could be defined as a Work for hire. If the work is a work for hire, the copyright of the material would be given to the producer of the show, not the writer. Whether or not a work is a work for hire is defined in the contract. In many cases, the rights to any or all of these parts of a musical or play are distributed by various companies that monitor and represent the rights of the artists. Instead of dealing with the artist directly, these companies monitor the artists' rights. Obtaining rights There are a few companies that represent artists and their copyrights. These companies make sure that the original artist gets credit and payment for the use of his or her work. Here are a few examples: ASCAP is the American Society of Composers, Authors and Publishers. They represent composers, songwriters, and lyricists. BMI (Broadcast Music, Inc.) also represent songwriters and composers. The Rodgers and Hammerstein Organization represent the authors and rights holders of many theatrical productions. Some of these companies do not license dramatic performances of works, and some do. A dramatic performance of a work can be anywhere from a performance of an entire dramatic work, such as a musical, or a concert of a few of an artist's songs. ASCAP does not license dramatic performances, but The Rodgers and Hammerstein Organization does. An example of a non-dramatic work would be if a song from a musical were to be played on the radio. Artist copyright If the production is not a work for hire, many of the artists involved have copyrights once the production is complete. For example, the choreographer's work is copyrighted. According to the U.S. Copyright Office, in order for choreography to be protected under copyright, it needs to be "fixed in a tangible medium of expression from which the work can be performed." In a typical musical, this would make the choreographer's work copyrighted. This means that his or her copyrighted dance routine cannot be used again without his or her permission and payment. While actors do not have copyright over the words they say or the moves they do, they do have the right to prohibit the recording or broadcasting of their performances. They also have the right to have their name associated with the part they played. There is some controversy over whether or not a director has copyright