{"id":147727,"date":"2026-10-07T04:55:22","date_gmt":"2026-10-07T08:55:22","guid":{"rendered":"https:\/\/cmrra.ca\/?p=147727"},"modified":"2026-10-06T09:10:09","modified_gmt":"2026-10-06T13:10:09","slug":"de-la-creation-a-la-perception-le-parcours-des-redevances-dune-chanson","status":"publish","type":"post","link":"https:\/\/cmrra.ca\/fr\/de-la-creation-a-la-perception-le-parcours-des-redevances-dune-chanson\/","title":{"rendered":"De la cr\u00e9ation \u00e0 la perception : le parcours des redevances d\u2019une chanson"},"content":{"rendered":"

[vc_row][vc_column width=\u00a0\u00bb1\/1″][vc_column_text uncode_shortcode_id=\u00a0\u00bb765175″]Chaque chanson traverse une s\u00e9rie d\u2019\u00e9tapes, depuis sa cr\u00e9ation jusqu\u2019\u00e0 la r\u00e9partition des redevances. Bien que ce processus puisse diff\u00e9rer en fonction de la mani\u00e8re dont l\u2019\u0153uvre est g\u00e9r\u00e9e et utilis\u00e9e, les grandes \u00e9tapes restent globalement les m\u00eames dans l\u2019\u00e9cosyst\u00e8me de l\u2019\u00e9dition musicale. Comprendre ces \u00e9tapes peut aider les auteurs-compositeurs, les auteures-compositrices et les \u00e9diteurs \u00e0 g\u00e9rer efficacement leurs droits et \u00e0 s\u2019assurer que leurs \u0153uvres font l\u2019objet d\u2019un suivi ad\u00e9quat et sont d\u00fbment r\u00e9mun\u00e9r\u00e9es.<\/p>\n

    \n
  1. Cr\u00e9ation d\u2019une chanson
    \n<\/strong>Tout commence lorsque les auteurs-compositeurs et auteures-compositrices cr\u00e9ent une chanson, que ce soit de mani\u00e8re autonome ou en collaboration avec d\u2019autres.<\/li>\n
  2. Propri\u00e9t\u00e9 intellectuelle et droits d\u2019auteur
    \n<\/strong>Une fois compos\u00e9e, la chanson est fix\u00e9e sur un support tangible, qu\u2019il s\u2019agisse d\u2019une d\u00e9mo, d\u2019un enregistrement ou de paroles mises par \u00e9crit. Elle devient ainsi une propri\u00e9t\u00e9 intellectuelle, dont la propri\u00e9t\u00e9 et la r\u00e9partition des droits entre les personnes ayant collabor\u00e9 \u00e0 sa cr\u00e9ation peuvent \u00eatre \u00e9tablies.<\/li>\n
  3. Affiliation et enregistrement
    \n<\/strong>Les auteurs-compositeurs, auteures-compositrices et \u00e9diteurs s\u2019affilient \u00e0 des soci\u00e9t\u00e9s de gestion collective, telles que la CMRRA. Les \u0153uvres musicales sont enregistr\u00e9es \u00e0 partir des renseignements disponibles, comme les informations sur les auteurs-compositeurs ou auteures-compositrices, la r\u00e9partition des droits, les num\u00e9ros IPI et toute information connexe associ\u00e9e \u00e0 l\u2019enregistrement, comme les codes ISRC. Pour en savoir plus sur les acronymes et les codes d\u2019identification, consultez cette page.<\/a><\/li>\n
  4. Enregistrement et distribution<\/strong>
    \nLa version d\u00e9finitive de la chanson est enregistr\u00e9e et mise \u00e0 disposition sur les plateformes de diffusion en continu, les services de t\u00e9l\u00e9chargement num\u00e9rique et les supports physiques, ce qui la rend accessible au grand public.<\/li>\n
  5. Octroi de licences et revendication des droits<\/strong>
    \nPour certains types d\u2019utilisations, notamment les produits physiques, le titulaire de licence doit obtenir les licences n\u00e9cessaires avant la mise sur le march\u00e9. Dans ces cas, la CMRRA d\u00e9livre, pour le r\u00e9pertoire de sa client\u00e8le, des licences correspondant aux parts d\u00e9tenues dans chaque \u0153uvre. Les services audiovisuels comme YouTube et Meta s\u2019appuient sur le r\u00e9pertoire revendiqu\u00e9 et transmis par la CMRRA. Ces donn\u00e9es servent ensuite \u00e0 produire les rapports d\u2019utilisation et \u00e0 d\u00e9terminer le versement des redevances.<\/li>\n
  6. Suivi de l\u2019utilisation et traitement des redevances
    \n<\/strong>Les plateformes musicales, les radiodiffuseurs et les autres services sous licence transmettent leurs donn\u00e9es d\u2019utilisation, qui sont associ\u00e9es aux \u0153uvres inscrites au r\u00e9pertoire. Les redevances sont ensuite calcul\u00e9es, factur\u00e9es et trait\u00e9es en fonction de l\u2019utilisation d\u00e9clar\u00e9e et de l\u2019exactitude des m\u00e9tadonn\u00e9es correspondantes.<\/li>\n
  7. R\u00e9partition des redevances<\/strong>
    \nLa CMRRA distribue les redevances aux ayants droit chaque trimestre, en fonction des parts de propri\u00e9t\u00e9 enregistr\u00e9es pour chaque \u0153uvre. Dans le cas des chansons co\u00e9crites, une r\u00e9partition pr\u00e9cise permet \u00e0 chaque \u00e9diteur, auteure-compositrice ou auteur-compositeur ind\u00e9pendant de recevoir la part qui lui revient. La mise \u00e0 jour des renseignements relatifs \u00e0 la propri\u00e9t\u00e9 de vos \u0153uvres contribue \u00e0 prot\u00e9ger vos droits et \u00e0 vous assurer de recevoir les sommes qui vous sont dues.<\/li>\n<\/ol>\n

    En veillant \u00e0 l\u2019exactitude de leurs enregistrements et \u00e0 la mise \u00e0 jour des renseignements de leur compte, les auteurs-compositeurs, les auteures-compositrices et les \u00e9diteurs contribuent au traitement efficace de leurs \u0153uvres \u00e0 chaque \u00e9tape du processus. Bien que les d\u00e9lais puissent varier, chacune de ces \u00e9tapes joue un r\u00f4le important afin que les \u0153uvres soient correctement suivies et exploit\u00e9es sous licence et que les redevances correspondantes soient vers\u00e9es.[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

    [vc_row][vc_column width=\u00a0\u00bb1\/1″][vc_column_text uncode_shortcode_id=\u00a0\u00bb765175″]Chaque chanson traverse une s\u00e9rie d\u2019\u00e9tapes, depuis sa cr\u00e9ation jusqu\u2019\u00e0 la r\u00e9partition des redevances. Bien que ce processus […]<\/p>\n","protected":false},"author":7,"featured_media":147728,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"rs_blank_template":"","rs_page_bg_color":"","slide_template_v7":"","footnotes":""},"categories":[256],"tags":[283],"class_list":["post-147727","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","tag-blog"],"yoast_head":"\nDe la cr\u00e9ation \u00e0 la perception : le parcours des redevances d\u2019une chanson - CMRRA<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cmrra.ca\/fr\/de-la-creation-a-la-perception-le-parcours-des-redevances-dune-chanson\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"De la cr\u00e9ation \u00e0 la perception : le parcours des redevances d\u2019une chanson - CMRRA\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column width=\u00a0\u00bb1\/1″][vc_column_text uncode_shortcode_id=\u00a0\u00bb765175″]Chaque chanson traverse une s\u00e9rie d\u2019\u00e9tapes, depuis sa cr\u00e9ation jusqu\u2019\u00e0 la r\u00e9partition des redevances. 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