SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
Distribution Rules
prescribing the fundamental principles for distributable income collected for the use of musical works
with or without lyrics on behalf of all entitled rights holders
Part I.
Fundamental Principles
Article1
Collective Management – fundamental principles for distribution of royalties and private copying
remuneration
Collective rights management adopts a unified approach to music rights management, for the benefit of
all rightful authors and rights holders. Fundamental principles are stipulated by Act 185/2015 Coll. The
Copyright Act as amended by later legal regulations (hereinafter referred to as “Copyright Act”), SOZA
Statutes, Principles of collection, distribution and payment of income generated by collective rights
management, Special principles for the use of licensing royalties, equitable remuneration and additional
royalties collected by SOZA in case of which the rights holder to whom they belong cannot be identified
or found, and private copying remuneration.
Other principles applied in distribution of royalties are:
1. Verification: The Supervisory Board performs random checks before the end of the distribution
cycle. The review of accuracy of input data is carried out by comparing the actual data and data from the
previous distribution.
2. Examination of the Revenue Calculation: Data used for calculation of specific revenue will be
made available to the rights holder upon his/hers request for examination. Written confidentiality
agreement is mandatory for disclosure of confidential information required for such examination. If a
confidentiality agreement cannot be reached, rights holder may appoint an elected Member of a SOZA
Supervisory Board.
Should SOZA have any doubts regarding the content of usage data submitted by a licensee, the
Supervisory Board is authorised to contact the rights holder to rectify this situation, and if required to
suspend royalties distribution for this work, even to remove the work from distribution.
The Supervisory Board may reject any such listing, should the rights holder fail to prove such doubts to
be unfounded, within the specified deadline; revenue will be then reassigned for unidentified revenue
distribution.
Supervisory Board of SOZA is entitled, for the needs of the distribution, to exclude all lists of performed
works at events SOZA has been informed that they did not take place.
The actual use of musical works is the subject to distribution. Should the consent with the use of musical
works pursuant to Copyright Act (the licence) not be exercised by the user at all, or only partially, there is
no entitlement to the distribution of notified musical works that have not been used.
3. Contractually non-represented author shall have the same extent of rights to remuneration
and private copying compensation as authors contractually represented by SOZA.
4. Claims: Rights holder is eligible to submit a claim, in the event of erroneous calculation of his/hers
royalties’ distribution or a mistake in input data. For input data amendment, rights holder is obliged to
submit verifiable details on usage of work. Royalties collected based on individual claims are payable
immediately.
5. Public performance of musical work by using playback or half-playback and the experimental music
are distributed in the same way as life performance of the musical work.
6. List of performed musical works (list): Rights holder represented by SOZA shall not manipulate the
correctness of the figures included in the list or to ask the user of musical works to include false
information in the list. Should data be identified in lists of performed musical works as untrue pursuant to
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SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
the first sentence of this paragraph, prior to concluding the distribution of royalties and private copying
remuneration, the Supervisory Board of SOZA is entitled to exclude such list of performed musical works
from the distribution and at the same time it is entitled to request compensation of expenditures related to
the distribution correction based on untrue data and possible damage compensation from the
represented rights holder, who is responsible for untrue data based on his actions, and to charge the
compensation payment by deducing it from the royalties of the represented rights holder in accordance
with relevant legal regulations. Besides expenditures payment and damage compensation, in case the
represented rights holder has already been paid his royalties based on untrue data pursuant to the first
sentence of this paragraph, the represented rights holder is obliged to deliver the amount of royalties he
has enriched himself based on untrue data pursuant to the first sentence of this paragraph without any
delay.
SOZA and its representatives (e.g. inspector) shall be allowed to access any public performance of works
belonging to rights holder represented by SOZA in order to verify the correctness of the list provided by
the user. In case SOZA representatives are not allowed to access the public performance of works
belonging to rights holder represented by SOZA, the Supervisory Board is entitled to decide on the form
of distribution of the royalties in question (e.g. full census distribution or distribution per analogy).
By rights holder it is meant an author, an heir of copyrights and a person exercising property rights of the
author pursuant to the Copyright Act.
Part II.
Article 2
SOZA’s Operating Costs
SOZA shall deduct charges from relevant collected amounts from users for the current calendar year in
compliance with the Copyright Act, SOZA principles and regulations and international agreements SOZA
is bound by.
Article 3
Collective Rights Management Provisions
SOZA distributes royalties for musical works it has been granting authorisations for their use and collects
royalties in respect of them:
- Under Membership Agreements;
- By virtue of the Copyright Act;
- Under international agreements concluded with collective rights management organisations abroad.
Duly and timely musical works registration and their classification by the Classification Committee, nonexclusion of collective management by the rights holder for the distributed collective management area
and the royalty paid by the user, together with the relevant notification on musical works use, if
necessary, are fundamental conditions to distribute royalties.
In case of rights holders represented by SOZA exclusively by virtue of the Copyright Act, the condition to
distribute royalties is also to submit an application for royalties’ distribution duly presenting data on their
use in the relevant period of time and the notification of the user on the scope of works´ use.
Article 4
SOZA Repertoire
1. SOZA Repertoire comprises of all musical works with or without lyrics, assigned by its authors and
right holders to be represented by SOZA, in a signed Membership Agreement; provided that these works
are documented in SOZA’s registrations with all details necessary for their identification. SOZA repertoire
comprises also works of foreign rights holders represented by SOZA under international agreements
concluded with collective rights management societies abroad, if the collective rights’ management was
not excluded by those rights holders. SOZA repertoire comprises also of works made by authors
represented exclusively by virtue of the Copyright Act. Specimen of a Work Registration Form and
specimen of Work used in Film Cue Sheet can be found under Appendix no. 3 and 4 of this Distribution
Rules. In addition to paper form of registration of works, authors can report new works also in electronic
form via ISPA web portal (after meeting conditions for its use). The Distribution Rules set forth herein are
also fully applicable to electronic registration.
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SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
2. All eligible rights holders register with SOZA their relevant part of the musical work of which they are
rights holders, whereas they are obliged to present other eligible rights holders, too. Rights holders of
music used in a film submit at the same time also a film registration form. This requirement applies to all
musical works composed for film (regardless of the genre - feature film, animation, documentary,
distribution, TV...), including the use of archive music with copyright clearance from the author
(synchronisation rights). Distribution of royalties for a musical work is executed by SOZA in compliance
with all data on rights holders on the musical work available to SOZA, providing that data available are
not in conflict, or in case the author did not dispute the co-authorship or an approval to merge works with
respect to works that have already been notified to SOZA by other rights holders of the aggregate work.
3. In the event of conflicting details in registrations of a musical work, royalties will not be included in
the distribution; SOZA will request rights holders to rectify this within one year, or to inform SOZA about
taking the matter to court. If no further information is submitted within the period of one year, royalties are
to be distributed according to the registration submitted at an earlier date, until proven otherwise.
4. The Classification Committee assigns each registered musical work into appropriate category. A
musical work in one arrangement can be registered once and assigned to one category only. Should it be
necessary for a duly classification of the work, the Classification Committee may interrupt the
classification procedure of the work and request additional supporting documents and information. Should
the notifier not provide the Classification Committee with necessary additional information, the work shall
be assigned in the lowest possible category of the respective genre according to available supporting
documents.
5. Every work assigned receives a point value based on the musical works’ points table for the
repertoire of SOZA. Points Table can be found under Appendix 1 of this Distribution Rules Document.
6. Rights holders represented by SOZA are obliged to register their works immediately after their
creation, prior to their publication. In February of the respective calendar year SOZA shall send an
inventory of works registered within the last year to rights holders or another agreed procedure having the
same purpose shall be applied. Works with missing SOZA notification and classification at the time of
processing the royalties distribution shall not be included in SOZA distribution for the given distribution
period; these works shall be exclusively subject to regime of additionally applied rights of noncontractually represented authors (Articles 8 and 9).
Article 5
Exclusion of Collective Rights Management
1. Each SOZA member is obliged to inform SOZA in written about the exclusion of collective rights
management at least one month before the contract with the user is concluded, through which he grants
his approval to use his works, otherwise collective rights management shall be deemed as not excluded
and the member as continuously represented in the extent previously agreed.
2. SOZA member shall specify in his written notification the area or areas of collective property rights
management, in which he excludes the collective rights management.
3. Written form shall mean a document with rights holder’s signature certified by a notary to be delivered
to the registered seat of SOZA in person or by mail. The written form is observed in case it is sent by an
email from email address given by the member in the Representation Agreement, with an attached scan
of the document with a certified signature.
SOZA shall take the representation over in an area or areas in which the member excluded collective
rights management, based on the written application no sooner than after 6 months after the rights
holders’ will about the exclusion of collective rights management is delivered to the registered seat of
SOZA.
Should the rights holder excluded the collective rights management in some area of collective rights
management, SOZA shall not distribute royalties in that area to him, nor the respective share in
unidentified fees.
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SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
Article 6
Revenue Distribution Schemes:
Performing rights
- Public performance of a work - concerts, Major Live Concerts (i.e. royalty paid to SOZA exceeds 650€)
and other public performances
- 2/3 of radio broadcasting, including transmission by cable retransmission;
- 2/3 of TV broadcasting, including transmission by cable retransmission;
- Other forms of a communication to the public, except of on-line transmission that is considered a
separate category from the point of view of the distribution due to performing and mechanical rights’
use;
- Film distribution
Mechanical rights
- production and sale of audio and audio-visual media
- ½ of radio and TV broadcasting
Private copying remuneration and other unidentified revenue
- blank audio and audio-visual media, manufacture and import of devices for audio and audio-visual
media production, rental fees for pre-recorded audio and audio-visual media, etc.
Online
- making available and communication to the public via internet or mobile networks
The royalties are distributed for the relevant collective rights management area by course of the
Copyright Act. Should there be more areas represented in the given way of use, they will always be
rounded by ¼ (i.e. to be represented in values of 0, 25, 50, 75, 100%).
Should SOZA be notified by the user about the proportional share of individual collective rights
management area, that share will be used in the calculation (after the amount being rounded), if not, the
corresponding share in the table “Standard share of representation of collective rights management
areas in corresponding way of musical works’ use” will be used.
Rights holders who excluded collective rights management in the given collective rights management
area, shall not participate in distributed royalties in relevant proportion. In case of foreign rights holders,
relevant “IPI” rights notified by respective foreign collective rights management organisation shall be
decisive.
Article 7
Revenue Distribution Provisions
1. Broadcasting (Radio, TV), cable retransmission and other forms of communication to the public
Broadcasting duration is registered for every musical work to compile statistical documentation for
broadcasting on radio and television. Minutes in excess for works and its variations within the category of
special functions’ music used over 1000 minutes in one calendar year by one broadcaster are calculated
using a constant of 0.5. Should the time of 10.000 minutes be exceeded, the constant of 0.1 shall be
used for distribution.
Revenues for retransmission of broadcasters licensed by SOZA are distributed in the very same way as
the royalties collected from these broadcasters.
Revenues for retransmission of works on behalf of foreign broadcasters are passed by SOZA to be
distributed to relevant foreign partner organisations that granted licenses for the first broadcasting or to
those that offer the most precise distribution, in compliance with CISAC binding rules, to rights holders
whose works were actually used in broadcasting of the localised programme version of the given
broadcaster. In case such an offer does not exist or the offer does not provide for an identified distribution
exactly corresponding to the broadcasted programme, SOZA shall distribute the corresponding royalty as
unidentified revenues.
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SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
Revenue collected for the Slovak Radio and Television (RTVS) for the periods when the company still
operated under two separate entities shall be divided in two parts by SOZA, one for to the television
channels distribution and the other for the radio.
90 percent of revenue collected from RTVS radio channels is allocated for distribution payments for
works used on the channels: Rádio Slovensko, Rádio Devín, Rádio Regina, Rádio FM, Rádio Patria,
Rádio Slovakia International. Registrations from these selected radio channels will be used as a sample
for distribution of unidentified works through per analogy method (Article 7, paragraph 7). The remaining
10 percent shall be distributed for musical works used by the other programming services of RTVS. Other
radio programming registrations submitted by RTVS will not be used as a sample for unidentified works
distribution through per analogy method (Article 7, paragraph 7).The above applies only in case that no
internet or similar transmission is included in respective agreements.
Royalties for other forms of communication to the public, except of making works available to the
public (on-line) are distributed as unidentified royalties using per analogy method (as e.g. for
radios and TV sets in public premises etc.).
2. Public performance of work (Music performed at concerts and other public performances)
Each public performance is registered for every musical work in order to calculate total number of
performances. Revenue from Major Live Concerts is distributed separately; SOZA considers that works
performed by the Supporting act (performing artists) are equivalent to musical works performed by the
Headline act (performing artists). Registrations from Major Live Concerts shall not be used for calculation
of unidentified royalties using per analogy method (Article 7, paragraph 7).
Other live performances are distributed in so-called “pools” according to the following rules:
First pool includes live performances of musical works by performing artists during a concert.
The essential part of a concert is the live performance of musical works by performing artist, which is
dominant within the given event in terms of duration and importance. Should there be also a spoken part,
short dancing element, visual effects or possible dining, etc., in comparison to the public performance of
musical works these represent only a marginal part of the given event – the concert.
Similarly, live performances of musical works performed by performing artists in other type of events as
the concerts are distributed within this pool.
These events includes, besides live performance of musical works by a performer, also a spoken part,
dancing elements, visual effects, dining or any other way of presenting musical works and that part of the
event, in comparison to concerts (point 1), represents a full valued part of the event. Examples of events
in that category are e.g. dancing performance, ball, dancing party, other entertainment or competition
programme, a talk show or a whole-day event, e.g. village fairs, markets, grape harvest feasts, etc.
Notifications from this so-called pool shall be used as pattern for the distribution of unidentified revenues
using per analogy method (Article 7(7)) with the constant of 1.
First pool is divided in four parts for the purpose of full census distribution based on the amount of
royalties paid by user to SOZA. First part comprises performances with the royalty paid to SOZA
amounting up to 100€ incl., second part from 100€ to 200€ incl., third part from 200€ to 400€ incl. and
fourth part from 400€ to 650€ incl. Authors´ royalties are subsequently distributed separately in every part
of the pool by using the full census pooling principle.
The second pool includes live performances of musical works used as background music at dining or
other consumption.
It is a special category of events where live performance of musical works has got primarily a role of
accompanying other activities. The purpose of such live performance of musical works is especially to
create an atmosphere where the performance of musical works itself is not the primary activity of the
given event and in comparison to this primary activity it is mainly a marginal part of the event.
Notifications from this so-called pool shall be used as an example for the distribution of unidentified
means using per analogy method (Article 7(7)) with the constant of 0.2.
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SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
Separate pool distribution includes (Article 7, paragraph 7) live performances, reported at least 50 times
in one calendar year with minimum of 50% common copyright protected works or 20% common copyright
protected works performed by the same performing artist or band at the same place.
For the avoidance of doubt, this pool may include live performances reported without any common
copyright-protected works but still having common copyright-protected works with other live performances
in this pool (i.e. for every performance out of these live performances there exists at least one live
performance in this pool that is accompanied by a report containing the requested number of common
copyright-protected works).
Other works eligible for this pool distribution are those performed live at the same place (hotel, spa, etc.)
by the same performing artist or a band, with a playlist including at least 20% of common copyrightprotected works, performed more than 26 times in one accounting calendar year. Unprotected works,
song repetition or change of order of the songs will not be considered for the purpose of distribution.
Usage data coming from this joint pool shall not be used for distribution of unidentified works by per
analogy method (Article 7, par. 7).
The following rules apply for all public performances of musical works:
Should the user of musical works deliver a list of performed musical works at public cultural events to
SOZA several times a year and those events did not take place, without notifying SOZA about it, the
Supervisory Board may decide not to include all lists of performed musical works of such user for the
given year in the distribution.
Distribution of the revenue collected from public performances and concerts is performed as follows:
Based on information available to SOZA, partial uses of a work are added up for the respective calendar
year, rounded up with preference for 1 performance. In the event of missing information about the length
of work used, average is calculated from the overall length of the concert and number of works
performed. Educational concerts are calculated using a 40 minute overall length, unless reported
otherwise.
Music installations are for distribution purposes considered as public performances and are distributed on
individual bases. Use of work in a day is considered as one use and usage data for this use of work shall
not be used for unidentified distribution using the per analogy method (Article 7, par. 7).
Royalties for the use of musical works by public performance in form of technical performance, as for
example the recording equipment in a restaurant, bar, café, etc., shall be distributed by SOZA as
unidentified revenue using per analogy method.
3. Film: TV-Film, Cinema-Film and Video
Number of screenings is registered for every musical work to compile all the statistical documentation.
Share of the revenue is calculated from the number of seconds of works belonging to respective rights
holders in proportion with the total duration of the film music, according to the Distribution Keys of SOZA.
It means that the classification of works and their value of assigned points are not taken into
consideration when calculating the royalty.
4. Mechanical rights - sound and audio-visual carriers
Revenue collected for mechanical rights is fixed per carrier; sum is then distributed to each work included
on the sound carrier. Distribution Keys of SOZA (Appendix no.2) apply to revenue distribution to rights
holders.
5. Online Distribution
Distribution of revenue collected from online usage of works is performed according to one of the
following three methods:
a) Full census distribution according to usage reports. Revenue is divided before distribution in two parts:
first part is to be distributed according to Distribution key applicable for performing rights; second part is
to be distributed according to Distribution Key applicable for mechanical rights in accordance with the
usage of works:
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SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
Performing rights’
split (%)
Mechanical rights’
split (%)
Download, ringtones
25
75
Tethered download
50
50
Streaming, webcasting
75
25
Usage of works
Royalties are subsequently calculated on the basis of sums paid by the user for the respective individual
work. If it is not possible to determine the sum in question (e.g. in case of lump sum payment by user) or
SOZA is not able to determine this sum during the distribution period, royalties shall be distributed
according to statistics related to number of usages of individual works. Duration of work and its
classification are not taken into account similarly to film distribution.
b) Indirect attribution by using per analogy method. The respective revenue is distributed as unidentified
revenue.
c) Mixed distribution. Revenue collected for the most used works are to be distributed in full census
according to rules set in par. 5a) above. Revenue collected for works with usage ratio that does not reach
the limit set with respect to specific user and usage of works is distributed as unidentified revenue
according to rules set in par. 5b). Limits are defined by the Supervisory Board pursuant to the principle of
effectiveness. In case of the licence model where SOZA has to claim royalties for the works included in
SOZA repertoire, also the royalties for the works where the extent of use did not reach the defined limit
may be distributed in full census.
Rules for online distribution may be changed in particular cases e.g. due to atypical agreements, new
forms of usage of works, multi-territory nature of agreements and users or international agreements with
collective rights management societies abroad.
6. Non-distributable royalties
Non-distributable royalties are those royalties collected by SOZA where it is not possible to identify or find
the rights holder to whom they belong.
When dealing with non-distributable royalties SOZA follows the provisions of Copyright Act, Special
principles for the use of licensing royalties, equitable remuneration and additional royalties collected by
SOZA in case of which the rights holder to whom they belong cannot be identified or found and private
copying remuneration, and other SOZA regulations.
7. Private Copying Remuneration and other Unidentified Revenue
Private Copying Remuneration and other unidentified revenue are distributed proportionally and
analogically with the distribution of similar usage of works according to statistical usage data from
broadcasters and organizers of live events and public performances of musical works.
If not stipulated otherwise, the Supervisory Board of SOZA adopts decision which royalties shall be
distributed as unidentified, based on criteria of economical and effective collective rights management.
In case of processed statistical usage data for live performances, coefficients according to Article 7, par.
2 of Distribution Rules shall apply for distribution of unidentified revenue.
Coefficient of 1 shall apply in case of processed statistical usage data from television broadcasting
organisations.
Processed usage data from all radio broadcasters used for full census distribution shall be used also for
distribution of unidentified revenue with a final coefficient attributed to every radio station resulting from
fulfilment of the following criteria during the given distribution period:
(1) Share of the repertoire in Slovak language.
(2) Share of classical music, jazz music and extraordinary works from other genres – more specifically,
works belonging to categories V1 to V10, P5, P6, L6, H6, X of Distribution Rules and equivalent
categories from the former distribution rules, i.e. A1 to A9.
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SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
(3) Broadcasting share of original and custom production.
(4) Broadcasting share of live production or more precisely of live recordings.
(5) Share of subedited music related contributions.
(6) Share of regional repertoire.
(7) Share of all other genres except popular music in overall broadcasting transmission.
(8) Share of repertoire of young authors/composers (age below 30 years).
(9) Share of proper music events in connection with broadcasting (festivals, concerts, etc.)
(10) Heterogeneity of program measured according to number of different works used by radio station.
Final coefficient for broadcasting station is calculated by division of radio station´s fractional coefficients
with the number of criteria.
Criteria (1) and (2) are awarded with the following fractional coefficients based on level of their fulfilment:
- Level 1: 1 point
- Level 2: 3,5 points
- Level 3: 6 points
- Level 4: 8,5 points
- Level 5: 11 points
Criteria (3) to (10) are awarded with the following fractional coefficients based on level of their fulfilment:
- Level 1: 1 points
- Level 2: 3 points
- Level 3: 5 points
The Supervisory Board of SOZA adopts decision on the fulfilment of particular criteria and on the level of
fractional coefficients with respect to every radio station.
In case of insufficient information on fulfilment of the particular criteria, Supervisory Board of SOZA can
apply the value of 1, average value of the given criteria, maximal value of given fractional coefficient or
value from the previous distribution (if known).
All program services of RTVS used as a sample for distribution of unidentified revenue through per
analogy method shall be assigned with one joint final coefficient.
If it is not possible to evaluate figures for given distribution period, figures from previous distribution are
used for calculation.
8. Unauthorised adaptations, reduced use of works
SOZA considers unauthorised adaptations as a use of the original work including lyrics, unless there has
been a reduced version registered with SOZA by the author.
9. Distribution of royalties from abroad
Royalties received from affiliated collective management societies from abroad are distributed based on
received distribution information. Distribution is subject to the rules of the affiliated society and the
Reciprocal Representation Agreement in place between SOZA and the affiliated society.
10. Distribution of royalties to be paid abroad
Collection, management and distribution of royalties for all types of use of musical works on behalf of
foreign rights holders, members of affiliated societies SOZA has entered into representation agreements
with, is subject to distribution rules applicable to SOZA Members.
Documentation (e.g. CIS-Net data, fiche international, cue-sheet) and statistical data received from
abroad are used to assign point values to respective musical works. Point value to all foreign musical
works is assigned by the Classification Committee of SOZA.
Distribution of royalties for works with incomplete documentation is subject to international provisions for
royalties’ distribution (so-called CISAC Binding Resolutions).
In case of foreign rights holders where the postal charge and bank transfer fee are higher than royalties
themselves, SOZA does not pay the royalties immediately but only after the royalties exceed those
amounts.
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Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
Pursuant to the Copyright Act and international agreements concluded with collective rights management
societies abroad SOZA is entitled to deduce up to 10% from the royalties for the use of performing rights
of foreign collective rights management societies on the territory of the Slovak Republic and to use them
for social and cultural purposes pursuant to the Copyright Act and the Statutes of SOZA Social and
Cultural Fund.
Article 8
Distribution Schedule and Royalties Payments
Distribution period for all types of use of musical works is usually one calendar year.
Royalties’ payments for performing rights (live music performance, TV, radio and film) are distributed to
represented rights holders once a year, usually by the end of June of the following year and not later than
by the end of September of the following calendar year in which the royalties were collected, for foreign
rights holders no later than till the end of September of the following calendar year in which the royalties
were collected.
Royalties’ payments for performing rights (live music performance, TV, radio and film) are distributed to
non-represented rights holders once a year, usually by the end of September of the following year.
Submission of the Application for Royalties’ Payments and registration of the works submitted to SOZA
no later than March 31 of the corresponding calendar year is a prerequisite for royalties’ payment to a
non-represented rights holder.
Distribution of revenue from Major Live Concerts is paid on individual basis, according to time required for
data processing in accordance with provisions of the Copyright Act.
Royalties’ payments for mechanical rights – sale of sound and audio-visual records - of the represented
rights holders are paid at least once a year, usually every 6 months, no later than till the end of
September of the following calendar year in which the royalties were collected. Royalties are distributed
in group payments, after all balance due has been received from the sound and audio-visual records’
producers.
Distributed royalties and publisher´s shares are credited to personal accounts of represented rights
holders maintained in SOZA accounting. After all necessary deductions are withheld; royalties shall be
transferred without any delay in an agreed way (bank account, postal money order, etc.)
The rights holder shall be notified at least once a year mainly about the following scope of information
(separately for the use in the Slovak Republic and separately abroad):
-
name and international code of the rights holder;
identification of type of distribution;
names of individual musical works;
rights holders´ percentage share in the given musical work;
share in unidentified revenues;
all information the collective rights management society used to identify and find the rights holder;
amounts of attributed royalties and other payments;
amounts of paid royalties and other payments divided by collective rights management areas;
amounts of other attributed royalties and other payments that were not paid;
period in which subjects of protection were used for which royalties and other payments were
attributed and paid to the rights holder;
amount of efficiently spent costs pursuant to the Copyright Act, if the payment of these costs was
made by deduction from royalties and other payments;
amount of the contribution to the fund to support social, cultural and educational needs for the
benefit of members and rights holders;
whereas the scope of information on distribution from abroad may be reduced, taking the availability of
foreign supporting documents into consideration.
Authors are entitled to receive royalties from SOZA only in case SOZA has received the respective
royalty payment from the part of the user.
Should there be an obstacle on the side of the user or the rights holder hindering the distribution and
payment of revenues from the exercise of collective rights management in the period till the end of
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SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
September of the calendar year following the calendar year in which the royalties were collected, SOZA
shall pay that revenue within six months after that obstacle is eliminated.
Article 9
Reserve Fund, Claims and Non-represented Authors’ Rights Enforcement
SOZA is continuously creating a Reserve Fund for the purpose of reconciliation payments of royalties for
musical works based on validated claims of rights holders and additionally claimed rights of nonrepresented authors.
Reserve Fund is formed and managed as specified by its Statute.
Article 10
Distribution Claims
Details about forms and procedures of claims are specified by the Claims Rules of SOZA, available to
every rights holder.
Distribution claim procedures are applied mutatis mutandis also to non-represented authors’ rights
enforcements.
Article 11
Musical Work Classification Disputes and Claims
Details about forms and procedures of work classification disputes and claims are specified by the Claims
Rules of SOZA and SOZA Articles of Association which are available to every rights holder.
Article 12
Correlation between Distribution Rules and Other Internal Regulations of SOZA
SOZA Regulations derived from Distribution Rules cannot be in contradiction. Distribution Rules cannot
contradict the Copyright Act and SOZA Statutes.
Article 13
Transitional and Final Provisions
1. Distribution Rules become effective as of the day when approved.
st
2. Distribution Rules become effective as of January 1 , 2017 in relation to royalties collected since
st
January 1 , 2017. Article 7, paragraph 7 of Distribution Rules shall be effective in relation to royalties
st
distributed after January 1 , 2017.
3. Principle stipulated in paragraph 3 of Appendix no. 2 of Distribution Rules on the maximum amount of
publisher´s share amounting to 50% shall be effective for publishing agreements concluded after
st
January 1 , 2016.
The following Appendices form an integral part of these Distribution Rules:
Appendix no. 1 – Points Assignment to Musical Works & SOZA Points Table
Appendix no. 2 – Repartition Rules and Distribution Keys of SOZA
Appendix no. 3 – Specimen of Work Registration Form
Appendix no. 4 – Specimen of Work Registration / Work Used in Cinema, Documentary or TV Film
10
SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
Appendix no. 1 of Distribution Rules of SOZA
POINTS ASSINGMENT TO MUSICAL WORKS IN SOZA’S REPERTOIRE
1. Enforcement of the Copyright Act (CA)


Assigned works must comply with the following Copyright Act provisions, i.e.:
Section 3(1) of the Copyright Act regulates a condition related to all works, namely that the work is a
result of a creative and artistic activity of author, perceivable by senses;
Section 8(1) of the Copyright Act regulates that in case of alternation of a work being subject to the
copyright, it is a new work created by alternating another work.
Pursuant to the Copyright Act the written consent provided by the author(s) of the original work is an
inevitable condition to classify the alternated work. For the needs of correct distribution made by
SOZA, also information about the proportion shares of individual rights holders in work´s revenues
has to be submitted together with the consent for work alternation.
Compliance with the legal requirements is determined by the Classification Committee, as a
prerequisite for any decision on work assignment (Article 23.7 of SOZA Articles of Association).
Should the Classification Committee find that legal requirements had not been met, person registered
as the author of the work will be notified of this decision.
2. Definitions of terms
For the purpose of this table:
• sub-arrangement AR is understood to be an alteration of a work for the purpose of adapting it for
requirements of an orchestra, or other specified music instrument, voice or subject to the “CISAC’s
Categorisation of Rights holders”, while meeting the relevant provisions on work alternation of the
Copyright Act.
• The term arrangement SC used herein, refers to altering work in compliance with the relevant
provisions on work alternation of the Copyright Act.
• Term autonomous musical work, with or without lyrics, defines musical work designed for standalone
use as is, without any additional visual or audio context, such that is original work, and it does not form
a part of other musical work or adaptation of a musical work (musical works assigned to any category of
this table, except the special functions’ music category).
• Term special functions’ music applies to the following:
a) musical work with or without lyrics designed for use in visual or audio context,
or
b) use of musical work in a visual or audio context.
• Term opening and closing songs refers to songs with lyrics, used at the beginning or end of a
particular TV, radio programme or of a public event.
• Term signals refers to songs with lyrics, used at the beginning or end of a particular TV, radio
programme or of a public event, characteristic for a specific TV, radio programme or public event.
• Term jingle stands for a short tune used for segmenting blocks of TV, radio or public event
programming. Also are used for the so called sound branding.
• Term music in advertisement and trailer describes music used in advertising spots or trailer for a TV
or radio programme.
• Term background music refers to music used as audio background. Typically used as a background
for the main action, spoken word or written text, etc.
• Term loops refers to short sections of music material, free of any musical development, designed for
seamless repetition.
• Term large instrumentation describes in category P4, large dance or symphonic orchestra.
• Term brass band ensemble is defined in categories H2 & H3 as music for up to 17 instruments; term
large brass ensemble refers to a brass instruments orchestra consisting of 18 and more players,
falling under categories. H4 & H5.
• The term genre shall mean the area of classical music, popular music, musical folklore, brass music,
experimental music or special functions’ music pursuant to this Annex to Distribution Rules.
11
SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
3. Point Allocation to Musical Works
Points are allocated to a musical work as a whole, comprising a sum of points for all of its entitled rights
holders (refer to Appendix no. 2 - Distribution Keys of SOZA).
• Radio, TV, cable retransmission and other types of communication to the public, except of on-line:
Value of points in distribution of radio and TV broadcastings of musical works is assigned according to
classification of the musical work lasting 1 minute in the broadcasting.
• Musical works used for TV broadcast, in films, television series, etc., are calculated from the actual
duration used, with a coefficient of 0.2.
• Classification of works and respective value of assigned points are not taken into consideration in case
of distribution of musical works used on-line.
• Public performance – music performed live: Points for public performances are allocated for each
individual work according to its classification and its duration. Revenue is distributed according to the
total number of performances.
Classifications
of musical works according to precedent distribution rules of SOZA remain unchanged.
•
• For the use of any work classified within any of the categories in this table and used in radio or TV
broadcasting or as a special functions’ music, the revenue distribution is calculated by using the point
value according to the applicable point allocation in categories U2 to U8:
Opening and Closing Songs
Signals
Jingles
Loops
Advertisement and Trailer Music
Background Music
Point values of musical works
2
0,3
0,05
0,01
2
0,3
• Autonomous music used as background music is the exception, distributed with value of points equal to
10% point value of the musical work already classified to any of categories, except of special functions’
music.
• Works assigned to the P1, L1 to L5 & H1 to H4 categories receive point value specified by the
Distribution Keys (Appendix no. 2).
12
SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
V – CLASSICAL MUSIC
RADIO
TV
for 1 minute
V-1
V-2
Simple composition, including the arrangement or adaptation of
an existing work.
Composition for one solo voice or instrument
2
Public
performance
up to 5 min.
& for every
additional 5
minutes
10
4
20
V-3
Composition for one or more solo voices or instruments. Solo
vocal composition with and instrument. Instrumental Duet. l
10
50
Composition for A Cappella/Choir for up to 3 voices.
V-4 Instrumental or vocal-instrumental composition for 3 voices.
Composition for A Cappella/Choir for 4 to 6 voices
18
90
V-5 Instrumental composition for 4 to 6 voices (including
combinations for instruments variations with polyphonic
30
150
instruments, e.g. piano, harp, etc.)
Vocal Chamber composition / A Cappella 4 to 6 voices
V-6 Composition for String Orchestra for to10 movements
Vocal Chamber composition / A Cappella for 6 plus voices
36
180
vocal-instrumental composition up to 6 voices
V-7 Instrumental or vocal-instrumental chamber composition for 6
and more voices
40
200
Composition for solo instrument and orchestra
V-8 Composition for orchestra
Orchestral composition with solo part (parts)
48
240
V-9 Vocal symphonic composition (oratorio, cantata, part of an opera,
etc.)
52
260
V-10 Composition not meeting criteria for allocation to categories V1 to Individual allocation by the
V9
Classification Committee into
one to the existing categories
specified in this table
P – POPULAR MUSIC
RADIO
Public
TV
performance
for 1 minute
up to 5
minutes & for
every
additional 5
minutes
P-1
P-2
Simple composition, including the arrangement or adaptation of an
existing work.
Acoustic or Dance Music Instrumental composition for a small cast
P-3
Song with lyrics
P-4
Instrumental or vocal-instrumental composition for a large cast
P-5
Instrumental Jazz or vocal composition for a small ensemble
P-6
Composition not meeting criteria for allocation to categories P1to
P5
13
2
10
4
6
20
30
8
10
40
50
Individual allocation by the
Classification Committee
into one to the existing
categories specified in this
table
SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
L – FOLK MUSIC
RADIO
Public
TV
performance
for 1 minute
up to 5
minutes & for
every
additional 5
minutes
L-1
L-2
L-3
L-4
L-5
L-6
Simple composition, including the arrangement or adaptation of an
existing work.
2
10
Folk music arrangement, involving changes to the structural
elements of the original work.
4
20
More demanding arrangement of a folk music piece, adding
thematic material for instruments and/or vocal elements
6
30
Stylised folk music with compositional development of instrumental
and vocal parts
8
40
Original composition working with a folk material, orchestral
composition for solo, instrumental and vocal ensembles.
10
50
Composition not meeting criteria for allocation to categories L1 to Individual allocation by the
L5.
Classification Committee
into one to the existing
categories specified in this
table
H – BRASS BAND MUSIC
RADIO
Public
TV
performance
for 1 minute
up to 5
minutes & for
every
additional 5
minutes
H-1
Simple composition, including the arrangement or adaptation of an
existing work.
2
10
H-2
Folk music arrangement for a brass band ensemble
4
20
H-3
Small musical composition (polka, waltz, march, etc.). for a brass
band ensemble and brass band folk music adaptations.
6
30
8
40
H-4
H-5
H-6
Small musical composition (polka, waltz, match, etc.) and large
brass ensemble folk music adaptations.
Large brass ensemble composition (overture, rhapsody, concert
movement, etc.).
Composition not meeting criteria for allocation to categories H1 to
H5
10
50
Individual allocation by the
Classification Committee
into one to the existing
categories specified in this
table
X – EXPERIMENTAL MUSIC
X
Electroacoustic, alternative, conceptual, multi-genre music,
Individual allocation by the
etc.
Classification Committee into one
to the existing categories specified
in this table
14
SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
U – SPECIAL FUNCTIONS’ MUSIC
RADIO
TV
for 1 minute
2
Public
performance
up to 5 minutes
& for every
additional 5
minutes
2
Signals
Jingles
0,3
0,05
0,3
0,05
U-5
Loops
0,01
0,01
U-6
Advertisement and Trailer Music
2
2
U-8
Background Music
0,3
0,3
U-2
Opening and Closing Songs
U-3
U-4
st
(This U-chart becomes effective as of January 1 , 2014 and shall be used for categorisation of musical
st
works registered as of January 1 , 2014.)
15
SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
Appendix no. 2 Distribution Rules of SOZA
REPARTITION RULES OF SOZA
1. Pursuant to international terminology, abbreviations with the following meaning are used in
Distribution Keys of SOZA, SOZA Distribution Rules and in Work Registration Form:
C
composer
A
author of the lyrics (lyricist)
SC
arranger
AR
sub-arranger
TR
translator
SA
sub-author of a written part of a musical work
E
SE
publisher
sub-publisher
2. For folk music and public domain works arrangers, share of distribution shall be as follows:
Arranger of the musical part and adaptor & translator of the written part of the work (SC, SA, TR)
receive a 50% share of performing rights and100% share of mechanical rights from the work’s
original author.
Sub-arranger (AR) receives a 1/3 share of mechanical rights and 2/3 share of mechanical rights
from the work’s original author.
Represented rights holder´s share in merging public domain and protected works is defined by
SOZA Classification Committee individually with each work, based on submitted score or sound
record.
3. Generally, publisher’s share amounts to 25% of the work’s royalties, with a maximum amount of
50%. If a publisher enters into a publishing agreement only with the author of either music or
lyrics, publisher’s share is calculated from the either the composers or author of lyrics’ shares
respectively.
If the agreement fails to stipulate publisher’s share, Distribution Keys of SOZA shall apply, i.e.
publisher receives a 25% share of both performing rights royalties and mechanical rights.
If a sub-publishing agreement is in place, publisher’s share may increase up to 50% for
mechanical rights, given the original publishing agreements allows for such increase.
Should the author become represented by SOZA during the distribution period in which SOZA
should pay, according to the publisher´s agreement, royalties to the publisher, SOZA reserves
the right to pay these royalties to contractually represented author. This limitation is applied in
case of royalties for performing rights.
16
SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
DISTRIBUTION KEYS OF SOZA
1. Distribution Keys of SOZA is applicable only when no other agreements between rights holders
are in place. Written agreement, stipulating individual writer’s shares, must be presented to
SOZA, detailing the works it applies to.
2. In the event of several composers credited for the musical element within a musical work or
several lyricists credited for the lyrics, all of them will be granted an equal share within their
respective categories, unless specified otherwise.
3. Fundamental principles included in this Distribution Keys apply to most frequent model situations
and any unlisted examples shall be dealt with by applying a combination of existing provisions.
17
SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
PERFORMING RIGHTS
I.
PROTECTED WORKS - UNPUBLISHED
Musical Work
C
Work without lyrics
Work without lyrics, musical arrangement
SC
AR
A
TR
100
66,67
Work without lyrics, musical sub-arrangement
33,33
75
Work with lyrics
66,67
Work with lyrics, musical arrangement
44,45
Work with lyrics, musical sub-arrangement
25
33,33
22,22
33,33
50
16,67
33,33
Work with lyrics, written word translated
66,67
16,67
Work with lyrics, lyrics adapted
66,67
16,67
II. PROTECTED WORKS - PUBLISHED
Musical Work
C
Work without lyrics
75
Work without lyrics, musical arrangement
50
Work without lyrics, musical sub-arrangement
SA
SC
AR
33,33
Work with lyrics, musical sub-arrangement
37,5
SA
25
E
25
18,75
50
Work with lyrics, musical arrangement
TR
16,67
25
56,25
Work with lyrics
A
16,67
16,67
12,5
25
25
25
25
25
25
25
Work with lyrics, lyrics translated
50
12,5
Work with lyrics, lyrics adapted
50
12,5
III. PUBLIC DOMAIN WORKS - UNPUBLISHED
Musical Work
SC
Work without lyrics, musical arrangement
AR
12,5
25
12,5
A
TR
25
SA
50
Work without lyrics, musical sub-arrangement
33,33
Original work without lyrics, new lyrics
33,33
Work with public domain lyrics, musical arrangement
33,33
Work with public domain lyrics, musical sub-arrangement
22,22
Work with lyrics, public domain music, public domain lyrics
translated
Work with lyrics, public domain music, copyrighted lyrics
translated
Work with lyrics, public domain music, public domain lyrics
adapted
Work with lyrics, public domain music, copyrighted lyrics
adapted
IV. PUBLIC DOMAIN WORKS - PUBLISHED
Musical Work
16,66
16,67
16,66
16,67
SC
Work without lyrics, musical arrangement
AR
A
37,5
Work without lyrics, musical sub-arrangement
Original work without lyrics, new lyrics
18
SA
E
8,33
25
25
TR
16,66
12,5
25
Work with public domain lyrics, musical arrangement
16,67
8,33
8,33
SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
Work with public domain lyrics, musical sub-arrangement
16,66
Work with lyrics, public domain music, public domain lyrics
translated
Work with lyrics, public domain music, copyrighted lyrics
translated
Work with lyrics, public domain music, public domain lyrics
adapted
Work with lyrics, public domain music, copyrighted lyrics
adapted
5,6
12,49
12,5
12,5
4,17
12,5
8,33
12,49
4,17
12,5
8,33
MECHANICAL RIGHTS
I.
II.
-
PROTECTED WORKS - UNPUBLISHED
PROTECTED WORKS – PUBLISHED
The same Distribution Keys apply as for the Performing Rights
III.
PUBLIC DOMAIN WORKS – UNPUBLISHED
Musical Work
SC
Work without lyrics, musical arrangement
100
AR
Work without lyrics, musical sub-arrangement
A
TR
SA
66,67
Original work without lyrics, new lyrics
33,33
Work with public domain lyrics, musical arrangement
66,67
Work with public domain lyrics, musical sub-arrangement
44,45
Work with lyrics, public domain music, public domain lyrics
translated
Work with lyrics, public domain music, copyrighted lyrics
translated
Work with lyrics, public domain music, public domain lyrics
adapted
Work with lyrics, public domain music, copyrighted lyrics
adapted
33,33
16,67
16,66
33,33
16,67
16,66
IV. PUBLIC DOMAIN WORKS – PUBLISHED
Musical Work
SC
Work without lyrics, musical arrangement
75
Work without lyrics, musical sub-arrangement
AR
A
TR
SA
25
49,5
Original work without lyrics, new lyrics
16,5
25,5
Work with public domain lyrics, musical arrangement
Work with public domain lyrics, musical sub-arrangement
Work with lyrics, public domain music, public domain lyrics
translated
Work with lyrics, public domain music, copyrighted lyrics
translated
Work with lyrics, public domain music, public domain lyrics
adapted
Work with lyrics, public domain music, copyrighted lyrics
adapted
19
E
8,5
49,5
16,5
33
11
25,5
8,5
12,75 12,75
8,5
12,75
25,5
8,5
12,75
8,5
SOZA
DISTRIBUTION RULES OF SOZA
Slovak Performing and Mechanical
Rights Society
Appendix no. 3 Distribution Rules of SOZA
REGISTRATION OF MUSICAL WORK
(Slovak Performing & Mechanical Rights Society)
Title of the work:
Opus:
Name of the original work:
Duration:
FOR INTERNAL USE ONLY
(to be completed by SOZA)
Other name Associated with the
work
Reg. No:
ISWC:
Genre:
Form:
Instrumentation:
Performing artist:
Author / Authors /pseudonym / of Musical Work (C-Composer)
Purpose of Usage (for Category T):
Musical Work Parts:
Duration:
Sub-Composer (SC):
Arranger (AR):
Permission for sub-composition
of the work (date):
Author / Authors /pseudonym / of lyrics (A-author)
Work is a part of:
Registration Submitted by Author (Real Name):
Sub-Author (SA):
Date:
Translator (TR):
The undersigned hereby declares that all data given in the above list are correct, and he/she assumes
the responsibility for all damages caused by incorrect completion of the list.
Permission for sub-Authoring
of the work (date)*:
Signature:
PLEASE FILL OUT THE APPLICATION FORM
COMPLETELY USING CAPITAL LETTERS
* This permission shall transfer a share of the distribution rights to the Sub-compositor, Arranger, Translator. Share amount is to be determined by the Distribution Keys of
SOZA, unless agreed otherwise by the Authors’ of the Work.
Non-represented authors shall include also date of birth: ………………………. and phone number: ……………………………
TO BE COMPLETED BY THE COMPOSER / SUB-COMPOSER / ARRANGER
Please include the main characteristic forms, rhythmic structures, themes, motives, OR
a part of a work scheme for electroacoustic works you wish to register.
Not applicable to works with filled scores or recordings. Sound recording must
be submitted with registration of special functions’ music. Please specify the
track number for a work submitted on a CD:
TO BE COMPLETED BY THE AUTHOR OF REGISTRATION
Score or recording has been filled
Notes:
TO BE COMPLETED BY SOZA
TO BE COMPLETED BY THE AUTHOR / ADAPTOR / TRANSLATOR OF THE
LYRICS
Please include characteristic example from the lyrics,
Not applicable to works with complete lyrics provided with registration
PUBLISHER:
AGREEMENT IN EFFECT FROM;
CATEGORY:
DATE OF REGISTRATION:
Please feel free to enclose further details in attachments, as required
Number of Attachments:
20
TO:
R/TV
PUBLIC PERF.
SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
Appendix No. 4 Distribution Rules of SOZA
SOZA - Slovenský ochranný zväz autorský pre práva k hudobným dielam
(SOZA - Slovak Performing and Mechanical Rights Society)
Rastislavova 3, 821 08 Bratislava 2
Tel.: 02/50 20 27 16, Fax: 02/55 56 94 09
www.soza.sk, e-mail: [email protected]
FILM CUE SHEET
(List of musical works used in cinema, documentary, television films)
Composer (pseudonym) of musical part: …………………………………………………………..
(Arranger, Sub-Arranger)
Author (pseudonym) of lyrics: ....................................................................................................
(Arranger, Translator)
Film Title: ......................................................................................................................................
Director: ........................................................................................................................................
Producer: (company name)...........................................................................................................
Representative*: ............................................................................................................................
Address*: .......................................................................................................................................
Phone number*: .............................................................................................................................
Reg. number*: ................................................................................................................................
VAT number*: ................................................................................................................................
Year of Production: ......................................................................................................................
Film Duration*: ..............................................................................................................................
Duration of all musical works combined: ..................................................................................
Did you provide consent for the exercise of economic rights to audio-visual recording to
the record producer?
yes
no
Notice: If you provided producer of audio-visual recording with consent for the exercise of
economic rights with respect to this recording in writing and this producer fulfilled all remaining
obligations stipulated in Section 86 of the Copyright Act, producer of audio-visual works
exercises the economic rights.
Kindly submit this completed sheet to the Film department of SOZA right after the film is
finalised.
Data marked with (*) are optional.
21
SOZA
Slovak Performing and Mechanical
Rights Society
DISTRIBUTION RULES OF SOZA
Works that will be used independently shall be registered by the author also by submitting of the
“Registration of Musical Work” form.
I. List of Musical Works – Compositions:
(music created directly for audio-visual work)
No.
Title
of musical work
Composer (C)
Arranger(SC)
Sub-Arranger(AR)
Lyricist (A)
Translator (TR)
Sub-author (AS)
Indicate Duration
abbreviation
(C, A, SC, AR,
SA, TR)
II. I. List of Musical Works sorted by appearance – Archive Music
(music created beforehand, which was inserted by producer in the audio-visual work)
No.
Title
of musical work
Composer (C)
Arranger(SC)
Sub-Arranger(AR)
Lyricist (A)
Translator (TR)
Sub-author (AS)
Indicate Duration
abbreviation
(C, A, SC, AR,
SA, TR)
The undersigned hereby declares that all data given in the above list are correct, and he/she assumes
the responsibility for all damages caused by incorrect completion of the list.
In …………………..
Date …………………..
22
Signature …………….…