KOMCA (Korea Music Copyright Association) is South Korea's largest music copyright collective management organization, founded in 1964 and headquartered in Gangseo-gu, Seoul. It represents over 60,000 members including songwriters, composers, arrangers, and music publishers, managing approximately 8.4 million musical works. KOMCA administers public performance, broadcasting, transmission, reproduction, and synchronization rights under Korea's Copyright Act.
How KOMCA Works
KOMCA issues licenses to radio stations, television networks, streaming platforms, karaoke establishments, live concert venues, restaurants, bars, gyms, and any business that uses music publicly in South Korea. License fees are collected and distributed to rights holders based on usage data from broadcast logs, streaming reports, karaoke performance data, and live concert set lists.
KOMCA distributes royalties quarterly. The organization tracks usage across multiple categories including broadcasting (radio and TV), transmission (streaming and digital), audio discs, live performances, karaoke, background music, and overseas income. Each category has its own distribution methodology based on the type of usage data available.
In 2025, KOMCA collected 445.3 billion KRW (approximately 327 million USD) in royalties and distributed 403.1 billion KRW (approximately 296 million USD) to rights holders. This marked the first time distributions exceeded 400 billion KRW, entering what KOMCA calls the "400 billion KRW era." Collections grew from 287.6 billion KRW in 2021 to 445.3 billion KRW in 2025, a 55% increase over four years.
By sector in 2025, transmission fees (streaming and digital) were the largest revenue source at 202.8 billion KRW. Audio disc royalties reached 80.9 billion KRW. Live stage performance royalties totaled 21.8 billion KRW. Overseas income reached 47.8 billion KRW. Broadcasting royalties included 17 billion KRW from cable broadcasting and 12.9 billion KRW from IPTV.
KOMCA's membership surpassed 60,000 in November 2025, a milestone commemorated with a creative support grant ceremony. Membership has grown rapidly: 40,000 in April 2021, 50,000 in September 2023, and 60,000 in November 2025. The organization has 983 full members, 45,087 associate members, and 14,314 trust contract holders as of December 2025. Music publishers number 392.
KOMCA hosted the CISAC General Assembly in Seoul in 2024, strengthening its international profile. The organization has expanded foreign language education for staff and advanced its overseas collection systems. Chair Cho Ga-yeol (also known as Chu Ga-yeol) led the organization through its 60,000-member milestone and the 400 billion KRW distribution era.
KOMCA's annual Copyright Awards recognize the highest royalty earners in each category. Producer Beomjoo won the grand prize in the popular lyrics and composition category for three consecutive years from 2024 to 2026.
Real-World Example
A K-pop songwriter registers 30 songs with KOMCA. A Korean streaming platform like Melon reports 5 million streams, a cable music channel broadcasts 10 of the songs in rotation, and a concert at Gocheok Sky Dome features 8 of the songs in its set list. Karaoke establishments across Seoul also add 5 of the songs to their catalogs.
KOMCA collects royalties from all these sources. Streaming royalties (the largest category at 202.8 billion KRW across all distributions) are allocated based on stream counts. Broadcasting royalties are allocated based on airplay logs. Live performance royalties are allocated based on set lists. Karaoke royalties are allocated based on performance data from karaoke establishments.
If the same songs are played on streaming platforms in Japan, KOMCA's reciprocal agreement with JASRAC means JASRAC collects those royalties and remits them to KOMCA, which distributes them to the songwriter. Overseas income reached 47.8 billion KRW in 2025, reflecting the global popularity of K-pop.
With 403.1 billion KRW distributed in 2025, a K-pop songwriter with 30 songs receiving significant streaming activity and regular broadcast exposure might earn anywhere from 10 million KRW to 500 million KRW or more annually, depending on the scale of usage and their registered share of the works. Top earners like Beomjoo receive significantly more.
Why It Matters for Independent Artists
If you are a Korean songwriter, composer, arranger, or publisher, KOMCA is your primary domestic option for collecting music royalties. While other organizations like the Korea Music Performance Association (KMPA) also operate in Korea, KOMCA is the largest with over 60,000 members and 8.4 million works under management.
Register every composition with KOMCA before commercial release. Unregistered works earn zero royalties, even if they accumulate millions of streams on Melon, Genie, or Spotify Korea. Submit accurate metadata including ISRC codes, ISWC numbers, and split sheets. KOMCA's distribution system processes billions of performances annually, so accurate metadata directly impacts how quickly and completely you get paid.
South Korea has one of the world's most advanced digital music markets. Streaming and transmission fees account for the largest share of KOMCA collections (202.8 billion KRW in 2025). If your music is on Korean streaming platforms, ensure your works are registered so streaming royalties are captured.
KOMCA's overseas income reached 47.8 billion KRW in 2025, driven by the global spread of K-pop. If your music is played internationally, KOMCA's CISAC membership and reciprocal agreements mean those royalties flow back to you. The organization is actively improving its overseas collection systems to capture more international revenue for Korean creators.
KOMCA's rapid membership growth (from 40,000 to 60,000 in four years) reflects the expanding Korean music industry. Join the organization to participate in copyright policy discussions, access the KOMCA Copyright Awards, and benefit from the organization's advocacy for fair streaming royalties.
Drawbacks / Things to Consider
KOMCA has faced serious transparency and governance concerns. In 2025, a board member exposed "structural corruption and suspicions of misconduct among senior officials." Allegations include 8.5 billion KRW in executive compensation over nine years and 20 million KRW in monthly business expenses for the president. An "Emergency Ethics Committee" was launched in June 2025 by prominent songwriters, asserting that KOMCA had lost its self-cleansing ability.
Only 10.5% of streaming revenue reaches copyright holders in South Korea, compared to 12.3% in the US, 16% in the UK, and 15% in Germany. Korean streaming platforms like Melon take a 35% share, higher than the average of less than 30% in major countries. KOMCA's own report acknowledged this gap. The complex distribution structure in Korea, with multiple intermediaries including distributors and copyright management organizations, reduces the share reaching creators.
KOMCA's collection system has been criticized as outdated. A 2025 chair candidate described it as "a system built decades ago" that is "far behind" the explosive growth of the K-pop market. Specific failures include non-collection of copyright fees from OTT (online video service) platforms and middleman exploitation of Chinese copyright fees, both exposed during a National Assembly audit.
BLACKPINK's Rose departed KOMCA, highlighting concerns about the complex royalty distribution structure. Industry insiders point out that while overseas artists often only go through a publisher to receive music revenue, Korean artists must go through both a distributor and a copyright management organization. This complexity reduces the share of revenue reaching copyright holders.
KOMCA has an ongoing feud with another copyright management organization, the Korean Society of Composers, Authors and Publishers. Publishers with "murky contracts" have allegedly misappropriated copyright royalties paid by Chinese platforms. These internal conflicts create uncertainty for members about whether all collectable royalties are being recovered.
KOMCA only collects directly in South Korea. International royalties depend on CISAC membership and reciprocal agreements. Overseas income reached 47.8 billion KRW in 2025, but the organization acknowledges its overseas collection systems need improvement. Expect delays and potential gaps in international collections.
PRO Comparison Table
| Feature | KOMCA | SAMRO | ASCAP | BMI | JASRAC |
|---|---|---|---|---|---|
| Territory | South Korea | South Africa | United States | United States | Japan |
| Join fee | 200,000 KRW (trust contract) | R100 (composers), R500 (publishers) | Free | Free | 10,000 JPY (admission fee) |
| Annual fee | None | None | None | None | None |
| Overhead rate | 8.79% average management fee (lowest in OECD) | 25% cost-to-income ratio | ~10 to 11% | ~10% | ~10 to 12% |
| Distribution frequency | Varies by type (quarterly for broadcasting, monthly for live) | 23 distributions in 2025 | Quarterly | Quarterly | 4 distributions per year |
| Reciprocal agreements | CISAC member with worldwide reciprocal network | 89 agreements across 150 countries | Yes (CISAC member) | Yes (CISAC member) | Yes (CISAC member) |
| Members | 60,000+ (November 2025) | 28,308 Associate and Full | 800,000+ | 1.1 million+ | 30,000+ |
Territory Covered
KOMCA collects royalties exclusively within South Korea. The organization licenses music users operating inside South Korean borders. This includes radio stations, television networks, streaming platforms (Melon, Genie, Spotify Korea), karaoke establishments, live concert venues, restaurants, bars, gyms, and any business using music publicly in South Korea.
For royalties generated outside South Korea, KOMCA relies on CISAC membership and reciprocal agreements with foreign collecting societies. Overseas income reached 47.8 billion KRW in 2025, driven by the global popularity of K-pop.
How to Join KOMCA
KOMCA offers two main entry paths:
Trust Contract (Sintak Gyeyak)
This is the standard path for songwriters, composers, and arrangers who want KOMCA to manage their copyrights:
- Submit a trust contract application with required documents.
- Pay the trust contract application fee: 200,000 KRW for general applicants, 120,000 KRW for elementary, middle, high school, and university students (excluding graduate students).
- Pay the admission fee for general membership (currently waived).
- KOMCA reviews and processes the application.
- Once approved, register your works through the KOMCA member portal.
General Membership (Ilban Hoewon)
General membership is optional and provides additional benefits. The admission fee is currently waived. General members can participate in copyright policy discussions and access certain member services.
Membership Tiers
- Associate Members: Entry-level members who have signed a trust contract. 45,087 as of December 2025.
- Full Members: Associate members promoted after three years based on royalty distribution amounts. 983 as of December 2025.
- Trust Contract Holders: Holders who have assigned rights without full membership. 14,314 as of December 2025.
- Music Publishers: 392 as of December 2025.
Membership Fees
- Trust contract application fee: 200,000 KRW (approximately 147 USD) for general applicants
- Student discount: 120,000 KRW (approximately 88 USD) for elementary through university students (excluding graduate students). Requires enrollment certificate.
- Corporate/acquisition members: 1,000,000 KRW (approximately 735 USD)
- General membership admission fee: Currently waived
- Annual membership fee: None
- Transfer from another Korean CMO to KOMCA: Application fee and admission fee waived (with proof of contract termination)
Overhead Rate
KOMCA's average management fee rate is 8.79%, the lowest among OECD member countries. The rate varies by media type:
- Broadcasting (terrestrial, cable, IPTV, satellite): 6%
- Streaming and transmission: 9%
- Stage performances: 10%
- Venues (karaoke, dance halls, entertainment establishments): 11%
- Foreign income: 5%
- Film: 5%
- Advertising: 5%
- Audio recordings: 9%
- Combined services: 9% (through 2026), 5.5% (from 2027)
These rates are approved by the Korean Ministry of Culture, Sports and Tourism. KOMCA applies rates at approximately half the government-approved maximum in most categories.
Royalty Distribution Schedule
KOMCA distributes royalties with varying frequency depending on usage type:
- Broadcasting: Music used January to March is distributed in September. Quarterly distribution with a 6-month lag.
- Live performances: Distributed the month following the performance.
- Streaming and transmission: Distributed periodically based on data processing cycles.
- Overseas income: Distributed according to schedules of foreign societies, typically with 1 to 2 year delays.
- Karaoke: Distributed based on performance data from karaoke establishments.
In 2025, KOMCA collected 445.3 billion KRW and distributed 403.1 billion KRW. The difference between collection and distribution amounts reflects the management fee and timing differences across distribution cycles.
Reciprocal Agreements with Foreign Societies
KOMCA is a CISAC member with reciprocal agreements covering major markets worldwide. When a KOMCA member's music is performed internationally, the local collecting society collects those royalties and remits them to KOMCA.
Major reciprocal partners include JASRAC (Japan), ASCAP and BMI (US), PRS for Music (UK), GEMA (Germany), SACEM (France), and SIAE (Italy). KOMCA hosted the CISAC General Assembly in Seoul in 2024.
Overseas income reached 47.8 billion KRW in 2025. KOMCA acknowledges its overseas collection systems need improvement. The organization has expanded foreign language education for staff and advanced its overseas collection systems under Chair Cho Ga-yeol.
Notable Members
KOMCA's full members include many of Korea's most prominent songwriters and producers:
- Pdogg (Kang Hyo-won): BTS producer. Won the KOMCA Copyright Awards Grand Prize for five consecutive years (2019 to 2023) as the highest-earning songwriter.
- Bumzu (Gye Beom-ju): Seventeen producer. Won the Grand Prize for three consecutive years (2024 to 2026). Registered over 350 songs with KOMCA.
- Suga (Min Yoon-gi): BTS member and songwriter. Full member.
- RM (Kim Nam-joon): BTS leader and songwriter. Full member.
- J-Hope (Jung Ho-seok): BTS member and songwriter. Full member.
- Woozi (Lee Ji-hoon): Seventeen member and producer. Full member.
- Zico (Woo Ji-ho): Block B member and solo artist. Full member.
- Yiruma (Lee Ru-ma): Pianist and composer known for "River Flows in You." Full member.
- Jay Park (Park Jae-beom): Rapper and producer. Full member.
- Zion.T (Kim Hae-sol): R&B singer and songwriter. Full member.
- Lee Chan-hyuk: AKMU member and songwriter. Full member.
Video Guides
Compare KOMCA with Other PROs
- JASRAC - Japan's performing rights organization
- SAMRO - South Africa's performing rights organization
- ASCAP - American Society of Composers, Authors and Publishers
- BMI - Broadcast Music, Inc.
- AKM - Austria's performing rights organization
- GEMA - Germany's performing rights organization
- Full PRO Directory - Browse all performing rights organizations
Related Resources
- Performing Rights Organizations Directory - Browse the full list of PROs worldwide
- Performing Rights Organizations (PRO) - What a PRO is and how it functions
- Performance Royalties - How performance royalties are generated and collected
- Mechanical Royalties - How mechanical royalties differ from performance royalties
- Blanket License - The licensing model used by KOMCA
- Collective Management Organization (CMO) - How CMOs operate globally
- Visit KOMCA for membership info
- Use our Streaming Royalty Calculator to estimate your digital earnings
