Definition of phonograms

Phonogram Definition & Meaning | Dictionary.com

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[ foh-nuh-gram ]

/ ˈfoʊ nəˌgræm /

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noun

a unit symbol of a phonetic writing system, standing for a speech sound, syllable, or other sequence of speech sounds without reference to meaning.

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Origin of phonogram

First recorded in 1855–60; phono- + -gram¹

OTHER WORDS FROM phonogram

pho·no·gram·ic, pho·no·gram·mic, adjectivepho·no·gram·i·cal·ly, pho·no·gram·mi·cal·ly, adverb

Words nearby phonogram

phonics, phono, phonocardiogram, phonocardiograph, phonochemistry, phonogram, phonograph, phonographic, phonography, phonol. , phonolite

Dictionary.com Unabridged Based on the Random House Unabridged Dictionary, © Random House, Inc. 2022

How to use phonogram in a sentence

Soon after, he took top leadership roles at British record labels including Arista, Phonogram and MCA UK.
Piers Morgan’s Comeback Strategy|Shelley Ross|February 27, 2014|DAILY BEAST
Attention is not called here to the various vowel sounds, but the complete phonogram is taught at sight.
How to Teach Phonics|Lida M. Williams
A pupil thinks of a word containing a known phonogram, which is communicated to the teacher.
How to Teach Phonics|Lida M. Williams
The teacher writes a phonogram on the board and below it all the consonant sounds from which words may be built.
How to Teach Phonics|Lida M. Williams

When he has finished the sheet, or Phonogram, as I call it, it is ready for putting into a little box made on purpose for mails.
Buchanan's Journal of Man, December 1887|Various
It then came to stand as a phonogram to express the word nefer, good.
Evolution in Art|Alfred C. Haddon

British Dictionary definitions for phonogram

phonogram

/ (ˈfəʊnəˌɡræm) /

noun

any written symbol standing for a sound, syllable, morpheme, or word

a sequence of written symbols having the same sound in a variety of different words, for example, ough in bought, ought, and brought

Derived forms of phonogram

phonogramic or phonogrammic, adjective

Collins English Dictionary - Complete & Unabridged 2012 Digital Edition © William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012

How to Teach Phonograms (+ 3 FREE Printable Games!)

by Marie Rippel

Understanding phonograms is vital to your child’s success in reading and spelling—but the thought of teaching them may seem intimidating. Fear not! Phonograms are actually very simple to understand and easy to teach.

Let’s start with a quick definition.

What Are Phonograms?

A phonogram is a letter or combination of letters that represent a sound. For example:

CK is a phonogram that says /k/ as in clock.
S is a phonogram that says /s/ as in sat or /z/ as in has.
OY is a phonogram that says /oi/ as in boy.

The word phonogram comes from Greek and is literally translated as the “written symbol for a sound.”

Why Should You Teach Phonograms?

Simply put, phonograms make learning to read and spell much easier!

Take a look at the word past. If you pronounce the word slowly to hear the individual sounds, you will hear four different sounds: /p/–/ă/–/s/–/t/. For each sound, we can write down a phonogram. This 10-second video shows exactly how this is done.

That was an easy example, but the same principle also applies to multisyllable words. Here’s the word winter.

As you can see, your child doesn’t need to remember w-i-n-t-e-r as a random string of letters. Instead, he can just segment the word and represent each sound with a phonogram.

Listen to the Phonograms with Our Free App

Just click a button below to hear the correct pronunciation of the phonograms.

(If you are on a slow internet connection, there may be a slight delay. The downloaded version of the app will not experience this delay. )

You can download the free app on your computer, tablet, or phone here.

The button colors match the colors of our letter tiles to reinforce learning, and the phonograms are arranged in logical groupings, matching the labels provided with the letter tiles.

Phonograms Are Like Building Blocks

Phonograms are the building blocks of almost every English word. In fact, a study of 17,000 words showed that the vast majority of words follow the regular phonogram sounds. Only 3% of the words are completely irregular (such as said and of).¹ This means that there are very few words that must be learned through repetition and rote memorization.

Since phonograms represent sounds, the number of letters in a word doesn’t necessarily correspond to the number of phonograms. Here are some examples:

How to Teach Phonograms

If you’ve been hanging around our blog for a while, you know by now that we teach everything very incrementally, step-by-step. It would overwhelm most kids to have to learn all the phonograms at once, so we teach just a few phonograms at a time. Once your child has mastered those, we introduce a few more.

Flashcards (known as Phonogram Cards) are an efficient way to teach and review the phonograms, and we include them right in the All About Reading and All About Spelling programs.

The front of the card shows the phonogram. This is the side you show your student.

The back of the card has information for you, the teacher. It shows the sound of the phonogram, along with a key word.

If you are using All About Reading or All About Spelling, these steps are included right in the lesson plans.

Show the Phonogram Card.
Demonstrate the sound.
Have your student repeat the sound.
After several repetitions, see if the student can say the sound without your prompting.

The goal is to flip through the flashcards and have your student say the phonograms without pausing to think.

Organizing Your Phonogram Review Cards

To stay organized, sort the Phonogram Cards behind three dividers:

“Review” divider: Cards that your child is currently learning go here.
“Mastered” divider: This is where you’ll put the Phonogram Cards that your child knows inside and out.
“Future Lessons” divider: This is the parking spot for cards that haven’t been presented yet.

And this is important: after your child knows the phonograms, don’t forget to review! Quickly flip through a handful of cards at the beginning of every lesson to keep them fresh in your child’s mind.

Download These 4 Free Printable Games to Practice Phonograms

There’s no better way to review phonograms than by playing a game! Choose one of these games (or all four!) to make practice time go by more quickly.

Try Not to Moo

Try Not to Moo is an effective and super silly new way to practice phonograms that makes review time extra me-moo-rable! Designed to be used in conjunction with All About Reading or All About Spelling, this activity can also be used independently.

Get instant access to Try Not to Moo!

Swatting Phonograms

If your phonograms review and practice sessions are falling a little flat, here’s a great hands-on activity that you can slip in whenever you have a few extra minutes. It’s so much fun your child might not even realize he’s practicing!

Check out our super fun (and kind of gross) Swatting Phonograms activity!

Fun with Phonograms

Playing games is a great way to reinforce learning with children, and our easy-to-assemble printable game boards give you five different ways to have fun with phonograms! It’s as easy as 1-2-3—just download, print, and play!

Get instant access to Fun with Phonograms!

Phonogram Jungle Bingo

It’s easy to review phonograms when you have a great game to play! And who doesn’t love a good game of Bingo? Just print our jungle-themed bingo boards and grab your phonogram cards. You’re ready to go!

Download the PDF for Phonogram Jungle Bingo!

The Bottom Line for Teaching Phonograms

With phonograms, reading and spelling are much easier! Here are a few things to keep in mind:

An understanding of phonograms is vital to your child’s success in reading and spelling.
Phonograms are simple to understand and easy to teach.
Tools like the Phonogram Cards, the Phonogram Sounds App, and simple games are a great way to help your child master the phonograms.
Review is essential!

Was this post on phonograms helpful to you? Let me know in the comments below! And then download our “20 Best Tips for Teaching Reading and Spelling” for even more great information!

___________________________________
1. Hanna, P.R., Hanna, J.S., Hodges, R.E., & Rudorf, H. (1966). Phoneme-grapheme correspondences as cues to spelling improvement. Washington, DC: United States Office of Education Cooperative Research.

Rights to phonograms - COPYTRUST

The use of phonograms today is one of the most common ways to bring musical works to the masses. Naturally, in this case, special methods of protecting the rights of performers, authors and manufacturers are required, which will be discussed in this article.

The concept of a phonogram

The term "phonogram" is defined by Russian law as any exclusively audio recording of a performance or other sounds or their display. If such a recording is included in an audiovisual work, then it is not recognized as a phonogram (clause 2, clause 1, article 1304 of the Civil Code of the Russian Federation).

I must say that this definition is also accepted in world practice. In particular, it sounds approximately the same in:

Rome Convention for the Protection of Performers, Producers of Phonograms and Broadcasting Organizations,
Geneva Convention for the Protection of Producers of Phonograms against Unauthorized Reproductions of their Phonograms,
WIPO Performances and Phonograms Treaty, etc.

Phonogram as an object of related rights

According to Chapter 71 of the Civil Code of the Russian Federation, intellectual rights to phonograms are classified as objects of related rights. Subjects of related rights in this case may have both exclusive rights to the phonogram and, in some cases, non-exclusive rights. The rights to a phonogram are recognized and operate independently of the copyright on its components (music, lyrics, etc.). But, nevertheless, these rights can only be exercised if the copyrights of those who participated in its creation are respected.

Rights of producers of phonograms

Initially, the holder of related rights to a phonogram, in accordance with Art. 1322 of the Civil Code of the Russian Federation, becomes its manufacturer. That is, the natural or legal person who took responsibility for the first recording of the phonogram. In practice, this is the one who invested money in the production of a phonogram: rented a studio, provided sound recording equipment, etc. Based on this, in this case, it is necessary to apply the financial, and not the intellectual criterion. Thus, producers of phonograms should most often be understood as sound recording companies.

The exclusive rights to the phonogram, that is, the right to use it, belong to its manufacturer. The list of methods of use (Article 1324 of the Civil Code of the Russian Federation), taking into account the peculiarities of this object of related rights, includes:

the right of public performance;
broadcasting rights, that is, broadcasting on radio and television, with or without cable;
bringing the phonogram to the public in such a way that anyone from anywhere and at any time can access the phonogram at their own will - for example, via the Internet;

It is necessary to add to the last three points that if the phonogram was published for commercial purposes, its further use in the above ways is allowed without the consent of the right holder, but with the payment of remuneration to him.

reproduction, that is, the production of one or more copies of a phonogram - or part of it - in any material form. It should not be forgotten here that a phonogram is a sound and printing notes with the lyrics of a song will not be its reproduction;
Distribution of a phonogram, i. e. sale, or other method of alienation of the original or copies that are a copy of the phonogram, on a material carrier, in particular by import. Here it should be noted that after the legal implementation of the original or copy of the phonogram, their further distribution is carried out without the consent of the manufacturer and without payment of remuneration to him;
rental of a phonogram;
Reworking of a phonogram, whereby the person who performed it acquires related rights to the reworked phonogram, and not to the original one.

Exclusive rights to a phonogram are valid for 50 years from January 1 of the year following the year in which it was first recorded. If a phonogram has been made public, then the period of validity of exclusive rights to it begins on January 01 of the year following the year of such publication, but on the condition that this event took place no later than 50 years after the first recording.

The phonogram producer is also the owner of a number of non-exclusive rights:

the right to indicate on copies of a phonogram and (or) their packaging one's own name or designation,
the right to protect a phonogram from distortion during its use,
the right to publish a phonogram (Article 1323 of the Civil Code of the Russian Federation).

Here it should be noted that the mention of the title (name) on the packaging of the phonogram - it is also called the right of the label - should be attributed to one of the ways to protect related rights to the phonogram. This right is valid throughout the life of an individual or until the termination of the existence of a legal entity, depending on which of them is the producer of the phonogram.

Rights of performers

Another subject of related rights to a phonogram is a performer, that is, an individual whose creative work created the performance of a work (Article 1313 of the Civil Code of the Russian Federation). In this case, it may be a singer, musician, etc. Performers have the rights listed below (Article 1315 of the Civil Code of the Russian Federation):

exclusive rights to perform;
right of authorship of the performance;
the right to a name, that is, the right to indicate one's name (pseudonym) on the cover of a phonogram;
the right to inviolability of performance, that is, to protect one's performance from distortion.

The rights of performers are limited by the need to respect the rights of the authors of the works being performed.

Art. 1317 of the Civil Code of the Russian Federation, the performer has the right to dispose of his exclusive rights to the phonogram, in particular, to conclude agreements for the alienation of these rights and license agreements.

The performer's non-exclusive rights, that is, the right to a name, the right to authorize a performance, and the right to protect the performance from distortion, arise at the time of the first performance of the work and are valid indefinitely. The right of the performer may be inherited. In addition, the performer may leave a will or other written instructions, which will indicate the person to whom the performer entrusts the protection of his rights. This person will perform this function for life.

Rights of authors of works

The authors of works in this case should be understood as individuals whose creative work created the author's work, which became the basis for recording a phonogram. Composers, songwriters, etc. can be considered as authors here. The rights of authors should be understood as (Article 1255 of the Civil Code of the Russian Federation):

exclusive rights to the work;
right of authorship;
the author's right to a name;
the right to the inviolability of the work and protection from distortion;
the right to publish the work.

The rights of authors in this case are subject to protection on the same principles that are provided for by law to protect the rights of authors in general.

Copyright and related rights to a phonogram

The producer of a phonogram may exercise his rights only in compliance with the rights of authors and performers (Clause 2, Article 1323 of the Civil Code of the Russian Federation). It should be noted here that from the point of view of practice, including judicial practice, the rights to a phonogram are usually considered to be derived from the rights to the original work, that is, music, lyrics, etc. Thus, although intellectual rights to a phonogram are independent of the rights of authors and performers, they can only be realized if the latter are taken into account.

However, the wording of paragraph 2 of Art. 1324 of the Civil Code of the Russian Federation, on the observance of copyrights and the rights of performers, does not establish specific actions by which the producer of a phonogram can observe these rights. Practice, of course, recognizes such options as concluding agreements on the alienation of exclusive rights or licensing agreements for a work and / or performance, but this method is not the only one.

In order to sort out this issue, it is necessary to turn to judicial practice, where such a method of protecting the rights of phonogram producers is encountered as proof of the absence of a violation of the right. It should be noted that, for example, a receipt stating that the author or performer does not protest against the use of his work (performance) can be considered as such evidence. Nevertheless, here it is worth recommending, in order to minimize the grounds for the emergence of disputes, to use the types of contracts mentioned above and provided for by the current legislation.

Arrangement rights and rights of sound engineers

The arrangement and processing of musical works intended for phonogram recording should be considered separately. Despite the fact that the work resulting from the creative work of the arranger becomes a separate work for which the latter acquires copyright, it is closely interconnected with the original work. Thus, the arranger's copyright may arise from agreements on the assignment of exclusive rights, license agreements, agreements on the author's order concluded with the author of the original work, or similar and plus employment agreements with the owner of related rights to the phonogram.

The rights of sound producers to a phonogram are not separately reflected in the law, since, as already mentioned, the basis for recognizing someone as a producer of a phonogram is the property factor, and not the investment of personal creative labor. Nevertheless, there is an opinion that the rights of sound engineers should be considered by analogy with the rights of arrangers of musical works intended for recording phonograms.

Peculiarities of infringement of rights to a phonogram

Infringement of rights to a phonogram should include any illegal use of the exclusive and non-exclusive rights of phonogram producers, performers and authors of works that formed the basis of the original recording.

The most common type of violation of such rights is “piracy”. Namely: unauthorized use of the original recording of a phonogram or its copy, by making copies of it with subsequent sale, public reproduction of a phonogram, etc.

Please note that the fact of violation must be confirmed by the absence of the consent of the copyright holder. As mentioned above, there are no established forms for such consent, and in the event of a dispute, any evidence of its existence can be accepted. Failure to pay the appropriate remuneration is also a violation of the rights to the phonogram.

Protection of rights to a phonogram

First of all, it should be noted that related rights to a phonogram do not require state registration, as they arise automatically from manufacturers and performers.

The current legislation provides for technical means of protecting copyright and related rights to phonograms and informing about the existence of such rights.

Technical means should be understood as any method of protection using technical devices that can prevent or restrict any actions in respect of a phonogram that are not authorized by the author or other right holder. In particular, this applies to protection against:

unauthorized public reproduction by any means,
copying and selling copies of a phonogram (counterfeit),
failure to present on the packaging the appropriate symbols for the protection of the rights of producers and performers of the phonogram, as well as the name of the author of the work being performed.

Information on copyright and related rights should be understood as any information that can be used to identify the author, performer and producer of a phonogram.

The most common means of informing about the rights to a phonogram are symbols and signs of protection.

A distinction should be made between the protection symbol and the copyright protection sign for a phonogram, which may be used by its producer and performer. The protection symbol is a sign (℗), that is, a capital letter P in a circle (from the English phonogram - phonogram). The sign of protection consists of: the symbol ℗, the year of the first edition of the phonogram, the name (title) of the copyright holder.

The current legislation provides for criminal, administrative and civil liability for violation of related rights to a phonogram.

Among the features of the protection of related rights, and in this case, the rights to a phonogram, one should also note the measures that are taken at the border when importing copies of phonograms, as well as, in case of violation of the rights of copyright holders, the seizure of technical means that were used to manufacture such copies.

Other methods are also used to protect related rights, not only directly provided for in the law. In particular, they include notarization of copies of phonogram copies, storage of source files, etc.

One of such ways to protect related rights is to deposit a phonogram on a material carrier or in electronic form. It consists in transferring to an electronic archive (“cloud” storage) or a regular archive of a specialized organization (for example, www.copytrust.ru) a copy of the registered phonogram and issuing a corresponding document, which will indicate that a particular work has been deposited and on what date.

Conclusion

In conclusion, it should be noted that copyright and related rights to phonograms should be classified as complex and not fully regulated by law objects of protection.

Art. 1322 of the Civil Code of the Russian Federation with Comments for 2021-2022 (new edition with latest changes)

The producer of a phonogram is the person who takes the initiative and responsibility for the first recording of the sounds of a performance or other sounds or displays of these sounds. In the absence of evidence to the contrary, the producer of a phonogram is a person whose name or denomination is indicated in the usual way on a copy of the phonogram and (or) its packaging or otherwise in accordance with Article 1310 of this Code.

1. Among the objects for which intellectual rights arise, the phonogram and broadcasting occupy a special place. They, strictly speaking, are not the results of intellectual labor, but the results of organizational, financial, material and technical efforts to create a recording of the sounds and messages of television and radio programs (TV and radio broadcasts).

The main reason for their legal protection is the huge disproportion between the great efforts that the organizer makes to “bring to the market” the corresponding product - a phonogram or a message on the air (by cable), and the ease of unauthorized use of these objects, provided by the modern level of development of audio and video technology.

Thus, the emergence of legal protection is connected with the need to ensure the legal monopoly of producers of phonograms and broadcasting organizations on the objects in question. At the same time, it is intellectual rights and, above all, exclusive rights that are the most adequate legal structure that provides such protection. This is due to several reasons.

First of all, like other objects of related rights, phonograms and messages on the air or by cable transmission ensure the “delivery” of works to consumers. For example, like performances, phonograms allow a person, using technical capabilities, to repeatedly enjoy listening to their favorite musical and not only musical works. However, unlike performances, the phonogram “packs” not only the works, but also the performances themselves. A broadcasting organization's message may include works, performances, and phonograms, and in some cases (for example, when rebroadcasting) broadcasts of another broadcasting organization.

Secondly, a phonogram as an object is not a material carrier itself, but a recording made on it, i.e. and this manifests closeness with intellectual non-material objects (works and phonograms). After all, it is important to protect not the ownership of the medium (as in copyright), but the right to record itself. Here, by the way, is the key to understanding the content of a phonogram as an object of rights.

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absolute, since its use is possible simultaneously by an unlimited circle of persons. Therefore, the emergence of an exclusive right to a phonogram is justified from the point of view of its legal regime.

2. The commented article defines the subject of the right to a phonogram - the producer of the phonogram, since the very definition of a phonogram as a recording is contained in subpara. 2 p. 1 art. 1304 of the Civil Code of the Russian Federation. This is the person who took "the initiative and responsibility for the first record."

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Part four of the Civil Code of the Russian Federation draws a very thin line between the recording of a performance and a phonogram. When reading sub. 3 and 4 paragraph 2 of Art. 1317 of the Code, it may seem that there is some kind of ambiguity. But she's not there. It's all about the different shades of meaning of the term "performance recording" in these paragraphs. In sub. 3 recording is understood as an action, as a process of fixing sounds. In sub. 4 refers to the reproduction of the recording as something that arose as a result of the recording process, which was discussed in sub. 3 as a result of the fixation performed. That is why here we can already talk about the recording as a phonogram.

In addition, it was necessary to separate the objects of rights of performers and producers of phonograms, which was done through the turnover “recording of a performance”.

This definition is traditional. Thus, the 1996 WIPO Performances and Phonograms Treaty defines a phonogram producer as the natural or legal person who takes the initiative and is responsible for the first fixation of the sounds of a performance or other sounds or displays of sounds. As you can see, almost word for word. The same definition was given in the Law on Copyright and Related Rights. A similar definition is contained in the Rome Convention.

The words “taking the initiative and responsibility” express the meaning of identifying this person as a subject of related rights: this person does not create a performance and does not just make a technical recording of sounds, he makes certain investments in the creation and promotion of such a recording, takes the initiative and responsibility in relation to this process, which becomes the subject of legal protection. Moreover, the word "responsibility" is used here not so much in retrospective terms, but in a positive one.

Another important element of the definition contained in the commented article is the "first entry". Here again, the legal rather than the technical aspect comes to the fore. The meaning of these words is that the person who first recorded the performance or other sounds receives a legal monopoly on such a phonogram. In this case, no one can say: "I arranged for the creation of another recording and did not use the recording created by the phonogram producer, so I did not violate his rights." The phonogram producer, as already noted, is granted a legal monopoly on the recording in principle, and not only on the direct recording that he created. After all, it is technically possible to make another recording (for example, at a concert). But from a legal point of view, the use of such a record is allowed only with the consent of the copyright holder, unless otherwise provided by the Civil Code of the Russian Federation.

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The Civil Code of the Russian Federation in some cases allows the use of a phonogram without the consent of the copyright holder (see, for example, Article 1245 of the Civil Code and commentary thereto).

A phonogram is basically a recording of a performance, but not only. The sound of the surf, the singing of birds and other sounds can also become the content of the phonogram. But in Art. 1322 of the Civil Code of the Russian Federation refers not only to the recording of sounds, but also to their display. In this case, the purely technical aspect has acquired legal significance. The audio information that is transmitted using digital technologies is not sounds, but is their display. As stated in Art. 1305 of the Code, "the display of sounds means their representation in digital form, the conversion of which into a form perceived by the ear requires the use of appropriate technical means."

That is why in the commented article (as in Article 1329 of the Civil Code) an indication appeared not only of sounds, but also of their display.

3. If the first sentence of art. 1322 of the Civil Code of the Russian Federation determines who is the producer of the phonogram, the second sentence indicates the process of proving the fact who is recognized as the owner of the phonogram. A presumption is formulated that this person is indicated on the copy and (or) the packaging of the phonogram in the usual way, i. e. based on the generally accepted procedure for indicating the name or designation of the copyright holder. In this regard, the provisions of the already mentioned Art. 1305 of the Civil Code of the Russian Federation, according to which the owner of a related right to a phonogram has the right to use the sign of legal protection for notification - the Latin letter “P” in a circle, the name or designation of the owner of the exclusive right, the year of the first publication of the phonogram.

4. Initially, in the draft of part four of the Civil Code of the Russian Federation, this set of rights was provided not only for the phonogram producer, but also for the video recording producer. This figure did not appear out of nowhere. For example, in the EU Directive of November 19, 1992, the rights of rental, lending and certain related rights, copyright in the field of intellectual property, other relevant rights (the right to rent, to lend to use, to reproduce), as well as the rules on protection restrictions were provided for the producers of the first film or video recording.