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2026 Supreme(Del) 527

IN THE HIGH COURT OF DELHI AT NEW DELHI
C. Hari Shankar, Om Prakash Shukla, JJ.
Mr Ilaiyaraaja - Appellant
Versus
Saregama India Limited - Respondent
FAO(OS) (COMM) 52 of 2025
Decided On : 21-05-2026

Advocates Appeared:
For the Appellant : Ms. Swathi Sukumar, Sr. Adv. with Mr. Naveen Nagarjuna, Mr. Ritik Raghuwanshi, Ms. Rishika Agarwal and Ms. Shrudula Murthy, Advs.
For the Respondent: Mr. J. Sai Deepak, Sr Adv. with Mr. Ankur Sangal, Mr. Ankit Arvind, Mr. Shashwat Rakshit, Mr. Rishabh Rao, Advs.

The producer of a cinematograph film is the first owner of the accompanying sound recording. While a composer retains separate copyright in the underlying musical work, this does not grant them rights over the sound recording or lyrics, preventing them from authorizing recreation of the audio track.

Headnote:(A) Copyright Act, 1957 - Sections 2(a)(iv), 2(d)(ii), 2(d)(v), 2(f), 2(p), 13(1), 13(4), 14(a), 14(d), 17 - Copyright in musical works versus sound recordings in cinematograph films - Separate ownership of musical compositions and sound recordings of film soundtracks.

(B) First ownership of copyright: The producer of a cinematograph film is the first owner of the copyright in the film, which includes the accompanying sound recording. (Paras 14, 31, 33).

(C) Scope of Composer’s Rights: While a composer remains the author and first owner of the musical work, this right does not extend to the lyrics or the sound recording formed as part of a cinematograph film; consequently, the composer cannot authoritatively license the recreation or adaptation of the sound recording. (Paras 28, 29, 31).

(D) Interaction of rights: Statute mandates that copyright in a cinematograph film or sound recording does not affect the separate copyright in an underlying musical work; however, this protection does not authorize the composer to exploit the sound recording or lyrics without proper rights. (Para 29).

Facts of the case:
A dispute arose concerning the unauthorized recreation and adaptation of a song originally used in a cinematograph film. The entity holding the copyright to the film’s sound recordings sought an injunction against the composer and a third party, arguing that the producer of the film was the first owner of the sound recording and that any recreation without their license constituted infringement. The composer contended that they retained ownership of the underlying musical work and could therefore authorize its adaptation.

Findings of Court:
The court held that the producer of the cinematograph film was the first owner of the sound recording. While the music composer held copyright in the underlying musical composition, they possessed no rights over the sound recording or the associated lyrics. Therefore, the composer could not license the recreation of the sound recording to a third party, and the resulting adaptation constituted an infringement of the film copyright owner’s rights.

Issues: 1. Whether a composer holds the right to authorize the adaptation of a sound recording after the song has been incorporated into a cinematograph film. 2. Whether the producer’s rights in the sound recording of a film override the composer’s rights in the underlying musical work.

Ratio Decidendi: The producer of a cinematograph film is the first owner of the sound recording as defined by statute. The composer’s rights in a musical work are separate but limited to the musical composition; they do not encompass the sound recording or the lyrics of the film song. Consequently, the composer cannot legally license the reproduction or adaptation of the audio track of the song.

Result: Appeal dismissed.

Table of Content
1. overview and procedural background of the copyright appeal. (Para 1 , 2 , 3 , 4 , 5 , 6 , 7)
2. rival contentions concerning initial copyright ownership of musical works and cinematograph films. (Para 8 , 9 , 10 , 11 , 12)
3. summary of the single judge’s reasoning on copyright exhaustion and statutory definitions. (Para 13 , 14)
4. appellate arguments regarding the applicability of the copyright (amendment) act 2012. (Para 15 , 16 , 17)
5. statutory analysis of separate copyrights in musical works versus sound recordings in films. (Para 18 , 19 , 20 , 21 , 22 , 23 , 24 , 25 , 26 , 27 , 28 , 29 , 30)
6. evaluation of agreements and determination of infringements based on contractual assignment rights. (Para 31 , 32 , 33 , 34 , 35)
7. final order dismissing the appeal and upholding the injunction. (Para 36 , 37)

JUDGMENT :

C. HARI SHANKAR, J.

A. The lis

1. A song is just a song, a thing of joy to lighten a dreary evening. That is, till it becomes subject matter of copyright conflict in a court of law, when it suddenly metamorphoses into much more.

2. Copyright vests, in a song, independently in the music, the lyrics, and the sound recording. It is the intricate balance between these copyrights, and their situs, with which we, in this appeal, are concerned.

3. Ilaiyaraaja, a highly respected music maker from the South, is in appeal before us, challenging judgment dated 30 January 2025 passed by a learned Single Judge of this Court in IA 1021/2025 and IA 2163/2025 in CS (Comm) 38/2025[“the Suit” hereinafter.]

4. IA 1021/2025 was filed by the respondent Saregama India Limited[“SIL” hereinafter], as the plaintiff in the suit. By order dated 16 January 2025, ad interim relief was granted to SIL and against the defendants in the suit, namely, Vels Film International Limited[“VFIL” hereinafter] as Defendant 1, Divo TV Private Limited[“DTPL” hereinafter] as Defendant 2 and the appellant Ilaiyaraaja as Defendant 3.

5. IA 2163/2025 was filed by Ilaiyaraaja for vacating the stay granted by order dated 16 January 2025.

6. The impugned judgment allows IA 1021/2025 and dismisses IA 2163/2025.

7. Ilaiyaraaja, as we have noted, is in appeal.

B. Facts

B.I The Challenge

8. SIL pleaded, in the suit, that VFIL, DTPL and Ilaiyaraaja had infringed SIL’s copyright in the literary and musical work in the song En Iniya Pon Nilave[“the Disputed Song” hereinafter] from the film Moodu Pani, which was slated for release on 31 January 2025. The learned Single Judge has noted, in the opening paragraph of the impugned judgment, that it was undisputed that VFIL had used the lyrics and music composition of the disputed song and had caused a fresh recording thereof, which was proposed to be used in an upcoming cinematograph film Aghathiyaa. We may note that it is the case of Ilaiyaraaja, as well as of VFIL before the learned Single Judge, that VFIL had only adapted the song, as was permissible under Section 14(a)(vi)[14. Meaning of copyright. – For the purposes of this Act, “copyright” means the exclusive right subject to the provisions of this Act, to do or authorise the doing of any of the following acts in respect of a work or any substantial part thereof, namely:— (a) in the case of a literary, dramatic or musical work, not being a computer programme,— ***** (vi) to make any adaptation of the work;]of the Copyright Act, 1957.

B.II Rival stands before the learned Single Judge

9. Before the learned Single Judge, SIL asserted and averred as under:

(i) Raja Cine Arts[“RCA” hereinafter], the producer of the film Moodu Pani, had entered into an agreement with SIL on 25 February 1980 through SIL’s agent Saraswati Stores. Under this agreement, SIL became the owner of the sound recordings as well as the musical and literary works contained in the film Moodu Pani, which included the disputed song.

(ii) On 9 January 2025, SIL came across a teaser of an upcoming cinema film Aghathiyaa, being produced by VFIL and distributed by DTPL, on various social media platforms. These

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