Ifpi Global Music Written Report 2016
The tape labels' international merchandise body, the IFPI, has published its Global Music Report for 2016 alongside headline intelligence that global recorded music revenues are upward 3.2% every bit digital revenues overtake physical for the frst time. The study highlights:
- Digital revenues contribute 45 per cent of manufacture revenues, overtaking physical’s 39 per cent share
- Streaming revenues upward 45.2 per cent, helping to drive 3.2 per cent global growth
- Music consumption is exploding globally, but the “value gap” is the biggest brake on sustainable revenue growth for artists as well as tape labels
Downloads rest a important offering, accounting for exactly twenty per cent of manufacture revenues. Income was downwards 10.5 per cent to US$ 3.0 billion – a higher charge per unit of measurement of turn down than inwards 2014 (- 8.2 per cent). Full album downloads are all the same a major component of the music fans’ experience as well as were worth US$1.4 billion. This is higher than the grade of sales inwards 2010 (US$983 million) as well as 2011 (US$1.3 billion).
Performance rights revenue grew. Revenue generated through the work of recorded music past times broadcasters as well as populace venues increased 4.4 per cent to US$2.1 billion as well as remains 1 of the most consistent growing revenue sources. This revenue flow forthwith accounts for xiv per cent of the industry’s overall global revenue, upward from 10 per cent inwards 2011.
Revenues from physical formats declined, albeit at a slower charge per unit of measurement than inwards previous years, falling past times 4.5 per cent compared to 8.5 per cent inwards 2014 as well as 10.6 per cent inwards 2013. The sector all the same accounts for 39 per cent of overall global income as well as remains the format of alternative for consumers inwards a number of major markets worldwide including Nippon (75 per cent), Deutschland (60 per cent), as well as French Republic (42 per cent).
IFPI’s Global Music Report 2016 too reported a 10.2 per cent ascension inwards digital revenues to US$ 6.7 billion, alongside a 45.2 per cent increment inwards streaming revenue to a greater extent than than offsetting the turn down inwards downloads as well as physical formats.
Total manufacture revenues grew 3.2 per cent to US$ 15.0 billion, leading to the industry’s laid out important year-on-year growth inwards nearly 2 decades. Digital revenues forthwith line of piece of work organization human relationship for to a greater extent than than one-half the recorded music marketplace inwards xix markets.
However, the IFPI tell that in that location is a key weakness underlying this recovery. "Music is beingness consumed at tape levels, but this explosion inwards consumption is non returning a fair remuneration to artists as well as tape labels. This is because of a marketplace distortion resulting inwards a “value gap” which is depriving artists as well as labels of a fair provide for their work."
IFPI Chief Executive Frances Moore said: “After 2 decades of almost uninterrupted decline, 2015 witnessed key milestones for recorded music: measurable revenue growth globally; consumption of music exploding everywhere; as well as digital revenues overtaking income from physical formats for the laid out time. They reverberate an manufacture that has adapted to the digital historic flow as well as emerged stronger as well as smarter.
“This should last dandy intelligence for music creators, investors as well as consumers. But in that location is skilful argue why the celebrations are muted: it is exactly that the revenues, vital inwards funding hereafter investment, are non beingness fairly returned to rights holders. The message is clear as well as it comes from a united music community: the value gap is the biggest constraint to revenue growth for artists, tape labels as well as all music rights holders. Change is needed - as well as it is to policy makers that the music sector looks to number change.”
The IFPI tell that the “value gap” arises because about major digital services are able to circumvent the normal rules that apply to music licensing. User upload services claim they exercise non demand to negotiate licences for the music available on their platforms, or conclude licences at artificially depression rates, claiming protection from so-called “safe harbour” rules that were introduced inwards the early on days of the cyberspace as well as established inwards both the States as well as European legislation. Its clearly a dig at YouTube who many experience cover behind the DMCA 'safe harbor' provisions - as well as take keep an unfair payoff over competitors.
Recently about 400 recording artists, songwriters as well as groups including the Recording Industry Association of America (RIAA) are calling on Congress to reform existing the States copyright police describe maxim that the Digital Millenium Copyright Act (DMCA) is obsolete, dysfunctional as well as harmful, and calling for stronger measures against the ongoing piracy troubles they face. The DCMA was signed into police describe past times President Bill Clinton inwards 1998 as well as aimed to create copyright police describe for the digital age. Christina Aguilera, Katy Perry, Steve Tyler, Lionel Richie as well as Garth Brooks are exactly about of music’s biggest names who desire to arrive harder to pirate music online. The musicians are hollo for lawmakers to brand “drastic reforms” to the Act.
In September 2015 Cary Sherman, the chairman as well as CEO of the Recording Industry Association of America, has about alternative words nigh the electrical flow nation of the States copyright law. He said that the provisions of the Act were 'largely useless' to fight music piracy as well as that nether the Digital Millennium Copyright Act, rightsholders had to play a game of whack-a-mole alongside Internet companies to instruct them to take away infringing content. But that "never-ending game" has allowed piracy to run amok as well as has cheapened the legal demand for music. Sure, many Internet companies take away links nether the DMCA's "notice-and-takedown" regime. But the DMCA grants these companies, such every bit Google, a so-called "safe harbor"—meaning companies solely take keep to take away infringing content upon expose from rightsholders.
The IFPI tell that the condom harbour rules are beingness misapplied: "They were intended to protect genuinely passive online intermediaries from copyright liability. They were non designed to exempt companies that actively engage inwards the distribution of music online from playing past times the same rules every bit other online music services. The number is a distorted market, unfair contest as well as artists as well as labels deprived of a fair provide for their work."
"Rights holders from across the music community as well as wider creative sector are committed to changing this legislative anomaly. They tell in that location is no illustration for digital platforms that take keep built major businesses on the dorsum of music as well as other creative content, to last allowed to seek “safe harbour” refuge piece they turn a profit from making music available on the internet."
YouTube’s deals alongside Universal Music Group, Sony Music as well as Warner Music take keep either expired or volition this year, the Financial Times reported on Sunday.
http://www.ifpi.org/downloads/GMR2016.pdf
https://everythingarticlesaddict.blogspot.com//search?q=
- Digital revenues contribute 45 per cent of manufacture revenues, overtaking physical’s 39 per cent share
- Streaming revenues upward 45.2 per cent, helping to drive 3.2 per cent global growth
- Music consumption is exploding globally, but the “value gap” is the biggest brake on sustainable revenue growth for artists as well as tape labels
Downloads rest a important offering, accounting for exactly twenty per cent of manufacture revenues. Income was downwards 10.5 per cent to US$ 3.0 billion – a higher charge per unit of measurement of turn down than inwards 2014 (- 8.2 per cent). Full album downloads are all the same a major component of the music fans’ experience as well as were worth US$1.4 billion. This is higher than the grade of sales inwards 2010 (US$983 million) as well as 2011 (US$1.3 billion).
Performance rights revenue grew. Revenue generated through the work of recorded music past times broadcasters as well as populace venues increased 4.4 per cent to US$2.1 billion as well as remains 1 of the most consistent growing revenue sources. This revenue flow forthwith accounts for xiv per cent of the industry’s overall global revenue, upward from 10 per cent inwards 2011.
Revenues from physical formats declined, albeit at a slower charge per unit of measurement than inwards previous years, falling past times 4.5 per cent compared to 8.5 per cent inwards 2014 as well as 10.6 per cent inwards 2013. The sector all the same accounts for 39 per cent of overall global income as well as remains the format of alternative for consumers inwards a number of major markets worldwide including Nippon (75 per cent), Deutschland (60 per cent), as well as French Republic (42 per cent).
IFPI’s Global Music Report 2016 too reported a 10.2 per cent ascension inwards digital revenues to US$ 6.7 billion, alongside a 45.2 per cent increment inwards streaming revenue to a greater extent than than offsetting the turn down inwards downloads as well as physical formats.
Total manufacture revenues grew 3.2 per cent to US$ 15.0 billion, leading to the industry’s laid out important year-on-year growth inwards nearly 2 decades. Digital revenues forthwith line of piece of work organization human relationship for to a greater extent than than one-half the recorded music marketplace inwards xix markets.
However, the IFPI tell that in that location is a key weakness underlying this recovery. "Music is beingness consumed at tape levels, but this explosion inwards consumption is non returning a fair remuneration to artists as well as tape labels. This is because of a marketplace distortion resulting inwards a “value gap” which is depriving artists as well as labels of a fair provide for their work."IFPI Chief Executive Frances Moore said: “After 2 decades of almost uninterrupted decline, 2015 witnessed key milestones for recorded music: measurable revenue growth globally; consumption of music exploding everywhere; as well as digital revenues overtaking income from physical formats for the laid out time. They reverberate an manufacture that has adapted to the digital historic flow as well as emerged stronger as well as smarter.
“This should last dandy intelligence for music creators, investors as well as consumers. But in that location is skilful argue why the celebrations are muted: it is exactly that the revenues, vital inwards funding hereafter investment, are non beingness fairly returned to rights holders. The message is clear as well as it comes from a united music community: the value gap is the biggest constraint to revenue growth for artists, tape labels as well as all music rights holders. Change is needed - as well as it is to policy makers that the music sector looks to number change.”
The IFPI tell that the “value gap” arises because about major digital services are able to circumvent the normal rules that apply to music licensing. User upload services claim they exercise non demand to negotiate licences for the music available on their platforms, or conclude licences at artificially depression rates, claiming protection from so-called “safe harbour” rules that were introduced inwards the early on days of the cyberspace as well as established inwards both the States as well as European legislation. Its clearly a dig at YouTube who many experience cover behind the DMCA 'safe harbor' provisions - as well as take keep an unfair payoff over competitors.
Recently about 400 recording artists, songwriters as well as groups including the Recording Industry Association of America (RIAA) are calling on Congress to reform existing the States copyright police describe maxim that the Digital Millenium Copyright Act (DMCA) is obsolete, dysfunctional as well as harmful, and calling for stronger measures against the ongoing piracy troubles they face. The DCMA was signed into police describe past times President Bill Clinton inwards 1998 as well as aimed to create copyright police describe for the digital age. Christina Aguilera, Katy Perry, Steve Tyler, Lionel Richie as well as Garth Brooks are exactly about of music’s biggest names who desire to arrive harder to pirate music online. The musicians are hollo for lawmakers to brand “drastic reforms” to the Act.
In September 2015 Cary Sherman, the chairman as well as CEO of the Recording Industry Association of America, has about alternative words nigh the electrical flow nation of the States copyright law. He said that the provisions of the Act were 'largely useless' to fight music piracy as well as that nether the Digital Millennium Copyright Act, rightsholders had to play a game of whack-a-mole alongside Internet companies to instruct them to take away infringing content. But that "never-ending game" has allowed piracy to run amok as well as has cheapened the legal demand for music. Sure, many Internet companies take away links nether the DMCA's "notice-and-takedown" regime. But the DMCA grants these companies, such every bit Google, a so-called "safe harbor"—meaning companies solely take keep to take away infringing content upon expose from rightsholders.
The IFPI tell that the condom harbour rules are beingness misapplied: "They were intended to protect genuinely passive online intermediaries from copyright liability. They were non designed to exempt companies that actively engage inwards the distribution of music online from playing past times the same rules every bit other online music services. The number is a distorted market, unfair contest as well as artists as well as labels deprived of a fair provide for their work."
"Rights holders from across the music community as well as wider creative sector are committed to changing this legislative anomaly. They tell in that location is no illustration for digital platforms that take keep built major businesses on the dorsum of music as well as other creative content, to last allowed to seek “safe harbour” refuge piece they turn a profit from making music available on the internet."
YouTube’s deals alongside Universal Music Group, Sony Music as well as Warner Music take keep either expired or volition this year, the Financial Times reported on Sunday.
http://www.ifpi.org/downloads/GMR2016.pdf
https://everythingarticlesaddict.blogspot.com//search?q=
Ifpi Global Music Written Report 2016
Reviewed by Dul
on
May 24, 2018
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Reviewed by Dul
on
May 24, 2018
Rating:
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