{"id":21287,"date":"2026-10-08T12:50:46","date_gmt":"2026-10-08T12:50:46","guid":{"rendered":"https:\/\/interspacemusic.com\/blog\/abramus-addresses-composer-rights-in-buy-outs-and-ai-training\/"},"modified":"2026-10-08T12:50:46","modified_gmt":"2026-10-08T12:50:46","slug":"abramus-addresses-composer-rights-in-buy-outs-and-ai-training","status":"publish","type":"post","link":"https:\/\/interspacemusic.com\/blog\/abramus-addresses-composer-rights-in-buy-outs-and-ai-training\/","title":{"rendered":"Abramus addresses composer rights in buy-outs and AI training"},"content":{"rendered":"

Abramus<\/strong> is addressing composers\u2019 remuneration under audiovisual buy-out contracts and the use of protected works in artificial intelligence (AI)<\/strong> training. Both raise questions about creators\u2019 share of revenue.<\/p>\n

Diogo Rocha<\/strong>, Abramus\u2019s director of Music in Audiovisual, says independent composers can face unequal bargaining conditions when negotiating with large platforms.<\/p>\n

Rights transferred under buy-out contracts<\/h2>\n

Buy-out contracts can provide for broad transfers of rights in exchange for an agreed payment. Music created for an audiovisual production may continue circulating on streaming services and generating revenue long after the initial agreement.<\/p>\n

\u201cThe independent composer often negotiates with a giant platform under very unequal conditions. They get paid for that work and pay the month\u2019s bills, but how can we ensure they continue sharing in the value generated by a work that may circulate for many years?\u201d<\/p><\/blockquote>\n

When global platforms bring contractual practices from other legal jurisdictions to Brazil, negotiations need to address both the fee and the scope of the rights transferred.<\/p>\n

Brazil\u2019s Copyright Law requires an assignment to specify its subject matter, duration, territory and price. Composers need to understand which rights they are transferring, for how long, where and for which uses.<\/p>\n

Protected works in AI training<\/h2>\n

AI raises a separate question: the use of existing works to train systems capable of generating new content.<\/p>\n

For rights holders, the issue begins before music is generated: which works were used in training, under what conditions, and how authorization, transparency and remuneration are ensured when protected works are included.<\/p>\n

\u201cIf a technology uses third parties\u2019 works to generate value, recognizing and remunerating those creators should not be seen as an obstacle to development,\u201d Rocha said.<\/p><\/blockquote>\n

In 2025<\/strong>, Abramus participated in a public hearing of the Chamber of Deputies\u2019 Special Committee on Artificial Intelligence<\/a> and followed the committee\u2019s work.<\/p>\n

It also held three editions<\/strong> of the seminar \u201cCopyright in the Age of Artificial Intelligence\u201d:<\/p>\n