S T A T U T O R Y  I N S T R U M E N T S  
2013 No. 1782 
COPYRIGHT 
RIGHTS IN PERFORMANCES 
The Copyright and Duration of Rights in Performance s 
Regulations 2013 
Made  - - - - 17th July 2013 
Laid before Parliament  18th July 2013 
Coming into force  - - 1st November 2013 
The Secretary of State, being a Minister designated (a) for the purposes of section 2(2) of the 
European Communities Act 1972( b) in relation to measures relating to copyright and  rights in 
performances, in exercise of powers conferred by th at section and section 78 of the Enterprise and 
Regulatory Reform Act 2013( c), makes the following Regulations: 
PART 1 
Introductory Provisions 
Citation and commencement 
1.  These Regulations may be cited as the Copyright an d Duration of Rights in Performances 
Regulations 2013 and come into force on 1st Novembe r 2013. 
Interpretation 
2.  In these Regulations “the Act” means the Copyright , Designs and Patents Act 1988( d). 
Scheme of the Regulations 
3.  The Act is amended in accordance with the provisio ns of Part 2 of these Regulations, subject 
to the savings and transitional provisions in Part 3 of these Regulations. 
                                                                                                                                            
(a) S.I. 1992/707 and S.I. 1993/595. 
(b) 1972 c.68. 
(c) 2013 c.24. 
(d) 1988 c.48.  2 PART 2 
Amendments to the Copyright, Designs and Patents Ac t 1988 
Copyright 
Works of Co-authorship 
4.  After section 10 (Works of joint authorship) inser t— 
“10A Works of co-authorship 
(1) In this Part a “work of co-authorship” means a work produced by the collaboration of 
the author of a musical work and the author of a li terary work where the two works are 
created in order to be used together. 
(2) References in this Part to a work or the author  of a work shall, except as otherwise 
provided, be construed in relation to a work of co- authorship as references to each of the 
separate musical and literary works comprised in th e work of co-authorship and to each of 
the authors of such works.”. 
Duration of copyright in literary, dramatic, musica l or artistic works 
5.  In section 12(8) (Duration of copyright in literar y, dramatic, musical or artistic works) after 
“joint authorship” insert “or a work of co-authorsh ip”. 
Duration of copyright in sound recordings 
6.  In section 13A (Duration of copyright in sound rec ordings), in subsection (2)— 
(a)  after “subsections (4) and (5)” insert “and section  191HA(4)”, and 
(b)  in paragraphs (b) and (c), for “50” substitute “70” . 
 
Rights in Performances 
Right to equitable remuneration for exploitation of  sound recording 
7.  In section 182D(1) (Right to equitable remuneratio n for exploitation of sound recording) at 
the end insert “or, where copyright in the sound re cording has expired pursuant to section 
191HA(4), from a person who plays the sound recordi ng in public or communicates the sound 
recording to the public”. 
Duration of rights in sound recordings 
8.  In section 191(2) (Duration of rights)— 
(a)  in paragraph (b), after “a recording of the perform ance” insert “, other than a sound 
recording,”, and 
(b)  after that paragraph, insert— 
“or 
(c) if during that period a sound recording of the performance is released, 70 years 
from the end of the calendar year in which it is re leased,”. 
Rights in relation to an assignment of performers’ property rights in a sound recording 
9.  After section 191H insert—  3 “191HA Assignment of performer’s property rights in  a sound recording 
(1) This section applies where a performer has assi gned the following rights concerning a 
sound recording to the producer of the sound record ing— 
(a) reproduction, distribution and making available  rights, or 
(b) performer’s property rights. 
(2) If, at the end of the 50-year period, the produ cer has failed to meet one or both of the 
following conditions, the performer may give a noti ce in writing to the producer of the 
performer’s intention to terminate the agreement— 
(a) condition 1 is to issue to the public copies of  the sound recording in sufficient 
quantities; 
(b) condition 2 is to make the sound recording avai lable to the public by electronic 
transmission in such a way that a member of the pub lic may access the recording 
from a place and at a time chosen by him or her. 
(3) If, at any time after the end of the 50-year pe riod, the producer, having met one or 
both of the conditions referred to in subsection (2 ), fails to do so, the performer may give a 
notice in writing to the producer of the performer’ s intention to terminate the agreement. 
(4) If at the end of the period of 12 months beginn ing with the date of the notice, the 
producer has not met the conditions referred to in subsection (2), the agreement terminates 
and the copyright in the sound recording expires wi th immediate effect. 
(5) An agreement is of no effect in so far as it pu rports to exclude or restrict the right to 
give a notice under subsection (2) or (3). 
(6) A reference in this section to the assignment o f rights includes any arrangement 
having that effect, whether made directly between t he parties or through intermediaries. 
(7) In this section— 
“50-year period” means 
(a) where the sound recording is published during t he initial period, the period of 50 
years from the end of the calendar year in which th e sound recording is first 
published, or 
(b) where during the initial period the sound recor ding is not published but is made 
available to the public by being played in public o r communicated to the public, 
the period of 50 years from the end of the calendar  year in which it was first made 
available to the public, 
but in determining whether a sound recording has be en published, played in public or 
communicated to the public, no account shall be tak en of any unauthorised act, 
“initial period” means the period beginning on the date the recording is made and 
ending 50 years from the end of the calendar year i n which the sound recording is 
made, 
“producer” means the person for the time being enti tled to the copyright in the sound 
recording, 
“sufficient quantities” means such quantity as to s atisfy the reasonable requirements of 
the public for copies of the sound recording, 
“unauthorised act” has the same meaning as in secti on 178. 
191HB Payment in consideration of assignment 
(1) A performer who, under an agreement relating to  the assignment of rights referred to 
in section 191HA(1) (an “assignment agreement”), is  entitled to a non-recurring payment in 
consideration of the assignment, is entitled to an annual payment for each relevant period 
from— 
(a) the producer, or  4 (b) where the producer has granted an exclusive lic ence of the copyright in the sound 
recording, the licensee under the exclusive licence  (the “exclusive licensee”). 
(2) In this section, “relevant period” means— 
(a) the period of 12 months beginning at the end of  the 50-year period, and 
(b) each subsequent period of 12 months beginning w ith the end of the previous 
period, until the date on which copyright in the so und recording expires. 
(3) The producer or, where relevant, the exclusive licensee gives effect to the entitlement 
under subsection (1) by remitting to a collecting s ociety for distribution to the performer in 
accordance with its rules an amount for each releva nt period equal to 20% of the gross 
revenue received during that period in respect of— 
(a) the reproduction and issue to the public of cop ies of the sound recording, and 
(b) the making available to the public of the sound  recording by electronic 
transmission in such a way that members of the publ ic may access it from a place 
and at a time individually chosen by them. 
(4) The amount required to be remitted under subsec tion (3) is payable within 6 months 
of the end of each relevant period and is recoverab le by the collecting society as a debt. 
(5) Subsection (6) applies where— 
(a) the performer makes a written request to the pr oducer or, where relevant, the 
exclusive licensee for information in that person’s  possession or under that 
person’s control to enable the performer— 
 (i) to ascertain the amount of the annual payment to which the performer is 
entitled under subsection (1), or 
 (ii) to secure its distribution by the collecting society, and 
(b) the producer or, where relevant, the exclusive licensee does not supply the 
information within the period of 90 days beginning with the date of the request. 
(6) The performer may apply to the county court, or  in Scotland to the sheriff, for an 
order requiring the producer or, where relevant, th e exclusive licensee to supply the 
information. 
(7) An agreement is of no effect in so far as it pu rports to exclude or restrict the 
entitlement under subsection (1). 
(8) In the event of any dispute as to the amount re quired to be remitted under subsection 
(3), the performer may apply to the Copyright Tribu nal to determine the amount payable. 
(9) Where a performer is entitled under an assignme nt agreement to recurring payments 
in consideration of the assignment, the payments mu st, from the end of the 50-year period, 
be made in full, regardless of any provision in the  agreement which entitles the producer to 
withhold or deduct sums from the amounts payable. 
(10) In this section— 
“producer” and “50-year period” each has the same m eaning as in section 191HA, 
“exclusive licence” has the same meaning as in sect ion 92, and 
“collecting society” has the same meaning as in sec tion 191G.”. 
Performers’ non-property rights 
10.  In section 192A(1) (Performer’s non-property right s) after the entry for section 183 delete 
“and” and after the entry for section 184 insert— 
“section 191HA (assignment of performer’s property rights in a sound recording), 
and 
section 191HB (payment in consideration of assignme nt),”.  5 PART 3 
Savings, transitional and review provisions 
Introductory 
Introductory 
11. —(1) References in this Part to “commencement”, wit hout more, are to the date on which 
these Regulations come into force. 
(2)  In this Part— 
“the 1988 provisions” means the provisions of the A ct as they stood immediately before 
commencement (including the provisions of Schedule 1 to the Act continuing the effect of 
earlier enactments); and 
“the new provisions” means the provisions of the Ac t as amended by these Regulations. 
(3)  Expressions used in this Part which are defined for  the purposes of Part 1 or Part 2 of the Act 
have the same meaning as in that Part. 
 
Copyright 
Copyright: interpretation 
12. —(1) In the provisions of this Part relating to cop yright— 
(a)  “existing” in relation to a work, means made before  commencement; and 
(b)  “existing copyright work” means a work in which cop yright subsisted immediately before 
commencement. 
(2)  For the purposes of those provisions a work of whic h the making extended over a period 
shall be taken to have been made when its making wa s completed. 
(3)  References in those provisions to “moral rights” ar e to the rights conferred by Chapter IV of 
Part I of the Act. 
Duration of copyright: general saving 
13.  Copyright in an existing copyright work shall cont inue to subsist until the date on which it 
would have expired under the 1988 provisions if tha t date is later than the date on which copyright 
would expire under the new provisions. 
Duration of copyright: application of new provision s 
14.  The new provisions relating to duration of copyrig ht in sound recordings and works 
comprised in works of co-authorship apply— 
(a)  to sound recordings and works of co-authorship made  after commencement; 
(b)  to existing sound recordings and works of co-author ship which first qualify for copyright 
protection after commencement; 
(c)  to existing sound recordings in which copyright sub sisted immediately before 
commencement; 
(d)  to works of co-authorship of which either or both t he musical work and the literary work 
were existing copyright works; and 
(e)  to works of co-authorship of which the musical work  or the literary work were on 
commencement protected as copyright works in anothe r EEA state under legislation 
relating to copyright or related rights.  6 Extended and revived copyright 
15.  In the following provisions of this Part— 
(a)  “extended copyright” means any copyright which subs ists by virtue of the new provisions 
after the date on which it would have expired under  the 1988 provisions; and 
(b)  “revived copyright” means any copyright in a musica l or literary work comprised in a 
work of co-authorship which subsists by virtue of t he new provisions after having expired 
under the 1988 provisions or any earlier enactment relating to copyright. 
Ownership of extended copyright 
16. —(1) The person who is the owner of the copyright i n a sound recording or in a work 
comprised in a work of co-authorship immediately be fore commencement is as from 
commencement the owner of any extended copyright in  the sound recording or work, subject as 
follows. 
(2)  If he or she is entitled to copyright for a period less than the whole of the copyright period 
under the 1988 provisions, any extended copyright i s part of the reversionary interest expectant on 
the termination of that period. 
Ownership of revived copyright in works of co-autho rship 
17. —(1) The person who was the owner of the copyright in a musical or literary work 
comprised in the work of co-authorship immediately before it expired (the “former copyright 
owner”) is as from commencement the owner of any re vived copyright in the work, subject as 
follows. 
(2)  If the former copyright owner has died before comme ncement, or in the case of a legal 
person has ceased to exist before commencement, the  revived copyright shall vest in the author of 
the work or his or her personal representatives. 
(3)  Where revived copyright vests in personal represent atives by virtue of paragraph (2), it shall 
be held by them for the benefit of the person who w ould have been entitled to it had it been vested 
in the author immediately before his or her death a nd had devolved as part of his or her estate. 
Prospective ownership of extended or revived copyri ght 
18. —(1) Where by an agreement made before commencement  in relation to extended or revived 
copyright, and signed by or on behalf of the prospe ctive owner of the copyright, the prospective 
owner purports to assign the extended or revived co pyright (wholly or partially) to another person, 
then if, on commencement the assignee or another pe rson claiming under the assignee would be 
entitled as against all other persons to require th e copyright to be vested in him or her, the 
copyright shall vest in the assignee or his or her successor in title by virtue of this paragraph. 
(2)  A licence granted by a prospective owner of extende d or revived copyright is binding on 
every successor in title to the prospective owner’s  interest (or prospective interest) in the right, 
except a purchaser in good faith for valuable consi deration and without notice (actual or 
constructive) of the licence or a person deriving t itle from such a purchaser and references in Part 
1 of the Act to do anything with, or without, the l icence of the copyright owner shall be construed 
accordingly. 
(3)  In paragraph (2) “prospective owner” includes a per son who is prospectively entitled to 
extended or revived copyright by virtue of such an agreement as is mentioned in paragraph (1). 
Extended copyright: existing licences, agreements, &c. 
19. —(1) Subject to sections 191HA(5) and 191HB(7) and (9), any copyright licence, any term 
or condition of an agreement relating to the exploi tation of a copyright work, or any waiver or 
assertion of moral rights, which— 
(a)  subsists immediately before commencement in relatio n to an existing copyright work, and  7 (b)  is not to expire before the end of the copyright pe riod under the 1988 provisions, 
shall continue to have effect during the period of any extended copyright, subject to any 
agreement to the contrary. 
(2)  Any copyright licence, or term or condition relatin g to the exploitation of a copyright work, 
imposed by order of the Copyright Tribunal which— 
(a)  subsists immediately before commencement in relatio n to an existing copyright work, and 
(b)  is not to expire before the end of the copyright pe riod under the 1988 provisions, 
shall continue to have effect during the period of any extended copyright, subject to any further 
order of the Tribunal. 
Revived copyright: exercise of moral rights 
20. —(1) The following provisions have effect with resp ect to the exercise of moral rights in 
relation to a work comprised in a work of co-author ship in which there is revived copyright. 
(2)  Any waiver or assertion of moral rights which subsi sted immediately before the expiry of 
copyright shall continue to have effect during the period of revived copyright. 
(3)  Moral rights are exercisable after commencement by the author of a work as with any other 
copyright work. 
(4)  Where the author died before commencement— 
(a)  the rights conferred by— 
(i)  section 77 (right to identification as author or di rector); or 
(ii)  section 80 (right to object to derogatory treatment  of work), 
are exercisable after commencement by his personal representatives, and 
(b)  any infringement after commencement of the right co nferred by section 84 (false 
attribution) is actionable by his personal represen tatives. 
(5)  Any damages recovered by personal representatives b y virtue of this regulation in respect of 
an infringement after a person’s death shall devolv e as part of his or her estate as if the right of 
action had subsisted and been vested in him or her immediately before his or her death. 
(6)  Nothing in these Regulations shall be construed as causing a moral right to be exercisable if, 
or to the extent that, the right was excluded by vi rtue of paragraph 23 of Schedule 1 on the 
commencement of the Act or would have been so exclu ded if copyright had not previously 
expired. 
Revived copyright: saving for acts of exploitation when work in public domain, &c. 
21. —(1) No act done before commencement shall be regar ded as infringing revived copyright in 
a work. 
(2)  It is not an infringement of revived copyright in a  work— 
(a)  to do anything after commencement in pursuance of a rrangements made before 
commencement at a time when copyright did not subsi st in the work, or 
(b)  to issue to the public after commencement copies of  the work made before 
commencement at a time when copyright did not subsi st in the work. 
(3)  It is not an infringement of revived copyright in a  work to do anything after commencement 
in relation to a literary, dramatic or musical work  or a film made before commencement or made 
in pursuance of arrangements made before commenceme nt, which contains a copy of that work or 
is an adaptation of that work if— 
(a)  the copy or adaptation was made before commencement  at a time when copyright did not 
subsist in the work in which revived copyright subs ists, or  8 (b)  the copy or adaptation was made in pursuance of arr angements made before 
commencement at a time when copyright did not subsi st in the work in which revived 
copyright subsists. 
(4)  It is not an infringement of revived copyright in a  work to do after commencement anything 
which is a restricted act in relation to the work i f the act is done at a time when, or is done in 
pursuance of arrangements made at a time when, the name and address of a person entitled to 
authorise the act cannot by reasonable inquiry be a scertained. 
(5)  In this regulation “arrangements” means arrangement s for the exploitation of the work in 
question. 
(6)  It is not an infringement of any moral right to do anything which by virtue of this regulation 
is not an infringement of copyright. 
 
Rights in performances 
Rights in performances: interpretation 
22. —(1) In the provisions of this Part relating to rig hts in performances— 
“existing protected performance” means a performanc e in a sound recording in relation to 
which rights under Part II of the Act (rights in pe rformances) subsisted immediately before 
commencement, 
“a new right” means a right arising by virtue of re gulation 9 in relation to an assignment of a 
performer’s property rights in a sound recording. 
References in this Part to performers’ rights are t o the rights given by section 180(1)(a) of the 
Act. 
Rights in performances: application of new provisio ns 
23.  The new provisions relating to the duration of per formers’ rights in sound recordings and 
rights in relation to an assignment of performers’ rights in a sound recording apply— 
(a)  to performances taking place after commencement; 
(b)  to existing performances which first qualify for pr otection under Part II of the 1988 Act 
after commencement; and 
(c)  to existing protected performances. 
Extended performance rights 
24.  In the following provisions of this Part “extended  performance rights” means rights under 
Part II of the Act which subsist by virtue of the n ew provisions after the date on which they would 
have expired under the 1988 provisions. 
Entitlement to extended performance rights and new rights 
25. —(1) Any extended performance rights and any new ri ghts are exercisable as from 
commencement by the performer or (if he or she has died) the person entitled to exercise those 
rights by virtue of section 191B(1) or 192A of the Act. 
(2)  Any remuneration or damages received by a person’s personal representatives by virtue of a 
right conferred on them by paragraph (1) shall devo lve as part of that person’s estate as if the right  
had subsisted and been vested in him or her immedia tely before his or her death. 
Extended performance rights: existing consents, agr eements, &c. 
26.  Subject to the provisions of sections 191HA(5) and  191HB(7) and (9), any consent, or any 
term or condition of an agreement, relating to the exploitation of an existing protected 
performance which—  9 (a)  subsists immediately before commencement, and 
(b)  is not to expire before the end of the period for w hich rights under Part II of the Act 
subsist in relation to that performance, 
shall continue to subsist during the period of any extended performance rights, subject to any 
agreement to the contrary. 
Review 
27. —(1) Before the end of each review period, the Secr etary of State must— 
(a)  carry out a review of regulations 4 to 26, 
(b)  set out the conclusions of the review in a report, and 
(c)  lay the report before Parliament. 
(2)  In carrying out the review the Secretary of State m ust, so far as is reasonable, have regard to 
how the Directive (which is implemented by means of  regulations 4 to 26) is implemented in other 
Member States and must in particular— 
(a)  consider whether and if so, to what extent certain producers should be subject to the 
obligation to pay the annual payment referred to in  section 191HB of the Act (as inserted 
by regulation 9) having regard to the provisions of  Recital (12) of the Directive, and 
(b)  consider whether to implement the provision set out  in Article 10a, paragraph 2 of 
Directive 2006/116/EC( a) as inserted by Article 1(4) of the Directive. 
(3)  The report must in particular— 
(a)  set out the objectives intended to be achieved by t he regulatory system established by 
those regulations, 
(b)  assess the extent to which those objectives are ach ieved, and 
(c)  assess whether those objectives remain appropriate and, if so, the extent to which they 
could be achieved with a system that imposes less r egulation. 
(4)  In this Regulation— 
“Directive” means Directive 2011/77/EU( b) of the European Parliament and of the Council of 
27th September 2011 amending Directive 2006/116/EC on the term of protection of copyright 
and related rights; 
“Review period” means— 
(a)  the period of five years beginning with the day on which regulations 4 to 26 come into 
force, and 
(b)  subject to paragraph (5), each successive period of  five years. 
(5)  If a report under this regulation is laid before Pa rliament before the last day of the review 
period to which it relates, the following review pe riod is to begin with the day on which that report 
is laid. 
 
 
 
 
 Younger of Leckie  
 Parliamentary Under Secretary of State for Busines s, Innovation and Skills 
17th July 2013 Department for Business, Innovation and Skills 
 
 
 
                                                                                                                                            
(a) OJ No L 372, 27.12.2006, p12. 
(b) OJ No L 265, 11.10.2011, p1.  10  EXPLANATORY NOTE 
(This note is not part of the Regulations) 
These Regulations amend the Copyright, Designs and Patents Act 1988 (“the Act”) and implement 
the provisions of Directive 2011/77/EU of the Europ ean Parliament and of the Council of 27 
September 2011 amending Directive 2006/116/EC on th e term of protection of copyright and 
certain related rights ( OJ No L265, 11.10.2011, p.  1). 
Regulation 4 inserts in section 10A of the Act a ne w definition of a work of co-authorship as a 
musical composition with words where the author of the music and the author of the lyrics have 
collaborated together to produce the work. 
Regulation 5 amends section 12(8) of the Act to inc lude a reference to a work of co-authorship 
so as to provide that copyright in the works compri sed in a work of co-authorship will expire 70 
years after the death of the last surviving author.  
Regulation 6 amends section 13A of the Act to exten d the period of copyright in a sound 
recording which is published or made available to t he public from 50 years to 70 years. 
Regulation 7 amends section 182D of the Act to prov ide that where copyright in a sound 
recording has expired pursuant to the exercise by t he performer of the rights conferred under new 
section 191HA inserted by regulation 9, the respons ibility for payment of equitable remuneration 
should be discharged by the user i.e. the person wh o plays the sound recording in public or 
communicates the sound recording to the public, in place of the producer. 
Regulation 8 amends section 191 of the Act to exten d the duration of a performer’s rights in a 
sound recording which is released from 50 years to 70 years. 
Regulation 9 inserts new sections 191HA and 191HB i n the Act: 
New section 191HA provides that where a performer h as assigned the reproduction, distribution 
and making available rights in a sound recording to  the producer, the performer may serve notice 
to terminate that assignment at the expiry of the 5 0 year period (as defined in sub-section (7)) if 
the producer has failed to sell the sound recording  in sufficient quantities or to make it available 
on the internet. If at the end of the notice period  the producer has failed to exploit the recording, 
the agreement terminates and the producer’s copyrig ht in the sound recording expires. 
New section 191HB provides that where a performer w ho has assigned such rights to a producer 
in consideration of a single payment (as opposed to  a recurring payment), with effect from the end 
of the 50 year period, the performer is entitled to  receive an annual payment until the expiry of the 
copyright in the sound recording. The producer or, where relevant, the exclusive licensee is under 
an obligation to pay to a Collecting Society, for d istribution to the performer, 20% of the gross 
revenue received in respect of sales and downloads of the sound recording. Any disputes regarding 
the sum payable may be referred by the performer to  the Copyright Tribunal. Subsection (9) 
provides that where a performer is entitled to recu rring payments under an assignment of rights, 
the producer is not entitled to deduct sums from su ch payments with effect from the end of the 50 
year period notwithstanding any provision in the ag reement permitting such deductions. 
Regulation 10 amends section 192A so as provide tha t the rights conferred on the performer 
under new sections 191HA and 191HB are transmissibl e on the death of the performer. 
Part 3 of the Regulations (which contains transitio nal provisions and savings), provides— 
(a)  for the new provisions relating to duration of copy right in sound recordings to apply not 
only to sound recordings made after 1st November 20 13 but also to sound recordings in 
which copyright subsisted immediately before that d ate (regulations 12 and 14); 
(b)  for the saving of any period of copyright which wou ld be longer than that to which a 
work might otherwise be entitled under the Regulati ons (regulation 13); 
(c)  for those Regulations which increase the duration o f copyright for works comprised in a 
work of co-authorship to 70 years from the death of  the last surviving author, to apply not 
only to works made after 1st November 2013 but also  to works made before that date in  11  which copyright continues to subsist on 31st Octobe r 2013, and further to apply to works 
where the copyright in either the musical work or t he literary work expired before that 
date but where the copyright in the related literar y work or musical work continued to 
subsist on 31st October 2013 under the 1988 provisi ons or which were protected on 1st 
November 2013 under legislation relating to copyrig ht or related rights in any other EEA 
State (regulation 14 and 15); 
(d)  for the determination of the ownership of both exte nded and revived copyright (regulation 
16, 17 and 18); 
(e)  in relation to extended copyright, subject to the p rovisions of sections 191HA and 
191HB, for any licence, term or condition of an agr eement or waiver or assertion of moral 
rights, or any such licence, term or condition impo sed by the copyright tribunal , effective 
throughout the duration of the original period of c opyright to continue throughout the 
period of extended copyright (regulation 19); 
(f)  who is to exercise moral rights in respect of a rev ived copyright in a work of co-
authorship (regulation 20); 
(g)  a saving in respect of arrangements made before 1st  November 2013 so that any acts done 
after 1st November 2013 in pursuance of such arrang ements are not to be regarded as 
infringements of revived copyright (regulation 21);  
(h)  a saving in respect of the issue to the public afte r 1st November 2013 of copies of a 
revived copyright work made before that date and at  a time when copyright in the revived 
work had expired (regulation 21); 
(i)  a saving for acts done in respect of revived copyri ght works after 1st November 2013, 
where the owner of the right cannot be found by rea sonable inquiry (regulation 21); 
(j)  a saving for acts done after 1st November 2013 in r espect of works which contain a copy 
of , or is an adaptation of a revived work which wa s made before 1st November 2013 or 
in pursuance of arrangements before that date (regu lation 21); 
(k)  for the new provisions relating to the duration of performers’ rights in sound recordings 
and in relation to an assignment of performers’ rig hts in a sound recording to a producer 
to apply to performances taking place after 1st Nov ember 2013 and to performances in a 
sound recording in which rights under Part II of th e Act subsisted immediately before that 
date (regulation 23); 
(l)  for the determination of ownership of extended perf ormance rights and new rights 
(regulation 25); 
(m)  in relation to extended performance rights, for sav ings corresponding to those made in 
respect of extended copyright works (regulation 26) . 
Regulation 27 imposes a duty on the Secretary of St ate to carry out a review of the regulations 
before 1st November 2018 and to prepare a report to  Parliament of the conclusions of the review. 
A full impact assessment of the effect that this in strument will have on the costs of business and 
the voluntary sector is available from the Intellec tual Property Office, Concept House, Cardiff 
Road, Newport, NP10 8QQ and is annexed to the Expla natory Memorandum (together with a 
transposition note) which is available alongside th e instrument on www.legislation.gov.uk 
  
  
© Crown copyright 2013 
Printed and published in the UK by The Stationery O ffice Limited under the authority and superintenden ce of Carol Tullo, 
Controller of Her Majesty’s Stationery Office and Q ueen’s Printer of Acts of Parliament. £5.75 
UK201307174   07/2013   19585 
http://www.legislation.gov.uk/id/uksi/2013/1782