ISRC identifies a particular sound recording or music video; ISWC identifies the underlying musical work. One composition may have several recordings, each with its own ISRC, while a single recording—such as a medley—may include multiple works. The codes describe different layers of music metadata, and neither code by itself proves ownership or royalty shares.
What does ISRC mean?
ISRC stands for International Standard Recording Code. It identifies a specific sound recording or music video—not the composition, performer, or release product. An ISRC has 12 alphanumeric characters. Its format identifies the recording; it should not be read as a statement of ownership or country of origin. IFPI’s ISRC guidance explains the code and its use.
What does ISWC mean?
ISWC stands for International Standard Musical Work Code. It identifies a musical work—the intangible composition—rather than a particular performance, recording, or publication. Its format consists of a T prefix, nine digits for the work identifier, and a check digit. The code does not state who owns the work or how royalties are divided. The ISWC system’s official guidance puts it this way: “The ISWC uniquely and accurately identifies each specific musical work.”
ISRC vs. ISWC: the practical differences
| Question | ISRC | ISWC |
|---|---|---|
| What does it identify? | A specific sound recording or music video. | The underlying musical work or composition. |
| Who assigns it? | The recording producer or registrant under the official ISRC system. | An authorised ISWC Registration Agency; creators and publishers cannot make up or self-assign numbers. |
| How does it relate to versions? | A distinct recording, such as a live version or materially different edit, may need its own ISRC. Reusing the same recording on another release does not, by itself, call for a new one. | The work’s ISWC remains associated with that work when it is recorded in different ways. Eligible versions or adaptations may receive identifiers linked to the source work. |
| What does it not prove? | Ownership, royalty shares, the identity of a release product, or the performer. | Ownership, royalty shares, the identity of a recording, or the publication or product. |
How works and recordings relate
One work can have several ISRCs
A composition can be recorded in a studio, performed live, or released in materially different edits or mixes. Those distinct recordings may each have their own ISRC, while the underlying work retains its ISWC. The exact treatment of remasters can depend on the circumstances; consult the IFPI ISRC Handbook rather than assuming every remaster needs a new code.
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One recording can contain several works
A medley can bring multiple musical works together in one recording. That recording has an ISRC, while the works included in it have their own ISWCs. The relationship is not necessarily one code to one code.
What the codes do—and do not—tell you
These identifiers help distinguish entities in music metadata. An ISRC can help connect a recording to rights and usage information held in databases, and an ISWC identifies a work independently of its copyright status or royalty-distribution agreements. Neither number is itself an ownership record or a royalty-allocation decision.
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Neither code identifies a CD, MP3, sheet-music edition, merchandise item, or performer. Those are different entities and require other product, rights, or contributor records. A code’s format is not a reliable way to infer who owns a track or where its rights are held.
When identifiers stay the same—and when a new one may apply
ISRC follows the recording
An ISRC remains associated with its recording when the file format, bit rate, release, territory, or licensing arrangement changes. Do not assign a fresh ISRC just because the same recording appears on another release. A different edit, mix, or live performance may be a distinct recording; remastering requires case-specific treatment under the handbook.
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ISWC follows the work
An ISWC remains attributed to the work; a change in agreement or royalty distribution does not change it. Works may be registered whether published or unpublished and irrespective of copyright status. Official eligibility guidance includes arrangements, lyric adaptations, translations, recognised excerpts, and medleys. Text-only lyrics are not eligible for an ISWC. Assigning an ISWC to an arrangement does not, by itself, authorise that arrangement. ISWC official guidance covers the system and registration.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.How to find or obtain an ISRC or ISWC
Looking up or assigning an ISRC
Use the official ISRC lookup and assignment guidance to search recording details and follow the appropriate assignment route. The lookup process can help reduce duplicate assignments. If a recording does not appear in a searchable database, that alone does not prove it has no ISRC: the repertoire may not have been submitted, or a database update may still be pending. Check existing records before assigning a new code.
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Registering a work for an ISWC
Apply through an authorised local or regional Registration Agency. The agency handles registration, and the number is assigned within the central system; a creator or publisher should not invent one independently. Consult ISWC official guidance for the relevant registration route.
Checking a preferred or merged ISWC record
CISAC’s ISWC open-data information describes cases of duplicate ISWCs and distinguishes a “Preferred ISWC” from an “Archived -or Merged into- ISWC.” When a source provides that distinction, use the preferred record and retain the archived or merged reference so the records remain traceable.
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