Catégorie : Chiffres du marché

IFPI publishes RECORDING INDUSTRY IN NUMBERS – an essential guide to the global music market

L’IFPI publie aujourd’hui “RECORDS IN NUMBERS”, guide annuel exhaustif du marché de la musique enregistrée dans le monde. Le panorama des ventes, l’évolution des tendances et de la consommation de musique y sont analysées pour 50 territoires.

London, 20^thApril 2015 – IFPI today publishes its annual Recording Industry in Numbers, providing comprehensive data for almost 50 territories and in-depth analysis of industry and consumer trends across the global recorded music sector.

The Recording Industry in Numbers (RIN) is the essential guide to the global music business, containing a wealth of definitive data compiled by IFPI.  Key highlights of the 2015 edition include:

• Revenue streams.  Detailed analysis of the industry’s diverse and evolving revenue streams, as income from digital matches that from physical sales for the first time. Streaming has overtaken download revenue in no fewer than 37 markets with subscription revenue now worth 23 per cent of the total digital market.

• Market trends.  Comprehensive data on global, regional and national music market trends, focusing both on 2014 and past years. The overall market in 2014 was essentially flat, with revenues declining by 0.4 per cent to US$14.97 billion, while global digital revenues increased by 6.9 per cent to US$6.85 billion.

• National and regional markets.  Review of market performance in national and regional markets, where digital revenues are growing fast on the spread of licensed services and consumers’ move to mobile.  Latin America is the region with the fastest digital growth in recent years, with revenues up 7.3 per cent in 2014.

• Consumer research.  The RIN features exclusive data from Ipsos across 13 of the leading music markets showing changing consumer behaviour in accessing music. Analysis of the shift from ownership to access to music, increasing consumption on mobile devices, and comparative consumption from licensed and unlicensed sources.

• Global charts.  IFPI compiled three definitive global charts of 2014: the top 50 global albums chart; the top 20 global digital singles chart; and its Global Recording Artist Chart, topped by Taylor Swift in 2014, which honours the most popular artists across physical formats, downloads and streaming.

• Innovations in digital services.  Analysis of the latest developments among the world’s key digital services.

• Mobile music.  Analysis of the key developments in technology that are enabling consumers to access music in increasingly varied ways such as the growth of smartphones and music apps.

Frances Moore, chief executive of IFPI, says:  “IFPI’s Recording Industry in Numbers is the most comprehensive overview of the global recorded music market available.  Within its pages is analysis of global trends in the business and in-depth statistics covering almost 50 markets worldwide.  The broad picture that emerges is of an industry that has transformed itself for the digital age, adapting its business models and licensing hundreds of services and millions of tracks for use online.”

– Ends –

For further information please contact Adrian Strain or Alex Jacob

Tel.  +44 (0)20 7878 7939 / 7940

Accessing the report

To find out more about the report, including full contents list, list of key tables, sample and how to purchase a copy please go to http://rin.ifpi.org/

Notes to editors:

About IFPI

IFPI is the organisation that promotes the interests of the international recording industry worldwide. Its membership comprises some 1,300 major and independent companies in 63 countries. It also has affiliated industry national groups in 57 countries.  IFPI’s mission is to promote the value of recorded music, safeguard the rights of record producers and expand the commercial uses of recorded music in all markets where its members operate.

Headline data from Recording Industry in Numbers 2015:

• Overall global recorded music trade revenues declined by 0.4 per cent in 2014.  This was influenced by the 5.5 per cent decline in Japan, the world’s second largest recorded music market which is at the start of its digital transition.  Excluding Japan, global revenues increased by 0.7 per cent.

• The US remains at the head of the top 20 markets table and increased in value by 2.1 per cent in 2014; the third largest market, Germany, increased in value by 1.9 per cent.  There was strong digital growth in many emerging markets including Argentina (+67.7%), Colombia    (+94.9%), Indonesia (+129.0%), Peru (+96.5%), South Africa (+61.5%) and Venezuela (+272.8%).

• Revenue from digital channels increased by 6.9 per cent in 2014 and now accounts for 46 per cent of overall industry trade revenues, on a par with physical sales for the first time.  Downloads remain the biggest source of digital revenues, accounting for 52 per cent of the digital market in 2014, but declined in value by 8.0 per cent.

• Revenues from subscription services increased by 39.0 per cent in 2014 to US$1.6 billion.  Global revenues from subscription and advertising-supported streams now account for 32 per cent of digital revenues, up from 14 per cent in 2011.  Streaming revenues have now overtaken download sales in no fewer than 37 markers.  It is estimated that more than 41 million people worldwide now pay for a music subscription, up from just eight million in 2010.

• Revenues from physical format sales declined by 8.1 per cent in 2014 to US$6.8 billion.  There is a marked variation by country, with physical format sales taking a robust share of the overall market in Austria (65%), France (57%), Germany (70%), Japan (78%), Poland (71%) and South Africa (62%).  Vinyl remains a niche product, accounting for 2 per cent of global revenues, but the format continues to revive with sales increasing 54.7 per cent in 2014.

• Global performance rights revenue increased by 8.3 per cent in 2014.   This income from broadcasts and public performance was worth US$948 million, now accounting for 6 per cent of total record industry revenue.   Synchronisation revenues increased by 8.4 per cent to US$347 million, now worth 2 per cent of the global market.

• The IFPI Global Recording Artist Chart was topped by Taylor Swift.  The chart captured the popularity of artists across multiple licensed channels, including streams on access services such as YouTube and Spotify, as well as ownership services such as iTunes and physical sales across 2014.  The Top 50 Global Albums Chart was topped by the soundtrack to the motion picture Frozen, while the Top 10 Global Singles Chart was topped by Pharrell Williams with Happy.

Nouvelle phase de transition pour l’industrie de la musique enregistrée dans un contexte numérique en évolution permanente : la mutation des usages vers le streaming, l’hétérogénéité des tendances et des revenus issus de ce nouveau mode de consommation d’un pays à l’autre, le passage du mode de propriété à celui de l’accès, sont autant de facteurs de transformation du paysage de la production musicale.

Découvrez notre synthèse du Digital Music Report 2015 (IFPI).

Les bonnes nouvelles s’accumulent pour l’industrie de la musique. Après la publication par BVMI des premiers chiffres qui montraient une progression du marché de la musique en Allemagne sur l’année 2013, l’organisme vient de révéler les détails de cette année, celle du retour de la croissance outre Rhin. Le chiffre d’affaires sur l’année 2013 s’établit à 1,45 milliard d’euros, soit une hausse de 1,2%. Le marché allemand de la musique enregistrée se caractérise en 2013 par l’importance du « physique », qui représente ainsi toujours près de 77% des revenus. Le numérique n’est cependant pas en reste, car si les ventes de CD restent fortes, elles sont en légère baisse (1,3%), le streaming fait un véritable bond en 2013 avec une progression de 91,2% ! Ce mode de consommation de la musique, par abonnement ou bien financé par la publicité, ne représente encore que 4% du marché total, mais les projections de l’industrie sont optimistes avec un seuil de 35% de parts de marché attendu pour 2018. Le numérique représente donc 22,6% du marché cette année, et la baisse de 1,3% des ventes de CD est heureusement contrebalancée par la progression solide de 11% du numérique sur un an. A l’instar des Etats-Unis et du Royaume-Uni, le vinyle connait une seconde jeunesse également en Allemagne, ce support représente 2% du marché de la musique et affiche une belle percée (+47,2% d’une année sur l’autre). La percée du numérique (+ 11,7%), pour un total de 328 millions d’euros en 2013, s’appuie aussi sur le téléchargement d’albums qui est en progression de 4,8% en valeur, alors que le single est en baisse.