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Interested Parties Information

Interested Parties Information (IPI) is a global identification system that assigns unique codes to natural persons and legal entities holding interests in artistic works, such as composers, authors, publishers, and other rightsholders, to facilitate the administration and exchange of intellectual property rights across copyright societies worldwide.^[1] The system, managed by the International Confederation of Societies of Authors and Composers (CISAC) and administered by SUISA, the Swiss performing rights organization, supports standardized data sharing for roles including creators and directors, covering rights like performance, mechanical, and synchronization.^[2]^[1] Originating in the 1970s as the CAE (Composer, Author, and Publisher) list, the IPI system evolved into its current form in 2001, replacing the CAE database as the industry standard for identifying participants in musical works and expanding to other creative sectors like literature and visual arts.^[2] By 2024, it had been redesigned with modern web-based tools, including a Pocket Edition for publishers to access IPI codes and affiliations, building on updates from 2008 and 2015 that introduced web clients and APIs.^[2] This evolution ensures compatibility with international standards, such as those set by CISAC and BIEM (International Bureau of Societies of Music Producers), enabling efficient royalty distribution and conflict resolution.^[1]^[2] Key features of the IPI system include the assignment of an IPI Base Number—an 11-character alphanumeric unique identifier—along with detailed records of legal and artistic names, nationalities, places of birth or incorporation, and agreements with collecting societies.^[2] It encompasses over seven million rightsholders and more than eleven million associated names as of 2024, supporting electronic data interchange (EDI), application programming interfaces (APIs), and query tools for use by copyright organizations, broadcasters, and digital platforms.^[2] In practice, IPI numbers are essential for registering works in databases like those of performing rights organizations (e.g., BMI, ASCAP), ensuring accurate tracking and payment of royalties in the global music and creative industries.^[3]^[2]

Fundamentals

Definition

Interested Parties Information (IPI) is a globally unique identification system administered by SUISA on behalf of the Confédération Internationale des Sociétés d'Auteurs et Compositeurs (CISAC), assigning identifying numbers to natural persons or legal entities with interests in artistic works, particularly musical works such as those of songwriters, composers, and publishers.^[1]^[4] These numbers facilitate the precise tracking and management of rights across the global music industry. The IPI system encompasses data on rights holders reported by CISAC's member societies, covering 111 countries^[5] and including data on more than 7 million rightsholders worldwide (as of 2024).^[2] It includes details on both copyright-protected and public domain works, ensuring comprehensive coverage of interested parties in various roles, from creators to publishers.^[1] While individual IPI codes serve as unique identifiers for specific persons or entities, the broader IPI framework operates as an international standard under CISAC and BIEM regulations, enabling standardized data exchange among collective rights management organizations.^[1]^[6] This distinction underscores IPI's role in streamlining rights administration without relying on inconsistent national identifiers.

Purpose

The Interested Parties Information (IPI) system serves as a foundational tool in the global management of intellectual property rights, primarily aimed at enabling the accurate identification and tracking of rights holders across various artistic works. By assigning unique identifiers to individuals and entities involved in creation, ownership, and administration—such as composers, publishers, and performers—the system facilitates efficient royalty distribution and licensing processes within the creative industries. This precision is crucial for ensuring that payments and credits are directed correctly to all parties entitled to compensation, thereby supporting the economic viability of artistic production worldwide.^[7]^[1] A key objective of the IPI system is to enhance interoperability among collective management organizations (CMOs), which are responsible for administering rights on behalf of creators and owners. As a neutral, non-proprietary identifier standardized through regulations set by CISAC and BIEM, the IPI promotes seamless data exchange between member societies operating in different jurisdictions and across diverse work categories, including musical, literary, and audiovisual creations. This standardization minimizes fragmentation in rights management, allowing CMOs to coordinate more effectively in international contexts without reliance on inconsistent national systems.^[1]^[2] Furthermore, the IPI system addresses common challenges in rights attribution by reducing errors associated with name variations, pseudonyms, or multiple roles held by the same party. Through its unique base numbering structure, it eliminates duplicate entries that could otherwise lead to misallocation of royalties or incomplete documentation of ownership stakes. Administered centrally by SUISA on behalf of CISAC, this mechanism ensures a reliable, globally recognized framework that underpins the integrity of rights-related transactions.^[1]^[4]

IPI Number Formats

IPI Name Number

The IPI Name Number is an 11-digit numeric code assigned to each distinct name or pseudonym used by an interested party in the context of rights management for musical and artistic works.^[1] This format ensures global uniqueness, often including leading zeros to maintain a consistent 11-digit length, and is publicly accessible for identification purposes in databases and royalty distribution systems.^[1] Its primary purpose is to handle variations in how an individual or entity is credited, such as stage names, legal names, or pseudonyms, thereby preventing mismatches and errors in international rights tracking.^[1] For instance, artists who perform or compose under multiple identities receive separate IPI Name Numbers for each, allowing precise linkage of credits without conflating distinct professional personas.^[8] This system supports accurate data exchange among collecting societies by distinguishing between similar names across roles like composer or publisher.^[1] Assignment occurs automatically through the IPI System managed by SUISA on behalf of CISAC and BIEM, with one code generated per unique name instance upon registration with a performing rights organization.^[1] These codes are then linked to the party's IPI Base Number, which serves as the core entity identifier.^[1] A representative example is the artist Prince Rogers Nelson, who holds multiple IPI Name Numbers—one for "Prince" and another for "Prince Rogers Nelson"—to reflect his varied professional credits.^[8]

IPI Base Number

The IPI Base Number serves as the primary, unique identifier for an interested party in the global rights management system, distinguishing it from name-specific variants by focusing on the entity itself. It is allocated by the CISAC IPI System to ensure unambiguous identification of rights holders, such as creators, publishers, or other entities involved in intellectual property. This base number remains constant for the entity across all its representations, facilitating accurate data exchange in international databases.^[1]^[9] The format of the IPI Base Number follows the structure I-NNNNNNNNN-C, where "I" is the fixed header letter, NNNNNNNNN represents a nine-digit serial number assigned sequentially, and C is a single check digit for validation. This 13-character alphanumeric code (including hyphens) ensures global uniqueness at the entity level, applicable to both natural persons and legal entities like publishing companies. For instance, the artist Pablo Picasso is identified by the IPI Base Number I-001068130-6, which applies regardless of how his name is recorded or varied in different contexts.^[9]^[10]^[11] The check digit C is calculated using an adaptation of the Luhn algorithm, a modulus-10 checksum method that verifies the integrity of the number by detecting common transcription errors, similar to its use in related standards like the International Standard Musical Work Code (ISWC). This validation mechanism enhances reliability in automated rights processing systems.^[12]^[10] Each IPI Base Number may be associated with multiple IPI Name Numbers to accommodate different name usages for the same entity.^[1]

Historical Development

Predecessor Systems

The primary predecessor to the Interested Parties Information (IPI) system was the Compositeur, Auteur, Editeur (CAE) numbering scheme, developed in the 1970s by the Swiss performing rights organization SUISA under the coordination of the International Confederation of Societies of Authors and Composers (CISAC).^[13] CAE numbers consisted of 9-digit codes assigned to identify composers, authors, and publishers involved in the administration of performing and mechanical rights for musical works. Distributed via microfiche and magnetic tapes with quarterly updates, the system aimed to support basic international data exchange among rights societies but remained limited in scope to these specific rights categories.^[13] Despite its foundational role, the CAE system exhibited key limitations that undermined reliable global rights management. Assignments were handled regionally by national societies, which often resulted in a lack of true global uniqueness and increased risks of duplicate identifiers across borders.^[13] Variations in how societies implemented and maintained the codes led to inconsistencies in data formatting and interpretation, while the structure proved inadequate for accommodating pseudonyms, variant names, or multiple affiliations for the same rights holder, fostering errors in matching works to owners and complicating royalty accounting.^[13] These issues became increasingly evident as the music industry grew more interconnected in the late 20th century. Before the advent of the CAE system, international music rights tracking depended on fragmented national registries operated by individual authors' and composers' societies.^[14] Organizations such as the Société des Auteurs, Compositeurs et Éditeurs de Musique (SACEM) in France, established in 1851, and the Gesellschaft für musikalische Aufführungs- und mechanische Vervielfältigungsrechte (GEMA) in Germany, maintained separate databases with proprietary numbering and documentation methods focused on local repertoire and collections.^[14] This patchwork approach relied on bilateral agreements between societies, resulting in incomplete coverage of global repertoires, manual reconciliation challenges, and inefficiencies in cross-border royalty flows due to the absence of standardized identifiers.^[14] The limitations of these early national systems, compounded by those of CAE, underscored the need for a more unified framework, culminating in the development of IPI starting in 1994, with the system going live in 1997, a major launch in 2001, and the full decommissioning of CAE in 2007.^[2]^[13]

Introduction and Evolution

The Interested Parties Information (IPI) system was officially introduced in October 2001 by the International Confederation of Societies of Authors and Composers (CISAC) as a standardized global identification mechanism for rights holders in musical works, succeeding the earlier Combined Author Entities (CAE) numbers—which were fully phased out by 2007—to address limitations in international data exchange.^[2]^[13] This launch marked a pivotal shift toward a more comprehensive database capable of uniquely identifying natural persons and legal entities involved in copyright management, administered by SUISA under CISAC and BIEM guidelines.^[1] By the mid-2000s, the IPI system achieved full adoption among major collective management organizations (CMOs), facilitated by the rollout of CIS-Net in 2004–2005, which by 2011 connected over 96 societies and incorporated more than 4.4 million IPI numbers to enable real-time global data sharing.^[15] The introduction of the first web client in 2008 further enhanced accessibility, allowing broader integration into CMO workflows.^[2] The system encompasses additional entity types, such as sub-publishers, alongside composers, authors, and primary publishers, supporting multi-territory rights agreements and diverse roles in rights administration.^[16] This evolution aligned with the rise of digital rights management, including updates for online licensing; a major infrastructure modernization in 2015 introduced robust APIs and electronic data interchange (EDI) capabilities to streamline distributions in digital environments.^[2] By 2024, further enhancements like the IPI Pocket Edition extended direct access to publishers, reinforcing its role in global intellectual property protection.^[2]

Administration and Assignment

Role of CISAC

The Confédération Internationale des Sociétés d'Auteurs et Compositeurs (CISAC) serves as the central governing body for the Interested Parties Information (IPI) system, an international non-governmental, not-for-profit organization dedicated to protecting creators' rights and promoting their interests worldwide.^[17] Established to facilitate global interoperability among collective management organizations, CISAC oversees the IPI framework as a core service within its Common Information System (CIS), enabling standardized identification and data exchange for rights holders across artistic repertoires.^[1] Since 2001, when the IPI system was introduced as a centralized identifier for natural persons and legal entities involved in intellectual property, CISAC has maintained strategic oversight of the associated database, ensuring its alignment with international standards developed in collaboration with BIEM (Bureau International des Établissements Phonographiques).^[2] While operational maintenance and administration of the database are handled by the Swiss copyright society SUISA on CISAC's behalf, CISAC establishes the guidelines, standards, and protocols for code assignment, including the allocation of unique IPI Base Numbers to interested parties such as creators, publishers, and sub-publishers.^[18] This responsibility extends to verifying data integrity, resolving conflicts, and updating the system to support over 7 million registered right holders as of 2024.^[2] CISAC's governance of the IPI system emphasizes compliance and equity for its 228 member societies across 111 countries, representing more than 5 million creators in music, audiovisual, visual arts, and literature.^[19]^[20] By enforcing CIS regulations, CISAC ensures the database's role in accurate royalty distribution and rights management, providing resources like training videos and documentation to promote effective use and interoperability among societies.^[21] This non-profit structure prioritizes creators' economic flows, making IPI a foundational tool for transparent, cross-border collaboration without commercial interests.^[17]

Obtaining and Managing IPI Numbers

Individuals or entities acquire an IPI number by registering as a member with a CISAC member society, such as the American Society of Composers, Authors and Publishers (ASCAP) or Broadcast Music, Inc. (BMI) in the United States.^[1]^[4]^[3] Upon approval of the membership application, the society automatically assigns the IPI number to the interested party, immediately.^[4] Membership eligibility requires demonstrating an interest in rights, such as having authored, composed, or published a musical work not in the public domain.^[22]^[23] For songwriters or composers, applications involve providing personal details, a tax identification number, and verification of identity, but no upfront submission of published works is mandated; instead, works are registered post-membership to establish the rights interest.^[24] Publishers must show active engagement in music publishing, such as owning or administering a catalog of works, and may incur a one-time application fee depending on the society.^[22]^[23] The process is handled exclusively through the member society, with CISAC providing oversight for the global IPI system.^[1] Managing IPI numbers involves submitting updates to the affiliated member society for changes such as name variations, pseudonyms, or entity mergers.^[4] For instance, pseudonyms receive distinct IPI name numbers that link to the same IPI base number, ensuring continuity of identification across variations.^[4]^[25] Member societies forward these updates to the central IPI database administered by CISAC, but there is no direct public access to this database; inquiries and modifications must go through the society.^[1] Duplicates are resolved by verifying and linking multiple name numbers to a single base number, which uniquely identifies the underlying party. In 2025, enhancements were introduced to the IPI system to flag interested parties under review, improving data integrity.^[25]^[26]^[27] IPI numbers are assigned for the lifetime of the interested party or entity, remaining valid unless the entity dissolves, in which case the rights and associated identification may transfer to successors or heirs through the member society.^[1] There is no formal revocation process for inactive parties; instead, the number persists in the system to maintain historical accuracy for rights tracking, with updates reflecting any dissolution or transfer.^[1]^[28]

Integration with Standards

Relation to ISWC

The Interested Parties Information (IPI) system serves as a critical party identifier that links to International Standard Musical Work Code (ISWC) records, enabling the precise specification of contributors such as creators and publishers associated with a musical work.^[1] For example, the song "Ernie" (ISWC T-010.171.314-7) is tied to composer Benny Hill's IPI number 00014107338 in this manner.^[29] The ISWC structure, managed through CISAC's central database, incorporates fields for IPI codes—specifically IPI Name Numbers—of creators and publishers, along with their roles, to ensure accurate rights allocation during work registration.^[30] This integration requires all writers on a work to possess an IPI before an ISWC can be assigned, with the IPI acting as a key authorization mechanism for allocation by collecting management organizations (CMOs).^[31]^[32] By embedding IPI within ISWC records, the system facilitates automated data exchange between CMOs worldwide, streamlining international royalty flows through standardized identification of rights holders and their contributions.^[33] This linkage, which may reference role codes for contributor assignments, enhances the efficiency of rights administration without relying on proprietary or inconsistent national codes.^[30]

Role Codes in Rights Management

In rights management, the Interested Parties Information (IPI) system utilizes standardized role codes to delineate the specific contributions of individuals or entities to musical works, ensuring accurate attribution and royalty distribution. These codes are linked directly to an IPI number within databases maintained by collective management organizations (CMOs), allowing for precise identification of roles in the creation, adaptation, or administration of works.^[1] The core standardized role codes are A for Author/Lyricist, denoting responsibility for lyrics or textual content; C for Composer, indicating creation of the musical composition or melody; and P for Publisher, signifying the entity holding publishing rights. Additional extensions provide granularity for derivative or secondary roles, such as SA for Sub-Arranger, which applies to an arranger authorized by the original arranger to create further adaptations, or SP for Sub-Publisher, referring to a publisher acting on behalf of another publisher in specific territories or agreements. For instance, a songwriter's IPI number might be tagged with the C role when registering a work where they composed the melody, facilitating targeted royalty payments for performance rights.^[1]^[34] These role codes are integral to systems like the International Standard Musical Work Code (ISWC), where they specify contributor details alongside IPI numbers. Over time, the set of codes has expanded since the early 2000s to accommodate emerging rights scenarios, including those arising from digital exploitation and diverse performance contexts, thereby enhancing the system's adaptability to modern music ecosystems.^[1]^[35]

Applications and Usage

In Performing Rights Organizations

Performing rights organizations (PROs) such as ASCAP and BMI mandate the use of Interested Parties Information (IPI) numbers during the registration of songwriters and publishers to facilitate precise tracking of musical performances and associated royalty distributions. Upon joining ASCAP, members receive an IPI number, which becomes essential for registering works and ensuring that royalties are correctly attributed to the identified rights holders. Similarly, BMI assigns IPI numbers—often multiple per individual if using different professional names or aliases—requiring their inclusion in work registrations to link creators to their contributions and enable performance monitoring across domestic and international platforms.^[4]^[3] In cue sheets and royalty reporting processes, IPI numbers play a critical role in verifying ownership shares, particularly for collaborative compositions involving multiple writers. Cue sheets, which detail music usage in audiovisual productions like films and television programs, incorporate IPI identifiers for each songwriter and publisher to automate accurate royalty splits and prevent errors in payment allocation by PROs. For instance, standardized cue sheet templates adopted by ASCAP and BMI include fields for IPI numbers, allowing seamless data exchange and ensuring that fractional ownership in multi-writer works is properly documented and processed.^[36]^[37]^[38] Handling international transfers of rights presents challenges for PROs, where IPI numbers serve as a bridging mechanism between organizations like ASCAP or BMI in the United States and PRS for Music in the United Kingdom, but inconsistencies in name registrations or database synchronization can lead to delays in royalty flows. Managed centrally by CISAC, the global IPI database aims to maintain unique identifiers across member societies, yet transfers require verification to align multiple IPIs or resolve variations, ensuring uninterrupted performance tracking abroad. Assignment of IPIs occurs through these member societies to support such cross-border operations.^[4]^[1]

Global Adoption and Benefits

The Interested Parties Information (IPI) system has achieved widespread global adoption through its integration into the operations of the International Confederation of Societies of Authors and Composers (CISAC), which encompasses 228 member societies across 111 countries. These societies manage rights for more than 5 million creators spanning music, audiovisual, visual arts, literature, and drama repertoires, enabling IPI to serve as a foundational tool in international rights administration. By 2025, this network facilitates the identification and tracking of rights holders on a scale that covers the majority of the world's organized creative repertoire collections, with total royalties reaching €13.1 billion in 2023 and €13.97 billion in 2024.^[17]^[20] One of the primary benefits of IPI is the streamlining of cross-border royalty payments, as its unique identifiers allow collective management organizations to accurately link rights holders across jurisdictions, reducing administrative delays and ensuring efficient fund distribution. This standardization has notably decreased errors in data matching and rights attribution, with modernized systems minimizing duplication and improving data quality compared to pre-digital exchange methods. Furthermore, IPI supports the demands of digital platforms, including streaming services, by enabling precise royalty allocation for online performances and reproductions, where digital collections constituted 36.8% of total global royalties in 2024.^[1]^[20]^[1] In the 2020s, recent developments have further enhanced IPI's utility through updated data sharing protocols under CIS-Net 2.0, a centralized platform designed to automate exchanges of musical works and audiovisual data, set for full completion by 2027. These advancements support AI-driven rights analysis by promoting transparency and efficient processing, aligning with CISAC's advocacy for regulated AI use to protect creators while enabling innovative rights management tools.^[39]^[40]

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