or all of:

  • Harmonies, including parts
  • Instrumentation
  • Style, dynamics and other instrumentation to the players
  • Sequence, including the order and number of repeats sections such verses and choruses, and provision of sections to be improvised by instrumentalists
  • Introduction, coda, modulations and other variations

An arrangement is often an adaptation of a previously arranged piece of music for a musical application other than that for which it was originally meant. This includes arrangements for different instruments, e.g. an arrangement for piano or flute, or a duet, based on a symphonic piece, or an arrangement of instrumental accompaniment for vocal music). Or, it may be an adaptation for another musical style, e. g. adaptation of a classical piece for a jazz or rock ensemble, orchestration of a song written by a popular band, or an a cappella setting of a song from a stage musical or an opera.

This information taken from: www.en.wikipedia.org

Writers & Publishers

No. You cannot belong to more than one society at any time. COSCAP has a number of reciprocal agreements with societies worldwide and as a result, its members’ works are administered by these societies in their respective territories and any royalties collected for COSCAP’s members are sent to COSCAP.

Writers & Publishers

COSCAP pays its members strictly on the basis of the use of their works as reported in the programme returns (logs) provided by the broadcasters, in the live performance sheets submitted by members and from the samples COSCAP carries out at licensed premises. Therefore, the more of your songs used and reported, the more money you will earn.

Writers & Publishers

COSCAP conducts surveys at various venues to determine the works used in live performances but we also encourage our members to complete the COSCAP Live Performance Sheets or where others are performing their works to have them complete the COSCAP Live Performance Sheets. The management of the venues is also provided with Live Performance Sheets to provide to artists. The information provided should include the list of all the songs performed and not only those written by you.

Writers & Publishers

COSCAP is provided with programme returns (logs) by the broadcasters, live performance sheets by members, playlists by promoters and also samples recorded music use at licensed premises. In the case of large concerts (where more than $5,000.00 in royalties is collected) all of the information about the works used is analysed to find out whose works were used. However, this is not possible for all types of music usage as it is simply not cost effective. In these cases, samples are used.The royalties collected are distributed according to these analyses and songwriters and publishers are paid in accordance with this information.

Writers & Publishers

The music publisher is the person who will exploit the song. He/She will promote the song, promoting and helping to secure a record deal. The publisher will normally pay the writer an annual advance on account for future royalties but the writer is usually required to give the publisher an assignment of rights. This means that there has been a transfer of ownership of copyright to the publisher. This must be in writing and the publisher will make a deal with the writer(s) to share revenue; in Barbados this is normally 50:50 but it can vary.

Writers & Publishers

Creative works which include songs, books, works of art, photos, dramatic pieces amongst many other things are protected under the Barbados Copyright Act 1998 by the sole fact of creation irrespective of their content, quality and purpose, as long as they are recorded in a tangible form. Copyright is generally protected during the life of the author and for fifty years after his death.

Years ago in order to have copyright protection you had to place the copyright © notice on the work. However, to be eligible for certain types of damages and costs this practice still remains in some countries.

The four elements of a copyright © notice are as follows:

  • The term Copyright
  • The year of Copyright
  • The name of the copyright owner
  • The phrase “All Rghts Reserved”

Nonetheless, if a dispute over ownership of a work arises, the copyright owner will have to prove ownership and that he/she owned the work at a particular date. One system used to establish ownership is as follows:

Place a copy of the work to be protected in an envelope and seal it. Go to the Post Office and register the package to your home address. Do not open it when it arrives; instead, store it safely.

If later you have a problem in the form of an infringement (where someone else claims to be the author) go to a lawyer with your registered mail. That becomes your evidence of ownership.

Writers & Publishers

If you are a member, you may register your works before they are published but you must remember to update COSCAP on all details if you sign with a music publisher or if there is any change on release.

Writers & Publishers

Upon joining COSCAP or any similar Collective Management Organisation (CMO), the member transfers control in his/her songs and/or recordings to the (CMO) for administration. COSCAP as a matter of policy will not agree to such requests as it prevents us from operating in a consistent manner and ultimately results in a loss of earnings to the member. Further, the rights in a song or recording are not usually owned by a single rights-owner and clearance by one will not affect the rights of other parties in the work or recording.

Performers & Producers of Sound Recordings

The studio producer is the person who will make the song commercially attractive. In many cases the producer will be paid a fee for each track which could be flat and not recovered or it could be an advance against royalties, or a mixture of both, part flat fee and part advance.

The producer will normally have to assign all copyrights they have in the sound recordings to the record company. If the producer performs on the recordings by playing an instrument or programming a keyboard, he may be entitled to the same rights as any other performer (related rights). If he has contributed to the writing of the song he may also have rights as a co-author.

Performers & Producers of Sound Recordings

The rights of performers and producers of sound recordings are distinct from those of writers and publishers. The rights of performers are often called the related rights of copyright or simply related rights or sometimes neighbouring rights. However, the producer of sound recordings is granted copyright in the sound recording.

Performers & Producers of Sound Recordings

No, the rights of performers and producers of sound recordings exist in recorded works only and not in live performances. Therefore, on behalf of its performer and producer members COSCAP only collects licensing fees for the broadcast and public performance of recorded works.

Performers & Producers of Sound Recordings

The music producer is responsible for the creative mix, making technical adjustments to the song and guiding the performers whilst liaising with the sound engineer to ensure technical quality and marketability. Very often the music producer will also be a sound engineer and an arranger.

Unlike the music producer, a producer of sound recordings is the main investor of the project and may not necessarily have any hands-on participation. Generally, the producer of sound recordings will be the record label.

Performers & Producers of Sound Recordings

Organisations like COSCAP are known as Collective Management Organisations (CMOs).  They represent the interests of their members and international affiliates by licensing the copyright in their works to the users of music and paying royalties to members and international affiliates based on the reported use of their music by licensed users.  However, the activities of CMOs  extend beyond the collection and distribution of royalties and include the advancement and defence of the interests of authors including lobbying for legislative changes, recognition of the rights of authors and their welfare and the promotion of creativity.


The term “related rights” or “neighbouring rights” refer to the rights of performers in respect of their performances, the rights of producers in respect of their sound recordings and the rights of broadcasting organisations in respect of their broadcasts.  These rights are similar to copyright and are managed in the case of the rights or performers and producers very similarly by collective organisations where the public performance of sound recordings is licensed and remuneration collected for the broadcast of sound recordings.


Intellectual Property Rights protect the applications of ideas and creative expressions. This is achieved through the regulation of various types of intangible property – the most well-known being patents, trademarks, copyrights and trade secrets. This protection is given in order to foster innovation; creators are provided the opportunity of economic rewards and to recover investment through the grant of exclusive rights.

The main rights granted are:

  • Patents: The patent system rewards the financial investment, time and effort made in carrying out research whilst at the same time increasing the pool of knowledge and technological growth through the disclosure and commercialisation of inventions.

  • Trade/Service Mark: A trade or service mark is a visible sign used with or in relation to any goods or service for the purpose of distinguishing in the course of trade or business the goods or services of one person from those of another person. Therefore, marks play an integral role in branding and marketing by helping to prevent confusion about goods and services amongst consumers and in this way they also encourage competition.

  • Industrial Designs: An industrial design is defined under the Barbados Industrial Designs Act as: 

    • any composition of lines or colours; or

    • any 3 dimensional form whether or not associated with lines or colours that gives a special appearance to the product of industry or handicraft and serves as a pattern for a product of industry or handicraft.

  • Copyright and related rights: protect the original expression of authors and grants them many exclusive rights, including the basic right of reproduction. Copyright protection automatically subsists in all works of authorship from the moment of creation and protected works may include: literary works, musical works, sound recordings, dramatic works and pictorial, graphic and sculptural works amongst many others. The Barbados Copyright Act 1998 also offers protection for other types of intellectual property including integrated circuits (semi-conductor topographies), geographical indications and new plant varieties in addition to protection against unfair competition.

  • Piracy is the unauthorised copying of an original recording for profit. Pirated products will often have a different package than the original product and will often take the form of previously non-existing compilations.

  • Bootlegging is the recording of live or broadcast performances without the permission of the performers, songwriters or the record company which are then copied and sold.

  • Counterfeiting is the copying and packaging as closely as possible of the original product with the use of the trade marks and logos of the record label such that consumers are misled to believe that they are purchasing original product.


As an internationally recognised society with reciprocal agreements which ensure that you are compensated for the performance and reproduction of your works worldwide and that your rights are protected, COSCAP offers its members quality copyright management services. COSCAP has an open door policy and members’ needs are its number one priority and a personal relationship is maintained with each member by our qualified members’ relations staff. COSCAP often hosts educational seminars and publishes educational material for its members. Additionally, COSCAP offers specific programmes for members.


ACCS  is the umbrella body of copyright societies in the Caribbean. The genesis of the Caribbean Copyright Link began following a 1997 meeting of the CARICOM Ministers with responsibility for Intellectual Property when the World Intellectual Property Organisation (WIPO) was requested to carry out a feasibility study of a regional approach to the collective management of copyright and related rights.

This led to the formation of the Copyright Society of Composers, Authors and Publishers Incorporated (COSCAP) in Barbados, the Jamaican Association of Composers, Authors and Publishers Limited (JACAP) in Jamaica and the Hewannora Musical Society (HMS) in St. Lucia. There was already a national society in Trinidad and Tobago, the Copyright Organisation of Trinidad and Tobago (COTT) which was established in 1985. Together, these four societies are the founding members of the CCL.

The registered office is located in Port-of-Spain, Trinidad and the ACCS secretariat functions primarily to reduce costs and to assist member organisations with the sharing of data and the management of works.


The International Federation of the Phonographic Industry (IFPI) is an international association which represents the interests of the recording industry (producers of phonograms) internationally. It has over 1,450 members worldwide and affiliated industry associations in 48 countries. Its activities and interests include fighting music piracy, the promotion of fair market access, the development of adequate copyright legislation worldwide, promoting the value of music in economic, social and cultural development, lobbying, undertaking litigation and public relations.


The International Confederation of Societies of Authors and Composers (CISAC) was established in 1926 by 18 of the copyright societies that were then established and amongst which cooperation developed through bilateral agreements for the mutual representation of each other’s repertoire (reciprocal agreements) . CISAC was created as a result of the need for an international body to coordinate the activities of these societies and the more efficient protection of copyright worldwide. Its membership consists of over 200 societies world wide administering not only musical works but many fields. COSCAP has been a member of CISCAC since 2001 and it is by virtue of its reciprocal agreements that it is able to administer the works of the members of other member societies in Barbados and at the same time, the works of the members of COSCAP are administered internationally by sister societies.


By law, copyright owners have the exclusive right to authorise or prohibit any of the following acts in relation to their works:

  • Copying (reproducing) the work in any way – an example of copying is the recording of live music and the re-recording of a phonorecord.

  • Distributing copies of the work to the public.

  • Performing, showing or playing the work in public. Examples include playing sound recordings and showing films or videos in public and allowing a broadcast to be seen or heard in public which involves the performance of music and other copyright material contained in the broadcast.

  • Broadcasting the work or other communication to the public by electronic transmission.

  • Making an adaptation of the work by making changes to the original work, for example by changing the lyrics.

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