Types of Music Releases
Introduction
Music releases are commonly described using familiar terms such as singles, EPs, albums, mixtapes, and compilations. While these labels originated from physical formats and historical limitations, they continue to carry practical meaning in today’s industry. Release type influences how music is marketed, how it is counted under contracts, how royalties are calculated, and how audiences interpret an artist’s output.
In the streaming era, the technical constraints that once defined release categories have largely disappeared. A digital release can be any length, updated at any time, and distributed globally with minimal friction. Despite this flexibility, release classifications remain embedded in label agreements, distribution systems, chart reporting, and promotional strategy. A “single” may trigger different obligations than an “album,” and an informal release may carry very different legal and commercial consequences than a formal one.
This guide explains the most common types of music releases in current industry practice. It focuses on how these categories developed, how they are used today, and why the distinctions still matter for artists, labels, publishers, and administrators making strategic decisions about how music is released and managed.
Table of Contents
Learning Objectives
After reading this guide, you should be able to:
- Identify the most common types of music releases used in current industry practice
- Understand how historical recording formats shaped modern release categories
- Distinguish between core commercial releases and informal or non-commercial releases
- Explain how different release types affect rights, contracts, royalties, and accounting
- Compare singles, EPs, and albums based on business use, cost, and strategic purpose
- Recognize when derivative or alternative versions require additional rights or permissions
- Assess how release choices vary by career stage and audience development goals
- Apply release type distinctions to practical scenarios using real-world examples
Overview
Release categories function as organizing mechanisms across the music business. Distributors use them to classify products, labels rely on them to measure contractual deliverables, platforms apply them for chart eligibility and editorial placement, and administrators depend on them for reporting and royalty allocation. Even where formats appear flexible, the classification attached to a release often determines how it is treated across systems.
A release type is not defined solely by track count or runtime. Context, intent, and presentation all matter. The same group of recordings may be treated differently depending on how it is packaged, credited, licensed, and promoted. A set of tracks released informally may serve as audience development, while a similarly sized release issued through a label may trigger contractual obligations or counting rules.
Because of this, release types operate less as fixed definitions and more as applied categories. Their practical meaning emerges through contracts, distribution rules, chart policies, and industry norms rather than technical limitations. Understanding how these categories are used in practice helps align creative output with administrative, legal, and commercial realities.
Historical Context of Music Releases
Understanding the historical context of music releases is important because many of today’s classifications were shaped by technological limitations, commercial practices, and industry policies rather than artistic intent. The terms still used today reflect decisions made decades ago about manufacturing, distribution, and monetization, and those decisions continue to influence contracts, charting, and audience expectations.
In the early 20th century, recorded music was constrained by physical media. Shellac 78 rpm discs, dominant from the 1910s through the 1940s, could hold only about three minutes of audio per side— this technical limitation standardized song length and positioned individual tracks as the primary commercial unit. What later became known as an “album” was originally a literal album, a bound collection of multiple discs sold together.
A major shift occurred in 1948, when Columbia Records introduced the 12-inch long-playing vinyl record. The LP allowed approximately 40 to 45 minutes of music on a single disc, enabling artists and labels to present larger bodies of work as unified releases. This format helped establish the album as a central creative and commercial unit. Shortly after, RCA Victor introduced the 45 rpm single and the extended play record, creating a tiered system of releases that separated promotional tracks from longer projects.
By the 1970s and 1980s, cassette tapes altered both distribution and culture. Their portability and recordability enabled home dubbing, informal sharing, and the rise of the mixtape, particularly in hip-hop and underground scenes. These releases often circulated outside formal commercial channels, challenging traditional control over distribution and raising new copyright and enforcement questions.
The introduction of the compact disc in the 1980s expanded capacity further, allowing up to 80 minutes of audio. Although this increased technical flexibility, industry norms around album length largely persisted, shaped more by consumer expectations and marketing practice than by physical necessity.
Digital distribution in the late 1990s and early 2000s marked another turning point. MP3 files, peer-to-peer services, and later digital storefronts removed physical constraints entirely. Legal and policy responses, including updates to copyright enforcement and digital licensing frameworks, sought to address the shift from physical goods to digital access. Despite this transformation, release categories such as singles, EPs, and albums remained embedded in contracts, charts, and reporting systems.
In the streaming era, platforms allow releases of virtually any length, yet historical categories persist. Chart rules, label agreements, and marketing strategies still rely on distinctions that originated in earlier formats. What began as technical limitations have become institutional conventions, carrying forward the influence of past technologies, industry actors, and policy decisions into modern release strategy.
Core Release Types
The following release types form the foundation of how music is packaged, marketed, and accounted for across the industry. While their definitions originated in physical formats, they remain operational categories in contracts, distribution systems, and audience-facing platforms.
Single
A single is typically built around one primary track, sometimes accompanied by alternate versions such as remixes or edits. Historically, singles were designed for radio play and retail promotion, serving as entry points to larger releases. That function has not disappeared, but it has shifted.
In current practice, singles are often released independently of albums and may stand alone indefinitely. Streaming platforms, short-form video, and playlist ecosystems have reinforced the single as the dominant unit of discovery. Many artists now release multiple singles over extended periods without committing to a longer project, particularly when testing audience response or building momentum around a specific sound.
From a business perspective, singles may be treated differently under recording and distribution agreements. They can count as separate deliverables, trigger marketing obligations, or be excluded from album-count requirements depending on contract language. Because of this, singles are often used strategically rather than simply as previews.
EP
An EP, or extended play, occupies a middle position between a single and an album. Traditionally defined as containing more music than a single but less than a full-length album, EPs emerged as a flexible format for artists and labels navigating cost, risk, and audience engagement.
EPs are frequently used by emerging artists to present a cohesive body of work without the investment required for a full album. They are also used by established artists between album cycles to maintain visibility, explore side projects, or release material that does not fit a primary album concept. In some cases, EPs function as contractual releases, while in others they are excluded from album obligations.
There is no universally enforced track count or runtime that defines an EP today. Platforms and distributors may apply internal thresholds, but classification often depends on how the release is designated and marketed rather than on strict technical criteria.
Album
The album remains the most culturally and commercially significant release type, even as listening habits have shifted. Historically enabled by the LP format, albums became the primary vehicle for long-form artistic statements, coordinated marketing campaigns, and touring cycles.
In contemporary practice, albums often anchor broader release strategies. They may be preceded by multiple singles, followed by deluxe editions, and supported by tours, merchandise, and licensing activity. Despite the flexibility of digital formats, albums are still treated as distinct units in chart reporting, award eligibility, and many label agreements.
Albums also carry greater financial and administrative weight. They typically involve higher production costs, longer timelines, and more complex coordination across rights holders and marketing teams. As a result, artists may release fewer albums over longer periods, using singles and EPs to remain active between major projects.
While the boundaries between singles, EPs, and albums can appear fluid, these categories continue to shape expectations and obligations across the industry. Understanding how each functions in practice is essential before considering more specialized or informal release types.
Additional Release Categories
Beyond singles, EPs, and albums, the industry also uses several release categories that serve more specific purposes. These releases often document performances, assemble existing material, or exist in connection with other media rather than presenting a new body of studio work. As a result, they tend to involve different rights considerations, production processes, and commercial goals.
Compilation
Compilations bring together previously released recordings under a single release. They are commonly organized by theme, period, or commercial positioning, such as retrospectives or label-curated collections. Because no new recordings are typically created, compilations are often used to reactivate catalogs or consolidate material for new markets.
From a rights perspective, compilations can be relatively simple when a single entity controls all included recordings. They become more complex when ownership spans different labels, contracts, or time periods. The enduring commercial performance of releases like Gold: Greatest Hits demonstrates how a compilation can function as a primary point of entry for listeners without altering the underlying catalog.
Live Album
Live albums capture performances as they occurred in concert settings. These releases emphasize interpretation and atmosphere rather than studio precision, and they often present familiar songs in altered arrangements or extended forms.
Each live album constitutes a new sound recording, even when the compositions themselves are already well known. As a result, live releases raise considerations around performer consent, recording permissions, and venue-related rights. Historically, some live albums have played an outsized role in shaping public perception of an artist, particularly when live performance became central to their identity.
Soundtrack
Soundtracks are released in connection with films, television series, or video games and may include original score, licensed recordings, or a curated mix of both. Unlike artist-centric releases, soundtracks are typically shaped by the needs of the underlying media project and involve coordination among studios, labels, publishers, and composers.
Ownership and royalty participation can vary widely depending on whether the music was commissioned or licensed. Some soundtracks function primarily as promotional extensions of the audiovisual work, while others are positioned as standalone releases within the music market. Black Panther: The Album is an example of a soundtrack that operated simultaneously as a film companion and a commercially distinct music release.
Cast Recording
Cast recordings document the music of stage productions as performed by a specific cast. Their purpose is preservation and distribution rather than reinterpretation, capturing arrangements as they appear in theatrical performance.
These releases involve a distinct contractual environment that includes theatrical producers, composers, lyricists, performers, and often unions. Cast recordings also support the long-term life of a production by aiding licensing, touring, and adaptation efforts. In some cases, they have substantially expanded the audience for a stage work beyond those able to attend live performances.
Informal and Non-Commercial Releases
Not all music enters the market through formal commercial channels. Informal and non-commercial releases have long played a role in how artists experiment, circulate work, and build audiences outside traditional label and retail systems. These releases are often shaped by cultural practice rather than contract structure, which affects how they are treated legally, commercially, and historically.
Mixtape
Mixtapes originated as physical cassette recordings shared hand to hand, particularly within hip-hop communities. Over time, the term came to describe releases that sit outside formal album cycles and, in many cases, outside traditional licensing structures.
In modern practice, a mixtape often signals creative freedom rather than format. Artists may use mixtapes to release freestyles, unofficial remixes, or material that does not fit within label constraints. Some mixtapes are distributed for free, while others appear on streaming platforms with varying degrees of rights clearance. The success of projects such as Acid Rap illustrates how an informal release can achieve broad cultural impact despite existing outside standard commercial frameworks at the time of release.
Demo
A demo is a preliminary recording created to document a song or concept rather than to serve as a finished commercial product. Demos are commonly used for pitching to labels, publishers, collaborators, or supervisors, and they often prioritize clarity of composition over production quality.
Although demos are not typically released to the public, they still qualify as copyrighted works once fixed in a tangible form. Their primary function is evidentiary and developmental, helping establish authorship, preserve ideas, or facilitate negotiation. Many historically significant catalogs include early demo recordings that later gained value as archival material.
Bootleg
Bootlegs are unauthorized recordings or distributions of music, most commonly live performances or unreleased studio material. Unlike mixtapes or demos, bootlegs are defined by the absence of permission from the rights holder.
While bootlegs are illegal under copyright law, they have played a notable role in fan culture and music history. Circulation of bootleg recordings has sometimes influenced demand for official releases, particularly in cases where unofficial recordings documented performances or material otherwise unavailable. This tension between cultural interest and legal infringement has shaped how artists and labels approach archival releases and live recordings.
Because informal releases often exist outside standard contractual and licensing structures, they can carry higher legal risk and limited monetization potential. At the same time, they remain an important part of how music circulates, evolves, and reaches audiences, particularly in early career stages or genre-specific communities.
Derivative and Alternative Versions
Unlike informal releases, which are often defined by how music circulates outside formal channels, derivative and alternative versions are defined by how existing works are reused, adapted, or re-presented. These releases are usually intentional extensions of previously released material and are more likely to sit within commercial and licensing frameworks, even when they experiment creatively.
The key distinction is that derivative and alternative versions are built on preexisting works that already carry established rights. As a result, they raise different legal and administrative considerations than mixtapes, demos, or bootlegs.
Remix
A remix alters an existing sound recording by changing elements such as structure, instrumentation, tempo, or genre. While remixes may feel like new creative works, they are legally dependent on the original recording and composition.
Because a remix is a derivative work, it generally requires authorization from the owners of both the sound recording and the underlying musical work. Remixes are commonly used to extend the lifespan of a single, reach new audiences, or reposition a track for different markets. In some cases, a remix can overtake the original version in commercial visibility, reshaping how the song is recognized and exploited.
Acoustic Version
An acoustic version presents a stripped-down interpretation of an existing song, typically emphasizing vocals and minimal instrumentation. These versions often highlight songwriting rather than production and are frequently used for promotion, live sessions, or supplemental releases.
From a rights perspective, an acoustic version usually constitutes a new sound recording of an existing composition. That distinction matters for ownership and royalty allocation, even when the performer and songwriter are the same. Acoustic releases are commonly positioned as bonus content rather than as standalone commercial projects.
DJ Mix
A DJ mix combines multiple recordings into a continuous sequence, often with transitions and overlays designed for live or club settings. Unlike a remix, which focuses on transforming a single track, a DJ mix incorporates many separate recordings, often owned by different rights holders.
DJ mixes present significant licensing challenges because they involve multiple copyrighted works. Public distribution typically requires clearance for each included track, which is why many DJ mixes are released through licensed platforms or limited to promotional or live contexts. Their function is often experiential rather than catalog-driven, emphasizing curation and flow over individual tracks.
These derivative and alternative versions differ from informal releases in both intent and structure. They are usually tied to existing catalogs, created with awareness of licensing requirements, and positioned as extensions of officially released material rather than as parallel or unofficial outputs.
Special-Purpose Releases
Some releases are defined primarily by intent rather than format. These projects are created to serve a specific goal, whether fundraising, storytelling, collaboration, or promotion, and their structure often reflects that purpose. While they may resemble standard albums or EPs in length, their classification is shaped by how and why they are released rather than by track count alone.
Charity Release
Charity releases are created to raise funds or awareness for a specific cause. Revenue from these projects is typically directed in whole or in part to charitable organizations, which introduces additional coordination beyond standard music releases.
These releases require clear agreements among artists, rights holders, and beneficiary organizations. Royalties, publishing income, and neighboring rights must be addressed explicitly to ensure that proceeds are allocated as intended. Because of this complexity, charity releases often involve waivers, limited licenses, or special royalty arrangements rather than standard commercial terms.
Concept Album
A concept album is built around a unifying idea, narrative, or theme that connects the tracks as a cohesive work. While concept albums often take the form of full-length albums, the defining feature is conceptual continuity rather than length.
From a strategic standpoint, concept albums influence how music is marketed and consumed. Promotion may emphasize narrative elements, visuals, or supplemental materials rather than individual singles. Administratively, concept albums are treated like other albums, but their creative framing can affect how tracks are excerpted, licensed, or adapted.
Cover Album
A cover album consists entirely of songs written and originally recorded by other artists. These releases are common across genres and can serve as tributes, reinterpretations, or stylistic exercises.
Cover albums involve fewer songwriting rights for the performing artist, but they still require proper licensing of the underlying compositions. Mechanical licensing is central to their release, and publishing income is directed to the original songwriters rather than the performers. Cover albums highlight the distinction between composition rights and sound recording rights in practical terms.
Split Release
A split release is shared by two or more artists, each contributing separate tracks to a single release. This format has historically been common in independent and scene-based communities, where collaboration and cross-promotion are central.
Split releases allow artists to share production costs, introduce each other to new audiences, and release material without committing to a full solo project. Ownership and revenue are typically allocated by track rather than pooled across the entire release, making clear documentation essential.
Sampler
Samplers compile tracks from multiple artists, often curated by labels or collectives to showcase a roster or promote discovery. Unlike compilations focused on a single artist, samplers emphasize breadth rather than depth.
These releases are usually promotional in nature and may be distributed at low cost or for free. Rights administration depends on whether the sampler is commercial or promotional and whether participating artists have granted permission for inclusion.
Special-purpose releases illustrate how format alone does not determine classification. The underlying goal of the project often dictates how it is structured, licensed, and positioned within an artist’s broader catalog.
How Release Types Affect Rights and Contracts
On the business side of the industry, release type is more than a descriptive label. It directly affects how rights are allocated, how obligations are measured, and how revenue is accounted for. Contracts often define deliverables by release category, distributors apply different rules based on classification, and administrators rely on release type to determine reporting and royalty treatment. A project labeled as an album may carry very different consequences than one labeled as a single or an informal release, even if the underlying recordings are similar.
These distinctions shape how agreements are drafted and enforced. Recording contracts may count albums differently from EPs, publishing agreements may treat derivative versions as new exploitations, and licensing decisions often depend on whether a release is considered primary, supplemental, or promotional. Understanding how release types intersect with rights and contracts helps avoid mismatches between creative plans and the legal or financial outcomes that follow.
Singles, EPs, and Albums in Practice
When artists and rights holders decide how to release music, the distinction between singles, EPs, and albums is rarely just about length. Each format signals intent to partners, platforms, and audiences, and those signals influence how a release is marketed, counted, and monetized. While boundaries can blur, these categories continue to carry practical weight across contracts and distribution systems.
In practice, these formats are often used together rather than in isolation. Singles may precede an album by months, EPs may bridge longer gaps between albums, and albums may be reissued or expanded through follow-up releases. Understanding how each format functions helps align creative planning with contractual structure and audience behavior.
Formal vs. Informal Releases
Not all releases are treated equally once they enter the music ecosystem. The distinction between formal and informal releases affects how music is distributed, licensed, monetized, and enforced. While both can reach audiences and shape an artist’s profile, they operate under different expectations when it comes to contracts, rights management, and legal exposure.
Formal releases are intended to function within established commercial systems. Informal releases typically operate outside those systems, either temporarily or by design. The difference is not aesthetic or creative. It is administrative.
Once a release is designated as formal, it becomes part of the rights-bearing catalog. That classification determines how it is reported, licensed, enforced, and valued over time. Informal releases may still influence audience growth or creative direction, but they rarely carry the same long-term administrative weight.
Release Strategy in Practice
Choosing a release type is rarely a binary decision. In practice, artists and rights holders use release formats as tools within a broader strategy shaped by timing, resources, contractual position, and audience behavior. The same format can serve very different purposes depending on when it appears in a career and how it is supported.
For early-stage artists, release strategy often prioritizes visibility and iteration. Singles allow for frequent engagement and feedback with minimal cost, while EPs can signal creative direction without the commitment of a full album. Informal releases may coexist alongside formal ones, especially where experimentation or rapid output is part of audience-building.
As a career develops, release decisions tend to shift toward consolidation and longevity. Albums often function as anchors for touring, licensing, and catalog value, while supplemental releases help sustain momentum between major projects. At this stage, the distinction between primary releases and supporting material becomes more deliberate, as each carries different administrative and financial implications.
Release strategy is also shaped by contractual context. Recording and distribution agreements may define how many albums are required, how singles are counted, or whether EPs qualify toward obligations. In some cases, artists use singles or side projects to remain active without triggering contractual deliverables. In others, release cadence is tightly coordinated with marketing and promotional timelines.
Audience expectations further influence strategy. Listeners may engage casually with singles but assign greater significance to albums as markers of artistic intent. Releasing too frequently or too infrequently can both create friction, depending on genre, platform, and fan behavior. Effective strategies balance consistency with anticipation.
Ultimately, release strategy is about alignment. Format, timing, and intent must match the realities of rights management, contracts, and audience engagement. Understanding how release types function in practice allows artists and administrators to plan releases that support both creative goals and long-term catalog development.
Frequently Asked Questions
Does a release type have a legal definition under U.S. copyright law?
No. Copyright law does not define singles, EPs, albums, or mixtapes. These categories are industry conventions. Legal consequences arise from how a release is distributed, licensed, and contractually defined rather than from the label attached to it.
Can the same music be classified differently depending on how it is released?
Yes. A group of recordings may be treated as an EP, an album, or an informal release depending on how it is designated, marketed, and documented. Classification affects how platforms, labels, and administrators process the release, even when the underlying recordings are identical.
Do singles, EPs, and albums count differently in recording contracts?
Often, yes. Many recording agreements specify how albums are counted toward delivery obligations and may exclude singles or EPs unless stated otherwise. The treatment depends entirely on contract language, not on platform labels or track count alone.
Is an EP always excluded from album obligations?
No. Some contracts explicitly include EPs as qualifying releases, while others exclude them. There is no universal rule. EP treatment must be confirmed in the relevant agreement.
Are mixtapes and demos legally protected even if they are informal?
Yes. Once fixed in a tangible form, a recording or composition is protected by copyright regardless of whether it is formally released. Informal status affects enforcement, monetization, and risk, not the existence of copyright.
Why are bootlegs treated differently from mixtapes or demos?
Bootlegs are defined by the absence of permission from the rights holder. Mixtapes and demos may be informal, but they are typically released by or with the consent of the creator. Bootlegs involve unauthorized distribution and raise direct infringement concerns.
Does releasing a remix create new rights?
A remix creates a new sound recording, but it does not replace or eliminate rights in the original recording or composition. Authorization is typically required from existing rights holders, and ownership of the remix depends on the agreement governing its creation.
Are acoustic versions considered new works?
An acoustic version is usually a new sound recording of an existing composition. The composition rights remain unchanged, but the recording itself may carry separate ownership and royalty implications.
Do live albums require additional permissions beyond studio albums?
Often, yes. Live albums involve new recordings and may require performer approvals, venue permissions, and clearance of any third-party material captured during the performance.
How do soundtracks differ from artist albums in rights administration?
Soundtracks often involve multiple rights holders and layered agreements tied to an audiovisual project. Ownership, royalty participation, and licensing authority may differ significantly from artist-led releases.
Is release strategy more important for independent artists than for signed artists?
Release strategy matters in both contexts, but the constraints differ. Independent artists often prioritize flexibility and experimentation, while signed artists must align releases with contractual obligations and coordinated marketing plans.
Can informal releases later be converted into formal releases?
Sometimes. This typically requires clearing rights, correcting metadata, and formalizing ownership and agreements. Not all informal releases can be retroactively formalized without risk or complication.
Does release frequency matter more than release type in the streaming era?
An effectiveBoth matter. Frequency can support visibility and engagement, but release type still affects how music is positioned, reported, and valued within catalogs and contracts.
Key Takeaways
- Release types are industry classifications, not legal categories. Their impact comes from how they are treated in contracts, distribution systems, and rights administration rather than from copyright law itself.
- Singles, EPs, and albums continue to serve different functions despite the removal of physical and technical limits. Each format signals intent to platforms, partners, and audiences and can trigger different contractual and commercial consequences.
- Additional release categories such as compilations, live albums, soundtracks, and cast recordings are shaped by context and source material. They often involve distinct ownership structures, clearance requirements, and revenue flows.
- Informal and non-commercial releases play an important role in experimentation and audience development, but they typically carry higher legal risk and limited long-term administrative value when compared to formal releases.
- Derivative and alternative versions are defined by their relationship to existing works. Remixes, acoustic versions, and DJ mixes require attention to authorization, ownership, and licensing, even when creatively transformative.
- Special-purpose releases are driven by intent rather than length or format. Charity releases, concept albums, cover albums, split releases, and samplers each introduce specific rights, coordination, and accounting considerations.
- Release classification affects how music is counted, reported, and monetized. The same recordings can produce different outcomes depending on how they are packaged and designated.
- An effective release strategy aligns format, timing, and purpose with contractual obligations, rights management, and audience expectations. Misalignment can create unintended legal or financial consequences.
Practical Resources
The tools below are designed to support decision-making at the point where release planning becomes operational. They help translate release categories into practical choices around timing, risk, and administrative impact.
Music Release Type Decision Cheat Sheet
Use this reference to quickly assess which release format best fits a specific goal or situation. It is intended for moments when a release must be classified clearly for distribution, reporting, or contractual purposes.
Quick guide
This cheat sheet is most useful before setting metadata, marketing plans, or contractual classifications.
Release Strategy Self-Assessment
The questions below are intended to clarify alignment between creative intent and practical constraints.
- What is the primary goal of this release: discovery, consolidation, or catalog growth
- Does the release need to count toward a contractual obligation
- How much production and marketing capacity is available
- How frequently does the audience expect new material
- Does the release rely on existing works or third-party material
- Is the release intended to be part of the long-term catalog or time-limited
If the answers point toward speed, flexibility, and experimentation, shorter or informal formats may be appropriate. If the answers point toward longevity, licensing, and structured promotion, formal releases typically offer clearer outcomes.
References
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https://www.billboard.com/pro/billboard-charts-how-they-work-on-the-record-podcast/
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https://www.ifpi.org/resources/
Library of Congress. (n.d.). A recorded sound timeline.
https://www.loc.gov/static/managed-content/uploads/sites/6/2017/02/recorded_sound_timeline-2013.pdf
Recording Industry Association of America. (n.d.). RIAA music organizations.
https://www.riaa.com/about-riaa/music-orgs/
Recording Industry Association of America. (n.d.). Gold & platinum awards: eligibility criteria.
https://www.riaa.com/gold-platinum/about-awards/
Spotify for Artists. (n.d.). Music metadata guidelines.
https://support.spotify.com/us/artists/article/metadata-formatting-guidelines/
Apple Music for Artists. (n.d.). Music style and content guidelines.
https://help.apple.com/itc/musicstyleguide/
U.S. Copyright Office. (n.d.). Compilations and derivative works. In Compendium of U.S. Copyright Office Practices (Chapter 300).
https://www.copyright.gov/comp3/chap300/ch300-copyrightable-authorship.pdf
World Intellectual Property Organization. (n.d.). Berne Convention for the Protection of Literary and Artistic Works.