Konbini. Le bond de 5,9 % de chiffre d'affaires effectué par l'industrie musicale en 2016 est le plus important depuis 1997, date des premières publications. (© 20th Century Fox) Et si la crise de l'industrie musicale était en train de se résorber ? Mardi 25 avril, la Fédération internationale de l'industrie phonographique (IFPI) a publié ses résultats, annonçant que les ventes mondiales de musique ont crû de 5,9 %. Il s'agit de la croissance la plus importante enregistrée depuis 1997, date à laquelle l'organisme a commencé à publier des résultats annuels. Après une croissance redevenue positive en 2015, avec 3,2 % d'augmentation du chiffre d'affaires, le monde de la musique enregistre donc une seconde année de résultats positifs, se permettant même de réaliser un bond historique.
Un changement de paradigme économique enfin parvenu à maturité, tandis que les ventes physiques continuent leur lente agonie, en perdant encore 7,6 %. Science, data, culture et galéjades. How Blockchain Can Change the Music Industry (Part 2) — Rethink Music. With every .bc having its own fingerprint, it makes all of the above searchable and accessible to all in the blockchain, while still giving rights holders control over permissions and changes to basic rights through smart contracts. Being able to track changes in ownership and permissions in near real time is not only possible under this architecture, but will allow for new and enhanced uses for music across the digital ecosystem. 3. Digital Rights Management or DRM is really bad! This has perhaps been the biggest issue I have encountered since this idea was proposed. It seems that DRM has created more than a few casualties! I have heard loud and clear, “Aren’t you just recreating Digital Rights Management for 2016?”
I am therefore calling this Digital Rights Expression, as none of what is proposed here is designed to limit possibilities. 4. One concern that I have heard voiced many times since the article came out is that all of this information would be way too public. 5. 6. The global music copyright business is worth more than you think - and grew by nearly $1bn last year. How much is the global music business really worth? The regularly-cited answer to that question: $15bn. That’s the (approximate) figure the IFPI has placed on the recorded music business’s annual revenues for the past few years. In 2016, according to early estimates, that figure looks likely to rise up towards $16bn. But in truth, it still only conveys one part of the music copyright landscape. Last year, Spotify Director of Economics Will Page helped MBW put the first ever figure on the entire music copyright industry – that’s recorded music, plus revenues generated by publishing/authors rights.
He’s just done it again. And today, MBW can exclusively present his latest findings. The headline figure: According to Page, global revenues generated by music copyright in 2015 stood at $24.37bn. Based on a US$ constant currency method, Page now estimates that the equivalent figure from 2014 was $23.43bn. That’s a year-on-year rise of $941m or 4%. Over to Will Page. the headline figure: $24.4bn. Right. How Spotify helped me as an artist – MUSIC x TECH x FUTURE – Medium. Last year I spent almost every day in my small home studio. Writing songs, recording songs. I was learning everything. Learning to play the guitar, learning the skills of songwriting, learning how to record and how to mix. This year I decided to release my first 4 songs. Every week of February one track. Thanks to Dutch digital distributor Songflow, for 5 euro’s a track I could make my work available on Apple Music, Deezer, Spotify and more.
And I published my music myself on Bandcamp and Soundcloud. To be honest I had no expectations. But immediately something happened. Fresh Finds = Early Adoption Spotify’s official Fresh Finds playlists, now widely known, were unknown when I started. What does this mean for an artist? This is what I learned for my own next release!
Playlists = Influential Curation Looking back, this is where a lot started for me. I don’t want to pretend to know it all. Discover Weekly = Automated Discovery Spotify is a digital company, a data company. And what’s next? Pip. The music business: Change of tune. IT WAS an eventful summer in the business of streaming music. Taylor Swift and other artists attacked YouTube over rampant free streaming. Frank Ocean and Katy Perry cut exclusive deals with Apple Music, to the dismay of executives at Spotify, a Swedish rival. Behind the scenes, Pandora, a radio-like service, and Amazon, an e-commerce giant, stepped up their efforts to take on Spotify and Apple.
Then last month Spotify began talks to buy SoundCloud, another streaming firm. All this drama obscures two emerging realities. The first is that subscription streaming is now the future of the music business. The industry suffered a catastrophic collapse in sales from 1999 onwards before beginning to recover last year. But American record labels and music publishers are now on track for a second consecutive year of growth. Most of that rebound is due to growth in subscription-streaming revenues.
Hogging the mic The change in attitude is striking. ARTISTS VS SONGS : BUILDING IDENTITY IN A STREAMING ERA - PART I — Rethink Music. Guest post by Nick Susi, creative strategist in music & media Entering 2017, a popular topic of conversation has been focused on streaming’s impact on the music industry. It wasn’t long ago that the industry and media coverage of streaming had a widely negative connotation wrapped around it. 2014 ended in Taylor Swift’s stand against Spotify’s royalty payments. 2015 ended in David Lowery’s $150 million class action lawsuit against Spotify.
Here we are only a year or so later and the conversation surrounding streaming has shifted to a largely positive outlook. Streaming has now driven a favorable increase in global recorded revenues, with Spotify and Apple combined driving $7 billion with over 60 million subscribers. Although attitudes toward streaming have been increasingly positive, the era of streaming is still largely nascent. The long-term impact is entirely unknown. How Engaged Are Streamers Anyway?
There are a number of factors that make it difficult to estimate per-stream rates. Sony Music earned $1.2bn from streaming platforms in 2016. Sony Music Entertainment generated 134.83bn Yen ($1.24bn) from streaming music in calendar 2016 – and 40.65bn Yen ($372m) in the three months to end of December alone. That means Sony’s recorded music division is now earning approximately $124m every month, $31m every week, $4m every day and $167,000 every hour from the likes of Spotify and Apple Music.
This quarterly streaming haul of 40.65bn Yen was up 30.3% on the 31.2bn Yen ($286m) recorded in the same period of 2015. Physical sales were still the top money-maker for Sony Music labels across the whole of 2016, but only just. CD and vinyl generated 137.23bn Yen ($1.26bn) in the year – 1.8% (around $21m) more than streaming. In the three months to end of December, which includes the bumper Christmas gifting period, Sony’s physical recorded music sales stood at 44.97bn Yen ($412m) down 24.6% on the equivalent quarter in 2015.
As for download? All of these figures arrived today with Sony’s announcement of its fiscal Q3 (calendar Q4) results. TIDAL sells 33% stake for $200m to Softbank-owned telco Sprint. Well, well, well. Less than a day after MBW ruminated on whether TIDAL would be able to secure some outside help with its funding – and survive without it – a major development has been confirmed. US telco Sprint – which boasts 45 million retail customers and is majority-owned by Japanese giant Softbank – has acquired a 33% stake in TIDAL, it’s been announced. Sources tell MBW that the sale cost Sprint around $200m, valuing TIDAL at $600m. Sprint’s chief executive officer, Marcelo Claure, will also join TIDAL’s Board of Directors.
In exchange for its new ownership stake, TIDAL has inked a deal with Sprint which it says will “make exclusive content that will only be available to current and new Sprint customers”. An official note from TIDAL said: ‘Jay Z and and the artist-owners will continue to run TIDAL’s artist-centric service as it pioneers and grows the direct relationship between artists and fans.’ Global recorded music industry reached $16.1bn in 2016 - up 7% YoY. The global recorded music industry grew $1.1 billion in 2016 to reach $16.1 billion—the largest growth its seen in over 15 years. That number’s up 7% on 2015, according to MiDIA research. Streaming revenue reached $5.4bn last year, growing 57% year-on-year and up from $3.5bn in 2015. Subscribers to streaming services grew by 38.8bn, with Spotify accounting for 43% of the 106.3m worldwide subscribers. Midia predicts that number will increase by 40.3m by the end of 2017.
“The recorded music industry changed gear in 2016 and revenue looks set to be on an upward trajectory over the next few years. Discussing the numbers, MiDIA’s Mark Mulligan said: “The recorded music industry changed gear in 2016 and revenue looks set to be on an upward trajectory over the next few years. “However, successive quarterly growth is not guaranteed. “Thus, the midterm outlook is as much about legacy format transition as it is streaming growth.
The independent sector earned $5.1bn – up 6%.