Abstract
Despite the increasing international integration of intellectual property (IP), national laws and structures for implementing rights in music continue to vary, for better or for worse, in ways that matter to musicians and other copyright stakeholders. This article draws on oral history and archival data to examine one such variation. Where most countries have only one copyright collecting society for musical authors, there are two in Turkey (MESAM and MSG). IP experts and administrators blame competition or lack of coordination between the two societies for a host of problems, including complicating the processes of performing rights licensing and royalty distribution. Analyzing the origin story of the second collecting society through the lens of Anna Tsing’s influential concept of “friction,” I highlight the social and cultural dynamics that complicate the ongoing global integration of IP and the general development of structures for enforcing IP rights in music.
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