• EMMANUEL OBED ACQUAH Department of Music Education, University of Education, Winneba, Ghana.
  • MATILDA ODE ACQUAH-NUNOO Department of Music Education, University of Education, Winneba, Ghana.


royalty, musiga, GHAMRO, PRO, pirating, music industry


Royalty collection and distribution are very important so far as ownership of creative works is concerned. Similarly, there is an upsurge of pirating of music productions in Ghana. These acts present a challenge for most musicians, especially, those who do not have any education on royalties; its collection and distribution as far as economic advantage of their creative works is concerned. This paper investigates the state of royalties in the music industry in Ghana and highlights some of the factors responsible for pirating many music productions in Ghana. Interview was used to garner data from three (3) purposively sampled members of Ghana Music Right Organization (GHAMRO). It was revealed that the extent of royalty payment law enforced in Ghana is minimal and the Ghana music right organization is the body licensed by the government for the collection and distribution of royalties. However, this body is constrained with software and log-in systems to enable them enforce the law in Ghana for the collections and distributions of royalties. It is envisaged that when the Ghana music right organization is resourced with the needed apparatus, all musicians will be educated to register with the organization so as to receive royalties that would reduce the rate of pirating of such property in Ghana.


Adoma, D. (2016): The role of intellectual property rights protection in stimulating creativity and innovation: The case of Ghana. – University of Ghana. Available on:

Bell, J. (2014): Doing Your Research Project: A guide for first-time researchers. – McGraw-Hill Education (UK) 297p.

Collins, J. (2006): Copyright, folklore and music piracy in Ghana. – Critical Arts 20(1): 158-170.

Diane, A. (2004): When words sing and music speaks: A qualitative study of in depth music psychotherapy with adults. – New York University 268p.

Ghana Music Rights Organization (GHAMRO) (2017): The Biodata. – GHAMRO Official Portal. Available on:

Herbert, I., Leclercq, N. (Eds.). (2003). World of Theatre 2003 Edition: An Account of the World's Theatre Seasons 1999-2000, 2000-2001 and 2001-2002. – Routledge 400p.

Hervas-Drane, A., Noam, E. (2017): Peer-to-peer file sharing and cultural trade protectionism. – Inform. Econom. Policy 41(12): 15-27.

Higgins, G.E., Wolfe, S.E., Marcum, C.D. (2008): Music piracy and neutralization: A preliminary trajectory analysis from short-term longitudinal data. – International Journal of Cyber Criminology 2(2): 324-36.

Makeen, M. (2018): The Evolution and Scope of the Public Performance Right of Musical Works under International, US and Egyptian Copyright Laws. – Journal of the Copyright Society of the USA 65(2): 169-202.

Marshall, L. (2004): The effects of piracy upon the music industry: A case study of bootlegging. – Media, Culture and Society 26(2): 163-181.

Nwogu, M.I.O. (2014): The challenges of the Nigerian Copyright Commission (NCC) in the fight against copyright piracy in Nigeria. – Global Journal of Politics and Law Research 2(5): 22-34.

Riessman, C.K. (1993): Narrative analysis. – SAGE Publication 80p.

Simons, H. (2009): Case study research in practice. – SAGE Publication 200p.

Sternberg, C.A. (2004): Musicians, record labels, and webcasters: in need of an international royalty’s collection society. – UCLA Ent. L. Rev. 11: 399p.

Stone, B. (2015): The Future of Prison Radio: Does inmate-produced media have a place in the American prison system? – University of Oregon 76p.

Waelbroeck, P. (2013): Handbook on the digital creative economy. – Edward Elgar Publishing 456p.




How to Cite

ACQUAH, E. O., & ACQUAH-NUNOO, M. O. (2021). THE STATE OF ROYALTIES IN THE MUSIC INDUSTRY IN GHANA. Quantum Journal of Social Sciences and Humanities, 2(2), 65–73. Retrieved from