The Music Business And Recording Industry Third Edition Pdf
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20th April 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.'
To find out more about the report, including full contents list, list of key tables, sample data and how to purchase a copy please go to IFPI members can claim their free PDF of the report by sending an email and their membership number to For further information contact: Adrian Strain or Alex Jacob Email: and Tel. +44 (0)20 7878 7939 / 7940 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.
Entertain the audience by performing on stage in, 2009 The music industry consists of the companies and individuals that earn money by new and pieces and selling live concerts and shows, audio and video recordings, compositions and, and the organizations and associations that aid and represent creators. Among the many individuals and organizations that operate in the industry are: the and who create new songs and musical pieces; the, and who perform the music; the companies and professionals who create and sell and/or (e.g., retail and, ); and those that help organize and present performances (, ). The industry also includes a range of professionals who assist singers and musicians with their music careers (, managers, ); those who broadcast audio or video music content (, and ); and;;; manufacturers; as well as many others. In addition to the businesses and artists who work in the music industry to make a profit or income, there is a range of organizations that also play an important role in the music industry, including musician's unions (e.g., ), not-for-profit performance-rights organizations (e.g., ) and other associations (e.g., a non-profit organization that advocates for ). The modern Western music industry emerged between the 1930s and 1950s, when replaced as the most important product in the music business. In the commercial world, 'the recording industry'–a reference to and selling the recordings–began to be used as a loose synonym for 'the music industry'. In the 2000s, a majority of the music market is controlled by three major corporate labels: the French-owned, the Japanese-owned, and the US-owned.
Labels outside of these three major labels are referred to as (or 'indies'). The largest portion of the live music market for concerts and tours is controlled by, the largest promoter and owner. Is a former subsidiary of, which is the largest owner of radio stations in the. In the first decades of the 2000s, the music industry underwent drastic changes with the advent of widespread digital distribution of music via the (which includes both illegal of songs and legal music purchases in ). A conspicuous indicator of these changes is total music sales: since 2000, sales of recorded music have dropped off substantially while has increased in importance. In 2011, the largest recorded music retailer in the world was now a digital, -based platform operated by a computer company: 's online.
Prior to the invention of the, the only way to copy was by hand, a costly and time-consuming process. Pictured is the hand-written music manuscript for a French chanson (song) from the late 1300s about love, entitled Belle, bonne, sage, by Baude Cordier. The is unusual in that it is written in a heart shape, with red notes indicating rhythmic. Music publishing using machine-printed developed during the era in the mid-15th century.
The development of music publication followed the evolution of technologies that were first developed for printing regular. After the mid-15th century, mechanical techniques for printing sheet music were first developed. The earliest example, a set of liturgical chants, dates from about 1465, shortly after the was printed. Prior to this time, music had to be copied out by hand. To copy music notation by hand was a very costly, labor-intensive and time-consuming process, so it was usually undertaken only by monks and priests seeking to preserve sacred music for the church.
The few collections of secular (non-religious) music that are extant were commissioned and owned by wealthy aristocrats. Examples include the of Italian music and the of French music. The use of printing enabled sheet music to reproduced much more quickly and at a much lower cost than hand-copying music notation. This helped musical styles to spread to other cities and countries more quickly, and it also enabled music to be spread to more distant areas. Prior to the invention of music printing, a composer's music might only be known in the city she lived in and its surrounding towns, because only wealthy aristocrats would be able to afford to have hand copies made of her music.
With music printing, though, a composer's music could be printed and sold at a relatively low cost to purchasers from a wide geographic area. As sheet music of major composer's pieces and songs began to be printed and distributed in a wider area, this enabled composers and listeners to hear new styles and forms of music. A German composer could buy songs written by an Italian or English composer, and an Italian composer could buy pieces written by Dutch composers and learn how they wrote music. This led to more blending of musical styles from different countries and regions. The pioneer of modern music printing was (born in Fossombrone in 1466 – died in 1539 in Venice ), a printer and publisher who was able to secure a twenty-year monopoly on printed music in Venice during the 16th century.
Was one of the major business and music centers during this period. His Harmonice Musices Odhecaton, a collection of chansons printed in 1501, is commonly misidentified as the first book of sheet music printed from movable type. Actually that distinction belongs to the Roman printer Ulrich Han's Missale Romanum of 1476.
Nevertheless, Petrucci's later work was extraordinary for the complexity of his white mensural notation and the smallness of his font. He printed the first book of (music with two or more independent melodic lines) using movable type.
He also published numerous works by the most highly regarded composers of the Renaissance, including and. He flourished by focusing on Flemish works, rather than Italian, as they were very popular throughout Europe during the era. His printing shop used the triple-impression method, in which a sheet of paper was pressed three times. The first impression was the staff lines, the second the words, and the third the notes.
This method produced very clean and readable results, although it was time-consuming and expensive. Until the 18th century, the processes of formal composition and of the printing of music took place for the most part with the support of from and. In the mid-to-late 18th century, performers and composers such as began to seek more commercial opportunities to market their music and performances to the general public. After Mozart's death, his wife continued the process of commercialization of his music through an unprecedented series of memorial concerts, selling his manuscripts, and collaborating with her second husband, on a biography of Mozart. An example of mechanically printed sheet music. In the 19th century, publishers dominated the music industry. Prior to the invention of technologies, the main way for music lovers to hear new symphonies and arias (songs) was to buy the sheet music (often arranged for piano or for a small chamber music group) and perform the music in a living room, using friends who were amateur musicians and singers.
In the United States, the music industry arose in tandem with the rise of '. Blackface is a form of theatrical makeup used predominantly by non-black performers to represent a. The practice gained popularity during the 19th century and contributed to the spread of negative of African-American people. In the late part of the century the group of music publishers and songwriters which dominated popular music in the United States became known as.
The name originally referred to a specific place: West 28th Street between Fifth and Sixth Avenue in, and a plaque (see ) on the sidewalk on 28th Street between Broadway and Sixth commemorates it. The start of Tin Pan Alley is usually dated to about 1885, when a number of music publishers set up shop in the same district of. The end of Tin Pan Alley is less clear-cut. Some date it to the start of the in the 1930s when the and radio supplanted as the driving force of American popular music, while others consider Tin Pan Alley to have continued into the 1950s when earlier styles of American popular music were upstaged by the rise of. Advent of recorded music and radio broadcasting. A radio broadcasting system from 1906. At the dawn of the early 20th century, the development of began to function as a to the commercial interests which published sheet music.
During the sheet music era, if a regular person wanted to hear popular new songs, she would buy the sheet music and play it at home on a piano, or learn the song at home while playing the part on piano or guitar. Commercially released records of musical performances, which became available starting in the late 1880s, and later the onset of widespread, starting in the 1920s, forever changed the way music was heard and listened to.
Opera houses, concert halls, and clubs continued to produce music and musicians and singers continued to perform live, but the power of radio allowed bands, ensembles and singers who had previously performed only in one region to become popular on a nationwide and sometimes even a worldwide scale. Moreover, whereas attendance at the top symphony and opera concerts was formerly restricted to high-income people in a pre-radio world, with, a much larger wider range of people, including lower and middle-income people could hear the best, popular singers and opera shows. The 'record industry' eventually replaced the sheet music publishers as the music industry's largest force. A multitude of record labels came and went. Some noteworthy labels of the earlier decades include the, Crystalate, Edison Bell, Invicta, Kalliope, and many others.
Many record companies died out as quickly as they had formed, and by the end of the 1980s, the 'Big six' —, and — dominated the industry. Bought CBS Records in 1987 and changed its name to Sony Music in 1991. In mid-1998, merged with MCA Music Entertainment creating what we now know as. Since then, Sony and BMG merged in 2004, and Universal took over the majority of EMI's recorded music interests in 2012., also once part of the now defunct British conglomerate, is now co-owned by Sony as a subsidiary of. Genre-wise, music entrepreneurs expanded their industry models into areas like, in which composition and performance had continued for centuries on an self-supporting basis. Forming an, or 'indie' label, or signing to such a label continues to be a popular choice for up-and-coming musicians, especially in genres like and, despite the fact that indies cannot offer the same financial backing of major labels. Some bands prefer to sign with an indie label, because these labels typically give performers more artistic freedom.
Rise of digital and online distribution. The logo for 's online, which sells digital files of songs and musical pieces–along with a range of other content, such as digital files of and. In the first decade of the 2000s, digitally downloaded and became more popular than buying physical recordings (e.g., and ). This gave consumers almost 'frictionless' access to a wider variety of music than ever before. At the same time, consumers spent less money on recorded music (both physically and digitally distributed) than they had in the 1990s. Total revenues in the U.S.
Dropped by half, from a high of $14.6 billion in 1999 to $6.3 billion in 2009, according to. Worldwide revenues for CDs, cassettes and fell from $36.9 billion in 2000 to $15.9 billion in 2010 according to IFPI. And report that the downward trend is expected to continue for the foreseeable future. This dramatic decline in revenue has caused large-scale layoffs inside the industry, driven retailers (such as ) out of business and forced record companies, record producers, studios, recording engineers and musicians to seek new. In response to the rise of widespread illegal of digital music recordings, the record industry took aggressive legal action.
In 2001 it succeeded in shutting down the popular music website, and threatened legal action against thousands of individuals who participated in sharing music song sound files. However, this failed to slow the decline in music recording revenue and proved to be a disaster for the music industry. Some academic studies have even suggested that downloads did not cause the decline in sales of recordings. The 2008 British Music Rights survey showed that 80% of people in Britain wanted a legal (P2P) file-sharing service, however only half of the respondents thought that the music's creators should be paid. The survey was consistent with the results of earlier research conducted in the United States, upon which the was based.
Legal digital downloads became widely available with the debut of the Apple in 2003. The popularity of internet music distribution has increased and by 2012 digital music sales topped physical sales of music.
Atlantic Records reports that digital sales have surpassed physical sales. However, as The Economist reports, 'paid digital downloads grew rapidly, but did not begin to make up for the loss of revenue from CDs.' After 2010, Internet-based services such as, and began to offer subscription-based “” services over the Internet. With streaming services, the user pays a subscription to a company for the right to listen to songs and other media from a library. Whereas with legal digital download services, the purchaser owns a digital copy of the song (which she can keep on her computer or digital media player), with streaming services, the user never downloads the song file or owns the song file. The subscriber can only listen to the song for as long as she continues to pay the streaming subscription.
Once the user stops paying the subscription, she cannot listen to the company's songs anymore. Streaming services began to have a serious impact on the industry in 2014., together with the industry in general, faces some criticism from artists claiming they are not being fairly compensated for their work as downloaded music sales decline and music streaming increases. Unlike physical or download sales, which pay a fixed price per song or album, Spotify pays artists based on their 'market share' (the number of streams for their songs as a proportion of total songs streamed on the service). They distribute approximately 70% to rights-holders, who will then pay artists based on their individual agreements. The variable, and some say inadequate, nature of this compensation, has led to criticism. Spotify reports paying on average US$0.006 to US$0.008 per stream.
In response, Spotify claims that they are benefiting the music business by migrating 'them away from piracy and less monetised platforms and allowing them to generate far greater royalties than before' by encouraging users to use their paid service. The (RIAA) revealed through its 2015 earnings report that streaming services were responsible for 34.3 percent of the year's total industry revenue, growing 29 percent from the previous year and becoming the largest source of income, pulling in around $2.4 billion. US streaming revenue grew 57 percent to $1.6 billion in the first half of 2016 and accounted for almost half of industry sales. This is in stark contrast to the $14.6 billion in revenue that was received in 1999 by the music industry from the sale of CDs. The turmoil in the recorded music industry in the 2000s altered the twentieth-century balance between artists, record companies, promoters, retail music-stores and the consumer.
As of 2010, such as and sell more records than music-only CD stores, which have ceased to function as a major player in the music industry. Recording artists now rely on and sales (T-shirts, sweatshirts, etc.) for the majority of their income, which in turn has made them more dependent on music promoters like Live Nation (which dominates tour promotion and owns a large number of ). In order to benefit from all of an artist's income streams, record companies increasingly rely on the ', a new business-relationship pioneered by and EMI in 2007. At the other extreme, record companies can offer a simple manufacturing and, which gives a higher percentage to the artist, but does not cover the expenses of marketing and promotion. Companies like help independent musicians produce their albums through they want to listen to.
Many newer artists no longer see a as an integral part of their at all. Inexpensive recording hardware and software made it possible to record reasonable quality music on a laptop in a bedroom and distribute it over the Internet to a worldwide audience. This, in turn, caused problems for recording studios, record producers and: the reports that as many as half of the recording facilities in that city have failed. Changes in the music industry have given consumers access to a wider variety of music than ever before, at a price that gradually approaches zero. However, consumer spending on music-related software and hardware increased dramatically over the last decade, providing a valuable new income-stream for technology companies such as and.
Business structure The music industry is a complex system of many different organizations, firms and individuals. It has undergone dramatic changes in the first decades of the 21st century. However, the majority of the participants in the music industry still fulfill their traditional roles, which are described below. There are three types of that are created and sold by the recording industry: (songs, pieces, lyrics), (audio and video) and media (such as or, and ).
There may be many recordings of a single composition and a single recording will typically be distributed via many media. For example, the song ' is owned by its composers, and, 's recording of 'My Way' is owned by, 's recording of 'My Way' is owned by, and the millions of CDs and vinyl records that contain these recordings are owned by millions of individual consumers. Compositions , instrumental pieces and other musical compositions are created by or and are originally owned by the composer, although they may be sold or the rights may be otherwise assigned. For example, in the case of, the composition is owned immediately by another party. Traditionally, the copyright owner or 'assigns' some of their rights to, by means of a. The publishing company (or a collection society operating on behalf of many such publishers, songwriters and composers) collects fees (known as ') when the composition is used.
A portion of the royalties are paid by the publishing company to the copyright owner, depending on the terms of the contract. Provides an income stream that is paid exclusively to the composers and their publishing company. Typically (although not universally), the publishing company will provide the owner with an against future earnings when the publishing contract is signed. A publishing company will also promote the compositions, such as by acquiring song 'placements' on or in. Recordings. A musician in a recording studio. Recordings are created by, which includes, (including ) and (e.g., etc.) usually with the assistance and guidance from and.
They were traditionally made in (which are rented for a daily or hourly rate) in a. In the 21st century, advances in digital recording technology have allowed many producers and artists to create ' using high-end computers and digital recording programs like, bypassing the traditional role of the official recording studio. The oversees all aspects of the recording, making many of the logistic, financial and artistic decisions in cooperation with the artists. The record producer has a range of different responsibilities including choosing material and/or working with the composers, hiring session musicians, helping to the songs, overseeing the musician performances, and directing the audio engineer during recording and mixing to get the best sound. (including, and ) are responsible for ensuring good audio quality during the recording.
They select and set up microphones and use and to adjust the sound and level of the music. A recording session may also require the services of an, or even a discreetly-hired.
A studio engineer working with an in a recording studio. Recordings are (traditionally) owned. Some artists own their own record companies (e.g., ). A specifies the business relationship between a recording artist and the record company. In a traditional contract, the company provides an advance to the artist who agrees to record music that will be owned by the company. The department of a record company is responsible for finding new talent and overseeing the recording process.
The company pays for the recording costs and the cost of and the record. For physical media (such as ), the company also pays to and the physical recordings. Smaller record companies (known as ') will form business relationships with other companies to handle many of these tasks. The record company pays the recording artist a portion of the income from the sale of the recordings, also known as a 'royalty', but this is distinct from the publishing royalties described above. This portion is similar to a percentage, but may be limited or expanded by a number of factors (such as free goods, recoupable expenses, bonuses, etc.) that are specified by the record contract. And members (as well as a few recording artists in special markets) are under contract to provide; they are typically only paid one-time fees or regular wages for their services, rather than ongoing royalties.
Media Physical media (such as CDs or vinyl records) are sold by music and are owned by the consumers after they buy them. Buyers do not typically have the right to make digital copies from CDs or other media they buy, or rent or lease the CDs, because they do not own the recording on the CD, they only own the individual physical CD. A music distributor delivers crates of the packaged physical media from the manufacturer to the retailer and maintains commercial relationships with retailers and record companies.
The music retailer pays the distributor, who in turn pays the for the recordings. The record company pays to the publisher and composer via a collection society. The record company then pays royalties, if contractually obligated, to the recording artist. In the case of digital downloads or online of music, there is no physical media other than the consumer's computer memory on her portable media player or laptop. For this reason, artists such as Taylor Swift, Paul McCartney, Kings of Leon, and others have called for legal changes that would deny social media the right to stream their music without paying them royalties. In the digital and online music market of the 2000s, the distributor becomes optional. Large online shops may pay the labels directly, but digital distributors do exist to provide distribution services for vendors large and small.
When purchasing digital downloads or listening to music streaming, the consumer may be required to agree to record company and vendor licensing terms beyond those which are inherent in; for example, some services may allow consumers to freely share the recording, but others may restrict the user to storing the music on a specific number of hard drives or devices. Broadcast, soundtrack and streaming When a recording is broadcast (either on radio or by a service such as ), (such as the and in the US, SOCAN in Canada, or and in the UK), collect a third type of royalty known as a performance royalty, which is paid to songwriters, composers and recording artists. This royalty is typically much smaller than publishing. Within the past decade, more than “15 to 30 percent” of tracks on streaming services are unidentified with a specific artist. Jeff Price says “Audiam, an online music streaming service, has made over several hundred thousand dollars in the past year from collecting royalties from online streaming. According to Ken Levitan, manager from Kings of Leon, Cheap Trick and others, “Youtube has become radio for kids”. Because of the overuse of YouTube and offline streaming, album sales have fallen by 60 percent in the past few years.
When recordings are used in and, the composer and their publishing company are typically paid through a. In the 2000s, online subscription services (such as ) also provide an income stream directly to record companies, and through them, to artists, contracts permitting. Live music.
The band 'The Refreshments' performing at a show in Sweden in 2004. A brings together a performing artist and a owner and arranges contracts.
A represents the artist to promoters, makes deals and books performances. Consumers usually buy tickets either from the venue or from a ticket distribution service such as. In the US, is the dominant company in all of these roles: they own most of the large venues in the US, they are the largest promoter, and they own. Choices about where and when to tour are decided by the and the artist, sometimes in consultation with the.
Record companies may finance a tour in the hopes that it will help promote the sale of recordings. However, in the 21st century, it has become more common to release recordings to promote ticket sales for live shows, rather than book tours to promote the sales of recordings.
Major, successful artists will usually employ a: a semi-permanent touring organization that travels with the artist during concert series. The road crew is headed by a. Crew members provides, for the artist and transportation of the equipment and music ensemble members.
On large tours, the road crew may also include an accountant, stage manager, hairdressers, makeup artists and staff. Local crews are typically hired to help move equipment on and off stage.
On a small tour with less financial backing, all of these jobs may be handled by just a few roadies or by the musicians themselves. Bands signed with small 'indie' labels and bands in genres such as are more likely to do tours without a road crew, or with minimal support. Artist management, representation and staff Artists such as singers and musicians may hire a number of people from other fields to assist them with their career.
The oversees all aspects of an artist's career in exchange for a percentage of the artist's income. An assists them with the details of their contracts with record companies and other deals. A handles financial transactions, taxes and bookkeeping.
Unions, such as and the in the U.S. Provide and instrument insurance for musicians. A successful artist functions in the market as a and, as such, she may derive income from many other streams, such as, personal endorsements, appearances (without performing) at events or Internet-based services. These are typically overseen by the artist's and take the form of relationships between the artist and companies that specialize in these products. Singers may also hire a,.
Performers may also hire a or a to help them. Emerging business models In the 2000s, traditional lines that once divided singers, instrumentalists, publishers, record companies, distributors, retail and consumer electronics have become blurred or erased.
Artists may record in a using a high-end and a digital recording program such as or use to raise money for an expensive studio recording session without involving a record company. Artists may choose to exclusively promote and market themselves using only free online video sharing services such as or using websites, bypassing traditional promotion and marketing by a record company. In the 2000s, and companies such as have become. New digital music distribution technologies and the trends towards using of older songs in new songs or blending different songs to create recordings have also forced both governments and the music industry to re-examine the definitions of and the rights of all the parties involved.
Also compounding the issue of defining copyright boundaries is the fact that the definition of 'royalty' and 'copyright' varies from country to country and region to region, which changes the terms of some of these business relationships. Sales statistics. Independent (28.4%) Prior to December 1998, the industry was dominated by the 'Big Six': Sony Music and BMG had not yet merged, and had not yet been absorbed into Universal Music Group. After the PolyGram-Universal merger, the 1998 market shares reflected a 'Big Five', commanding 77.4% of the market, as follows, according to MEI World Report 2000:.
Universal Music Group — 28.8%. Independent labels — 22.6%. Sony Music Entertainment — 21.1%. EMI — 14.1%. Warner Music Group — 13.4% In 2004, the joint venture of Sony and BMG created the 'Big Four' at a time the global market was estimated at $30–40 billion. Total annual unit sales (CDs, music videos, ) in 2004 were 3 billion. Additionally, according to an report published in August 2005, the big four accounted for 71.7% of retail music sales:.
Independent labels—28.3%. Universal Music Group—25.5%. Sony BMG Music Entertainment—21.5%. EMI Group—13.4%. Warner Music Group—11.3%. Independent (12.11%) in their 2011 report noted that the 'big four' controlled about 88% of the market:.
(USA based) — 29.85%. (USA based) — 29.29%. (USA based) — 19.13%. — 12.11%. EMI Group - 9.62% After the absorption of EMI by Sony Music Entertainment and Universal Music Group in December 2011 the 'big three' were created and on January 8, 2013 after the merger there were layoffs of forty workers from EMI. European regulators forced Universal Music to spin off EMI assets which became the Parlophone Label Group which was acquired by Warner Music Group. Issued a report in 2012, noting that these labels controlled 88.5% of the market, and further noted:.
Recording Industry History
(USA based) which owns — 32.41% + 6.78% of EMI Group. (USA based) which owns publishing arm of — 30.25%. Warner Music Group— 19.15%. Independent labels— 11.42% Note: the IFPI and Nielsen Soundscan use different methodologies, which makes their figures difficult to compare casually, and impossible to compare scientifically.
Albums sales and market value Total album sales have declined in the early decades of the 21st century, leading some music critics to declare the. (For instance, the only albums that went platinum in the US in 2014 were the and, whereas several artists did in 2013.) The following table shows album sales and market value in the world in 2014.
Sony Corporation announced October 1, 2008 that it had completed the acquisition of Bertelsmann’s 50% stake in Sony BMG, which was originally announced on August 5, 2008. Ref: (Press release). Sony Corporation of America.
Archived from on October 3, 2008. The Economist. October 15, 2008. ^ Goldman, David (February 3, 2010). ^ (August 10, 2009). Annals of Entertainment: 34. February 14, 2011.
Amazon is now the world’s biggest book retailer. Apple, the world’s largest music retailer.
Jane Glover. Retrieved November 21, 2016.
For the 'darky'/'coon' distinction see, for example, note 34 on p. 167 of Edward Marx and Laura E. Franey's annotated edition of Yone Noguchi, The American Diary of a Japanese Girl, Temple University Press, 2007,. See also Lewis A.
Erenberg (1984), Steppin' Out: New York Nightlife and the Transformation of American Culture, 1890–1930, University of Chicago Press, p. For more on the 'darky' stereotype, see J. Ronald Green (2000), Straight Lick: The Cinema of Oscar Micheaux, Indiana University Press, pp.
The Music Business And Recording Industry
134, 206,; p. 151 of the same work also alludes to the specific 'coon' archetype. Retrieved February 4, 2013., BBC News, July 19, 2004. Mark Sweney, The Guardian (London),., June 30, 2012. McCardle, Megan (May 2010). The Atlantic.
Retrieved December 10, 2010. Industry revenues have been declining for the past 10 years.
(PDF). IFPI annual report. April 9, 2001. Retrieved July 18, 2011. Smirke, Richard (March 30, 2011). Billboard Magazine.
Retrieved July 18, 2012. ^ Arango, Tim (November 25, 2008). The New York Times. Retrieved July 6, 2009. January 10, 2008.
^ Knopper, Steve (2009). Appetite for Self-Destruction: the Spectacular Crash of the Record Industry in the Digital Age. Borland, John (March 29, 2004). Retrieved July 6, 2009. Segall, Laurie (January 5, 2012). Retrieved April 24, 2012.
Marshall, Lee (2015-07-03). Creative Industries Journal.
8 (2): 177–189. Dredge, Stuart (April 3, 2015). The Guardian. Retrieved March 26, 2016. November 6, 2014. Rolling Stone.
Retrieved January 5, 2017. The Washington Times. Retrieved January 5, 2017.
Shaw, Lucas (September 20, 2016). Bloomberg L.P. Retrieved January 5, 2017.
Rosso, Wayne (January 16, 2009). Retrieved January 17, 2009.
Retrieved November 21, 2016. Jefferson Graham (October 14, 2009).
Nathan Olivarez-Giles (October 13, 2009). All of the information in this section can be found in:. Krasilovsky, M. William; Shemel, Sidney; Gross, John M.; Feinstein, Jonathan (2007), This Business of Music (10th ed.), Billboard Books,.
^. March 26, 2012. Retrieved November 21, 2016. Retrieved June 7, 2015. According to the May 21, 2007, at the. The world music market is estimated at $40 billion, but according to (2004) it is estimated at $32 billion. August 2, 2005.
Retrieved September 17, 2013. Business Wire (January 5, 2012). Tom Pakinkis, Music Week (January 8, 2013). ^ Business Wire (January 4, 2013).
Clicknoise.net, February 1, 2007. McIntyre, Hugh (October 16, 2014). Sanders, Sam. Retrieved June 7, 2015. Retrieved November 21, 2016.
July 11, 2011. Archived from on October 21, 2013. Retrieved October 18, 2012. There's probably no one single reason, but we’d like to think that enhanced marketing efforts – like the sale of music at nontraditional outlets – and anti-piracy successes like the closure of LimeWire have helped.
^. Press Release: IFPI (London, March 31, 2006).
May 15, 2008. Retrieved November 21, 2016. April 21, 2009. Retrieved November 21, 2016.
March 30, 2011. Retrieved November 21, 2016. ^ Billboard. Billboard.
Richard Smirke (April 14, 2015). Retrieved April 20, 2015.
Retrieved July 22, 2016. Retrieved July 22, 2016. July 14, 2015. Retrieved November 21, 2016.
Retrieved November 21, 2016. Sources. Krasilovsky, M.
William; Shemel, Sidney; Gross, John M.; Feinstein, Jonathan (2007), This Business of Music (10th ed.), Billboard Books, Further reading.