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1、Digital Music Report 2012,Expanding Choice.Going Global,3,5,6,22,23,10,24,26,14,16,28,Digital Music Report 2012Contents,2,Introductionn Plcido Domingo,chairman,IFPIn Frances Moore,chief executive,IFPIArtist voicesDigital Music:Expanding Choice.Going Globaln Executive Summaryn Global digital growth r
2、ate acceleratesn The global top selling digital singles of 2011n Access or ownership?You choosen Global expansionn Progress against piracyn Intermediaries have a key roleThe business models of digital musicn Downloads break through bordersn Digital album demand alive and kickingn The rise of subscri
3、ptionn Subscription reaches new consumersn Bundling music a route to the mass marketn Internet radio continued to expandn Music video meets strong consumer demandThe art of digital marketingPiracy:Improved cooperation fromonline intermediariesn A rigged marketn Books feel the impactn ISPs:The needle
4、 is movingn Progress in Europen New study assesses the effect of graduated responsen US and New Zealand:ISPs engagen Moves to block“rogue websites”n Evidence of site-blocking impact,Focus on Francen Hadopi:“Positive impact for years to come”n The independents view:Innovation and“meaningful sanctions
5、”Focus on the USn ISP agreement and strong digital growthFocus on South Korean A continuing successDeveloping a legitimate business in Chinan Major record companies license BaiduProtecting content online:Intermediariesstep upn Search engines should link to legal musicn Advertising:Cutting the funds
6、to piracyn Payment providers act on illegal sitesn Hosting providers:A key partnerSelf-Help:Anti-piracy enforcementand educationn Tackling the pre-release hackersn Public education:a long term commitmentn A Guide to Music,Film,TV and the InternetDigital Music Services Worldwide,2021,PlcidoDomingo.Ph
7、otobyJohnMarshall,A digital world that rewardsartists and creatorsBy Plcido Domingo,chairman,IFPII accepted the invitation to become chairman of IFPI in 2011 becauseI wanted to help improve the very challenging economic environmentwhich musicians young and old everywhere face in theircareers today.W
8、e all know the music industry is in a period of dramatic change.Much of this is cause for optimism and opportunity,as the Report thatfollows suggests.Thanks to the amazing technology of the internet,theaudience for recorded music is fast-expanding across the world.Artistswho might not otherwise find
9、 a way to make their music available cantake advantage of the new ways to distribute music the internet offers.At the same time policymakers better understand that the internet doesnot make music“free”.There is greater acceptance of the need forgood and fair copyright laws to stop the infringement o
10、f artists andproducers rights.A widening circle of vital partners in the internetworld are cooperating in stopping piracy.As a passionate supporter of the music industry,I welcome thesechanges.However,it is fundamental that artists and creators,andthe producers that invest in them,should be rewarded
11、 for their workin the digital environment just as in the physical world.Governmentsand legislation have an essential role to play.I only have to look at mynative Spain where piracy has had a terrible effect on everyonesroyalties and the labels investment in artists to see the extent of the,Plcido Do
12、mingo was appointed chairman of IFPI,the organisation thatrepresents the recording industry worldwide,in July 2011.Domingo is a world-renowned,multi-faceted artist.Recognised as oneof the finest and most influential singing actors in the history of opera,he is also a conductor and a major force as a
13、n opera administrator inhis role as general director of the LA Opera.,challenges we face.A world where copyright is properly respected brings income to artistsand producers and investment in artists of all genres.It also deliversjobs,growth and tax revenues.And,of course,it also brings anenormous am
14、ount of pleasure to billions of people.As its chairman,I am trying to help IFPI in its efforts to create an environment in whichthe public can enjoy the benefits from a successful digital music sector.Plcido Domingo,3,FrancesMoore.PhotobyPhilippeMolitor,Digital Music Report 2012Digital Music in 2012
15、:Optimism Justified.Complacency not AcceptedBy Frances Moore,chief executive,IFPI,Looking through the pages of this latestIFPI Digital Music Report,you see astriking paradox:on one hand,there is theinnovation and drive of a business thathas led the way for creative industriesin adapting to the digit
16、al age;on theother hand,the extraordinarily difficultenvironment in which these changesare taking place.This is the ninth report that we at IFPI have produced documentingthe evolution of the digital music sector worldwide.It has beena challenging and often painful transition,but as we enter 2012,the
17、re are reasons for real optimism.The digital music business hasnow reached out to encompass the globe.The largest internationallegitimate digital music services are present today in no fewer than58 countries this number has more than doubled in the lasttwelve months.Consumer choice has been revoluti
18、onised,as new models forconsuming and accessing music are rolled out in new and existingmarkets.The number of paying subscribers to services such asSpotify and Deezer has leapt in the last twelve months,from anestimated eight to more than 13 million.At the same time,cloud-based services,such as iTun
19、es Match,have become a reality in themarketplace,helping drive the popularity of music downloading.With a healthy 8 per cent increase in our digital revenues in 2011 the first time the annual growth rate has risen since records beganin 2004 some might feel tempted to say that a troubled era for them
20、usic industry is coming to an end.Such complacency now,however,would be a great mistake.The truth is that record companies are building a successful digitalmusic business in spite of the environment in which they operate,not because of it.Figures in this report show that more than one infour interne
21、t users globally regularly access unlicensed sites thatcontain copyrighted music.This is a startling statistic that capturesthe challenges we face in developing a sustainable legitimate digitalmusic sector.We are undoubtedly making important progress in changing thisenvironment,dealing with both pee
22、r-to-peer(P2P)and other formsof digital piracy.In the US,music and film companies have agreedwith ISPs a new copyright alert system.In France,the Hadopi law hasbeen successfully implemented and research shows it is accepted andhaving an impact on consumer behaviour.,South Korea,a pioneer of anti-pir
23、acy legislation which has required aneffective role from ISPs in stopping infringement,is seeing continuedmarket health.New Zealand implemented a new graduated responselaw in 2011 and surveys show it is already affecting consumerbehaviour positively.In Europe,a series of successful court actionsrequ
24、ired ISPs to block access to The Pirate Bay,prompting substantialreductions in users of that service.On top of this,there is a“new frontier”in our work against piracy.Cooperation from a far wider circle of technology and businesspartners,from advertisers to search engines,is now needed to dealwith t
25、he problem.In 2011,we made significant progress with theseintermediaries.A ground-breaking three-way collaboration betweenpayment providers,IFPI and the City of London Police has helped cutfunding to 62 illegal websites.That is a positive model that can beextended to new forms of piracy in the futur
26、e.The role of search engines in relation to piracy will be a key priority in2012.Google and other search engines are an important access routefor those looking for unlicensed music on the internet.Our industryhas stepped up cooperation with search engines in the last year,but a lot more cooperation
27、is needed,such as prioritising legitimatesites in search results and helping prevent the funding of illegal sitesvia advertising.The music industry has grasped theopportunities of the digital world in away few,if any,other businesses canclaim to have done.Despite the challenges ahead,the optimism fo
28、r digital musicgoing into 2012 is well-justified.The music industry has graspedthe opportunities of the digital world in a way few,if any,otherbusinesses can claim to have done.Our digital revenues,at one-third of industry income(and now more than 50 per cent in the US),substantially surpass those o
29、f other creative industries,such as films,books and newspapers.The music business is a dynamic contributor to the digital economy.Yet it can be much more than that,delivering sustainable growthand jobs.This cannot be done through innovation and licensingalone.We need a fair legal environment,effecti
30、ve cooperation fromintermediaries and a resolute commitment from governments to use,legislation to curb all forms of piracy.These are the priorities we willbe pushing for in 2012.4,Artist voices“The creation and recording of a songis the result of the work and talent ofmany:composers,musicians,arran
31、gers,engineers,assistants,producers.Each daythere are more and better digital services tohelp us enjoy the wonderful music createdthroughout the world.To consume musiclegally protects and respects the work ofeach and every one of the people involvedin its creation and recording.”Shakira,“The digital
32、 age has brought about a wayof consuming music and connecting withyour fan base that is unprecedented.Partnering and working closely with digitalplatforms allows us ways and meansof connecting with our fan base whichin turn creates greater exposure andgenerates sales.”Professor Green“I love the way
33、music turns all thesetechie devices like PCs,mobile phonesand iPads into personalised juke boxes,and I love how the internet lets meconnect with fans wherever they are inthe world.”Natasha Bedingfield“As a lover of music,an admirer of almost everygenre of music,a fan of creativity,its such ablessing
34、 to see the recent growth of people,supporting this art we call music.Its touching toknow more and more people value supportingthe music industry with integrity.”Van Ness Wu“Music is available to everyoneat the touch of a button.Pleasetry and only use those servicesthat actually pay the artists,song
35、writers and producers,rather than those that dont.”Queen“As artists who spendmuch time on theroad we applaud thepossibilities availabletoday of having legaland fast access to somany kinds of new,inspiring music.”Frida Gold,“Its fantastic that fans can listen toall the music they want for a goodvalue
36、-for-money price.This is thefuture and I am so happy that mymusic can be listened to in Francebut also across the world thanks tothose new music services.”Tal,“There has been tremendous growthwith new digital channels andstreaming services.These new businesspartnerships have the potential to helptur
37、n around our business.We mustcreate an awareness with the publicto realise the tremendous damage thathas been done to our industry,artists new,old,forgotten oreven undiscovered.It gives thelistener the power to expressthemselves and explore orsimply find old favourites.”MiMi5,COUNTRY,CHINA,“,“,Digit
38、al Music Report 2012Digital Music:Expanding Choice.Going GlobalExecutive summary,The digital music sector is pushing the limits of consumer choice,extending its business models and reaching out to consumers acrossthe globe.Digital channels have overtaken physical formats to becomethe dominant revenu
39、e stream in the worlds largest market,the US.And the digital music market is poised to further expand its reachinternationally in 2012.Despite the huge challenges outlined elsewhere in this report,there isa mood of optimism in digital music at the start of 2012.Downloadservices are seeing continued
40、strong consumer demand and areexpanding their customer base,particularly in previously untappeddeveloping markets.Meanwhile,a fast-growing number of consumersare using subscription services and other models.“Theres a raceamong the services to go global and plant the flag in new territories,”says Ste
41、phen Bryan,executive vice president,digital strategyand business development,Warner Music Group.“Were seeingservices that are generating revenues and growth.There is highengagement with these services.Consumers love them and spendhours using them.”,%OF RECORD COMPANY REVENUES FROM DIGITAL SOURCES71S
42、OUTH KOREA 53USA 52Source:IFPI estimates,2011.We have really only scratched the surface ofdigital music in the last decade now we arestarting the real mining,and on a global scale.”Rob Wells,president,global digital business,Universal Music Group.,Global digital growth rate acceleratesDigital music
43、revenues to record companies grew by 8 per centglobally in 2011 to an estimated US$5.2 billion.This compares togrowth of 5 per cent in 2010 and represents the first timethe year-on-year growth rate has increasedsince IFPI started measuring digitalrevenues in 2004.Digital channelsnow account for an e
44、stimated 32 per,42%,32%,PROPORTION OF INDUSTRIESGLOBAL REVENUES COMINGFROM DIGITAL SALES(2011),cent of record company revenuesglobally,up from 29 per cent in 2010.,5%,4%,1%,Some markets now see more than,half of their revenues derive fromdigital channels,including the US,Games,Music,Newspapers,Books
45、,Film,6,(52%),South Korea(53%)and China(71%).IFPI estimates that 3.6 billiondownloads were purchased globallyin 2011,an increase of 17 percent(combining singles andalbum downloads).At a time when other creativeindustries,in particularfilm,newspapers and bookpublishing,are only nowrapidly shifting to
46、 onlineand mobile channels,themusic industrys level ofdigital penetration stilldwarfs that of all othercomparable sectors,except games.,Sources:PWC Global Entertainment&Media Outlook and IFPI.Notes:gamesincludes players purchases of accessories and additional game content as well assubscriptions.Mus
47、ic share is based on trade revenues.Newspapers include digitaladvertising and subscriptions.Books excludes audio books.Film excludes online salesand rentals of physical discs.Theres a race among the services to goglobal and plant the flag in new territories.Were seeing services that are generatingre
48、venues and growth.”Stephen Bryan,executive vice president,digital strategy and business development,Warner Music Group.,8.2,7.3,“,The global top selling digital singles of 2011The top selling single of 2011 was Bruno Mars Just The Way You Are,which sold more than 12.5 million copies.The combined sal
49、es of the topten digital singles grew by 11 per cent in 2011.,ARTISTBRUNO MARSBRUNO MARSLMFAOJENNIFER LOPEZADELELADY GAGAPITBULL FT.NE-YO,AFROJACK&NAYERBLACK EYED PEASMAROON 5BRUNO MARS,TITLEJUST THE WAY YOU AREGRENADEPARTY ROCK ANTHEMON THE FLOORROLLING IN THE DEEPBORN THIS WAYGIVE ME EVERYTHINGTHE
50、 TIME(DIRTY BIT)MOVES LIKE JAGGERTHE LAZY SONG,SALES(M)12.510.29.78.48.28.27.06.5,Source:IFPI,12 months to November 2011.Sales are rounded.Combines all versions of the same song.Access or ownership?You choose,Certain fundamental factors underpin this growth.First is the continuedwidening of consumer
