Clearly, there are slightly different structures. Take classical music and a symphony orchestra, for example. There are 100 musicians led by a conductor, perhaps in addition to a guest soloist, such as a violinist, who will play a concerto accompanied by the orchestra. A phonogram, a sound recording, will be produced.
Let's take a second example, that of Céline Dion and her five musicians—she might have more, but I'm giving an example—who also record a phonogram. Of course we are talking about popular music here.
Is there a difference between the two? The soloist will probably sign a contract with a producer, as will the pop star. Musicians are bound by similar agreements. The difference is that classical music involves a larger number of musicians, because they usually belong to ensembles. Since there are more musicians, the royalties they will receive may be lower than those paid to an ensemble of only five musicians.
In addition to those differences, performers can find themselves in quite diverse situations. I know a musician who can play one day with the symphony orchestra, can do jazz the next day and accompany a popular artist the day after that. The same musician will therefore play with a number of artists of different styles.
Contractual practices may differ from one sector to another. In classical music, collective agreements generally govern the working conditions between an orchestra and a producer. Popular music deals with individual contracts to manage the relations between a producer and an artist.
In terms of the Copyright Act, I wouldn't be able to tell you whether there are big differences depending on the style of music.