The concept emerged in the early 20th century as a response to the growing impact of recorded media. Artists and producers gained the ability to license and control the public use of their performances and recordings, enabling them to receive remuneration from a variety of revenue streams. In many jurisdictions, these rights are regulated through national statutes, but international harmonization has been pursued through agreements such as the 1961 Geneva Convention, the 1971 Rome Convention and the 1995 TRIPS Agreement.
Naboophavsrettighederne grant holders a limited exclusive right to control the exploitation of works that have been performed, recorded, or broadcast. Typical rights include the authority to issue licenses and collect royalties for uses such as public performance, mechanical reproduction, and distribution. The duration of these rights varies by country; for performers, it commonly ranges from 5 to 50 years, while for producers of recordings it often extends 50 years beyond the date of creation.
Because neighboring rights are a collective-rights structure, performance rights organisations (PROs), record company associations or national agencies administer them on behalf of members. These organisations negotiate licensing agreements with other users, such as radio stations, streaming services and event organisers, and distribute the collected royalties to rights holders. Ensuring transparent accounting, accurate monitoring, and timely payout is critical to maintaining trust between rights holders and the administration bodies.
In practice, the effective enforcement of naboophavsrettighederne relies on cooperation between industry participants, lawmakers and international bodies. Legislation continues to adapt to technological changes, such as the rise of streaming and user-generated content platforms. The existence of these rights encourages investment in music and media production, thus fostering cultural diversity and economic growth across many sectors of society.