Songs written before 1923 are in the public domain. Songs written between 1923 and his death in 1938 are protected for 95 years from the publication date. His works are registered with SESAC, and you may search their database for specific information.
Sound recording copyright is another matter. Prior to 1978, sound recordings were subject to state law rather than federal law, and will not enter the public domain until February 15, 2067.
Michael Jackson personally does not own any songs because he is dead, but his estate owns all of the the songs recorded by Michael Jackson and all of the beatles songs before the Sgt. Pepper's Lonely Hearts Club Band album.
Michael Jackson the publishing rights for a number of songs, including a large portion of the Beatles catalog when he acquired Northern Lights LTD in 1985. He does not own the copyrights, those are still held by the original composers (or their estates).
Alexandra Creel Goelet (50%) and her husband, Robert G. Goelet (50%).
As far as I am aware the BBC own the programme rights. However specific character/creatures are owned by their creators. For example the Daleks creator was Terry Nation. The rights to the Daleks are owned by the Nation Estate and the BBC had to pay for the right to be able to use them in the series.
Writing very successfully and recording in Cornwall, England where he owns a state of the art recording studio. Ocean Songs.
Which one? There appear to be at least three songs by this name.
Various songs are controlled by various companies and individuals.
Warner Tamerlane and Sony/ATV Songs.
Written in 1920, the work is in the public domain.
Samuel Beckett's estate owns the copyrights and the estate is currently run by his nephew.
There are too many things by that name to list--movies, television shows, songs, etc.
Robert Wood (Woody) Johnson owns the Jets, having bought them from Leon Hess in 2000. Johnson is a philanthropist and heir to the Johnson and Johnson Company fortune.
Some are Music Sales Group, some are EMI Longitude, and some are other publishers or administrators.
It varies, based on who received a composer credit, but a significant majority are controlled at least in part by EMI April.
As with most hip hop, there is a long list of stakeholders for each song, but most licensing can be handled through Universal.
Brentwood-Benson.
Random House.