In the music industry, we sometimes use the terms performance royalty and performing right interchangeably. They both reference the public execution of a Work. The former refers to the money generated by the execution of the performance of a Work in public and the latter refers to a right being administered by a PRO.
When talking about Writers’ and Publishers’ shares, we refer to how Copyright is recognized through the ownership of a Work, the musical composition in other words the written part of a song (the partition).
In music publishing, shares are traditionally divided 50/50 between the writer and the publisher. For example, when a Work is publicly performed, played on the radio, or streamed on a digital service provider (DSP) rights holders are entitled to performance royalties and mechanical royalties.
Performing rights are administered by Performance Rights Organisations (PROs) and mechanical rights by Mechanical Rights Organisations (MROs) and Mechanical Licensing Collectives (MLCs) and reproduction rights* by Reproduction Rights Organisations (RROs). All organisations other than PROs fall under the wider term Collective Management Organization (CMO). In some instances, an organisation might administer more than one right. It depends on the country and the Copyright Act of that said country. PROs and CMOs have the responsibility of licensing, tracking, and paying out royalties to songwriters and music publishers.
*The term mechanical refers to the process used to fixate the reproduction of the sound recording to a support. A perfect example of mechanical reproduction is when a Work is pressed onto a blank Vinyl. Nowadays we tend to use the term reproduction rights or mechanical reproduction rights instead of mechanical rights because of the digitalisation of the music industry. The process of reproduction has evolved and the mechanical aspect of reproduction is perceived differently when reproduced digitally.