国际唱片业协会（IFPI）全球同步发布2013数字音乐报告

-数字音乐带动录制音乐产业走向复苏

 

• 受下载、订阅和其他渠道助推，全球录制音乐收入上涨0.3%。
• 数字收入上升了9%,，主要的一些音乐服务覆盖100多个国家
• 音乐助推数字经济，但经济增长障碍仍需解决

    伦敦，2013年2月26日——在获授权的数字音乐服务及其向国际新市场的快速扩张的推动下，全球录制音乐产业正走向复苏。根据国际唱片业协会的年度数字音乐报告，录制音乐还帮助推动了诸多数字经济的发展。

    全球录制音乐产业的收入在2012年上涨了大约0.3%，达165亿美元，是自1999年以来第一次出现增长。数字收入连续两年增长加速，涨幅达 9%，主要的数字收入来源——下载、订阅和广告支持服务——均在增长。

    随着智能手机以及新的授权服务对新的市场和新兴市场的覆盖，数字音乐业务迅速全球化。2011年1月，主要的一些国际性的下载和订阅服务还只出现在23个市场。如今，它们已遍布在100多个市场。

    获授权的音乐服务的确满足了用户的需求。由 Ipsos MediaCT发布的涵盖四大洲九个市场的一个新的消费者研究显示62%的互联网用户在过去的六个月中使用过正版音乐服务。(Ispos MediaCT这一研究的总结可参看附件)。

    IFPI的首席执行官弗朗西丝·摩尔女士说:“对于唱片行业而言，已经很久没有开局如此热闹的一年了。对于一个十年间不断创新、斗争和转型的行业而言，这些成功来之不易。它们表明音乐行业已经适应了互联网世界，了解了如何满足消费者的需求及如何在数字市场中获利。”

    加拿大艺人Carly Rae Jepsen凭借歌曲Call Me Maybe位居2012全球单曲榜单的首位。英国歌手阿黛尔则借专辑21获得了非凡成功，这张专辑是IFPI自2001年开始跟踪全球畅销专辑以来第一张连续两年位居全球排行榜榜首的专辑。

    尽管有这些乐观因素，但进一步增长的障碍仍然存在——其中最大的障碍是来自未经授权的音乐服务的不公平竞争。要解决这个问题，政府的作用十分关键。首要任务仍然是获得来自中间力量的有效合作，这其中包括广告商、ISP和搜索引擎，它们对版权侵权水平有着重大影响。

 

本报告的重点

• 全球录制音乐产业的收入在2012年上涨了大约0.3%，达165亿美元，是自1999年以来第一次出现增长。
• 2012年的数字收入约为56亿美元，上升约9%，占行业总收入的约34%。
• 2012年全球下载销售额增长了12%，占总体数字音乐收入的约70%。
• 2012年使用订阅服务的用户数跃升44%，达2000万。2012年订阅收入在数字 收入中所占比例有望首次达到10%。
• 在越来越多的市场中，比如印度、挪威、瑞典和美国，数字渠道在总收入中占着主要比重。
• 数字零售服务的全球迅速扩张正在开启巴西、印度等国家的市场潜力。2011年初，主要的一些全球性的音乐服务还只出现在23个国家。如今，这些服务已经覆盖了100多个国家。
• 数字音乐消费已经成为主流；正如Ipsos MediaCT在九个市场所做的消费者研究中所展示的，年龄在16至64岁之间的被调查互联网用户中有三分之二（62%）的受访者在过去的六个月中使用过合法数字音乐。在更年轻的消费者中（16-24岁）这一数字跃升至81%。
• 消费者对授权服务的满意度目前明显处于很高的水平。有77%的合法服务的使用者认为这些服务“优秀”、“很好”或“相当好”。57% 的盗版服务用户认为“访问合法数字音乐现已经有了很好的服务可用”。
• 很多非数字渠道的收入也在不断增加。2012年表演权收入增长了9.2%，占全球收入总量的6%，高于2007年的3%。
• 大多数市场的专辑排行榜均显示了对本土曲目的投资盛行。在许多国家，本土曲目占本年畅销专辑的绝大多数。五个主要的非英语市场均证实了这一点。在意大利、西班牙和瑞典，2012年十大畅销专辑中有八个是当地艺人的，在德国十个中有七个，在法国十个中有六个。

 

音乐是数字世界的引擎

    新音乐的产生源泉来自唱片公司的投入。而这又助推了诸多数字经济的发展，从社交网络到设备、广播电台和现场表演。唱片行业每年将收入的26%——45亿美元——用于挖掘和推广艺人。

    音乐也帮助了社交媒体平台。比如，在YouTube上，十个最受瞩目的视频中有九个与音乐有关，最大的热点当属韩国歌手PSY的Gangnam Style，制造了超过12亿次浏览的奇迹。在Facebook上，最受“喜欢”的十个人中九个是艺人。Twitter中最受关注的十人中有七个是艺人。

 

2012年的全球畅销专辑榜

 

2012年的全球畅销单曲榜

突破增长的障碍

    本报告突出强调了释放音乐产业进一步发展的巨大潜能需要解决的主要障碍。网络盗版的恶劣影响仍然在持续，IFPI根据来自Nielsen和ComScore的数据估计，多达三分之一（32%）的网络用户仍然会经常访问非法网站。 弗朗西丝·摩尔女士说：“我们的市场仍然受非法的免费音乐拖累。要解决这个问题，政府的角色至关重要，尤其是在要求广告商、搜索引擎、ISP和其他中间力量给予配合方面，更是如此。这些企业的一举一动影响着合法数字音乐服务的未来。”

    报告中强调了2012年在突破这些发展障碍方面取得的进展，但还需要进一步的努力。特别是：

    广告是全世界范围内的非法音乐服务的主要资金来源。大的品牌均不应再帮助资助那些既有损于其声誉又破坏音乐市场的非法服务。有一些公司已经从盗版网站上撤下了广告（比如Levi’s）。

    搜索引擎是很多网络用户搜索网络音乐的首选途径。音乐产业希望搜索引擎能够在搜索结果中优先显示合法服务，这不仅是对社会负责，而且也是技术上可行的。然而，以任何一个歌手名加上“mp3”为关键词进行搜索后，首页的搜索结果中仍然有大量的非法链接。2012 年8月，谷歌宣布在返回搜索结果时会考虑它收到的有效版权通知的数量。这项措施原则上是一个进步，但结果尚未显现。IFPI在美国的关联组织RIAA（美国唱片业协会）发布的一个报告中显示谷歌的行动尚未产生实质影响。

    互联网服务提供商（ISP）的行动能实质地影响互联网上的版权侵权水平。比如，在对盗版港（The Pirate Bay）网站采取屏蔽措施的5个欧洲国家（荷兰、比利时、芬兰、意大利和英国），该网站在2012年的访问率下降了69 %（ComScore/Nielsen）。与此相反，在未采取屏蔽措施的国家，同一时期该网站的流量上升了45%。

更多信息，请联络我们：
靳文娟/Sunny Jin
国际唱片业协会中国代表处
北京东城区北三环东路36号北京环球贸易中心B座1507室
Room 1507, Tower B, Beijing Global Trade Center
36 North Third Ring East, Dongcheng District, Beijing, 100013
Tel:8610 58256223-258
Cell：13811484203
Fax:8610 58256221
Email:jinwenjuan@ifpi.org.cn

 

DIGITAL DRIVing recorded music industry towards reCOVERY

• Global recorded music revenues up 0.3 per cent, boosted by downloads, subscription and other channels
• Digital revenues up 9 per cent, with major music services now open in more than 100 markets
• Music is helping fuel the digital economy, but barriers to growth need to be addressed

London, 26th February 2013 – The global recorded music industry is on a path to recovery, fuelled by licensed digital music services and rapid expansion into new markets internationally. Recorded music is also helping drive a broader digital economy, according to IFPI’s annual Digital Music Report.

Global recorded music industry revenues rose by an estimated 0.3 per cent to US$16.5 billion in 2012, the first year of industry growth since 1999. Digital revenues saw accelerating growth for the second year running, up 9 per cent, with most major digital revenue streams – downloads, subscription and advertising-supported – on the rise.

The digital music business is globalising fast, as smartphones and new licensed services span new and emerging markets. In January 2011, the major international download and subscription services were present in 23 markets. Today, they are in more than 100.

Licensed music services are demonstrably meeting consumers’ needs. New consumer research published today by Ipsos MediaCT, covering nine markets in four continents, shows that 62 per cent of internet users have used a licensed music service in the last six months.

Frances Moore, chief executive of IFPI said: “It is hard to remember a year for the recording industry that has begun with such a palpable buzz in the air. These are hard-won successes for an industry that has innovated, battled and transformed itself over a decade. They show how the music industry has adapted to the internet world, learned how to meet the needs of consumers and monetised the digital marketplace.”

Canadian artist Carly Rae Jepsen topped the 2012 global singles chart with Call Me Maybe. British singer-songwriter Adele achieved phenomenal success with 21, the first album to top the global albums chart for two consecutive years since IFPI began reporting global best sellers in 2001.

Despite the optimism, key barriers to further growth remain – the biggest being unfair competition from unlicensed music services. Governments have a key role to play in addressing this problem. The key priority remains to secure effective cooperation from intermediaries including advertisers, ISPs and search engines, who have a major influence on levels of copyright infringement.

Report highlights

• Global recorded music industry revenues increased by an estimated 0.3 per cent in 2012, the first year of industry growth since 1999, to US$16.5 billion.
• Digital revenues increased by an estimated 9 per cent to US$5.6 billion in 2012, now accounting for around 34 per cent of global industry revenues.
• Download sales increased in volume by 12 per cent globally in 2012 and represent around 70 per cent of overall digital music revenues.
• The number of people paying to use subscription services leapt 44 per cent in 2012 to 20 million. Subscription revenues are expected to account for more than 10 per cent of digital revenues for the first time in 2012.
• Digital channels account for the majority of record companies’ income in an increasing number of markets including India, Norway, Sweden and the US.
• Digital retailers’ rapid global expansion is opening up the potential for markets such as Brazil and India, to become major sources of future industry growth. At the start of 2011, the major international services were present in 23 countries. Two years later, they are in more than 100 countries.
• Digital music consumption has become mainstream, as shown by consumer research by Ipsos MediaCT across nine markets in four continents. Two-thirds of internet users (62%) have used a licensed digital music service in the past six months. Among younger consumers (aged 16-24) this figure jumps to 81 per cent.
• Consumer satisfaction with licensed music services is demonstrably high. 77 per cent of users of licensed services rate them as excellent, very good or fairly good. Even 57 per cent of those who use unlicensed services believe “there are good services available for legally accessing digital music.”
• Many non-digital revenue channels are also increasing. Performance rights income increased in value by an estimated 9.2 per cent in 2012 and now accounts for around 6 per cent of overall industry revenues, up from 3 per cent in 2007.
• Album charts in most markets show that investment in local repertoire is alive and well. In many countries, local repertoire accounts for the vast majority of the top selling albums of the year. Five major non-English language markets illustrate this. In Italy, Spain and Sweden, eight in 10 of the top selling albums of 2012 were by local artists; in Germany, seven in 10, and in France six in 10.

Music is an engine of the digital world

The flow of new music springs from investment by record companies. This in turn is helping drive a wider digital economy, ranging from social networks to devices, broadcasters and live performance. The recording industry annually invests 26 per cent of its trade revenues (US$4.5 billion) in developing and marketing talent.

Music is helping power social media platforms. For example, nine in 10 of the most watched videos of all time on YouTube are music videos, led by PSY’s Gangnam Style which has been viewed more than 1.2 billion times. Nine in 10 of the most liked people on Facebook are artists. Seven of the top 10 most followed people on Twitter are artists.

Global Album Best Sellers in 2012

Global Singles Best Sellers in 2012

 

Addressing barriers to growth

The report highlights major hurdles that need to be addressed to unlock the huge potential for further growth. Illustrating the continued serious impact of internet piracy, IFPI estimates, based on data from both Nielsen and ComScore, that as many as a third of all internet users (32%) still regularly access unlicensed sites.

Frances Moore says: “Our markets remain rigged by illegal free music. This is a problem where governments have a critical role to play, in particular by requiring more cooperation from advertisers, search engines, ISPs and other intermediaries. These companies’ activities have a decisive influence in shaping a legitimate digital music business.”

The report highlights where progress was made in addressing barriers to growth in 2012, but also where much more needs to be done. Notably:

• Advertising is a major source of funding for unlicensed music services worldwide. Major brands should no longer consider it acceptable to help fund illegal music sites that tarnish their own reputation, as well as helping rig the music market. There have been several well-publicised cases where companies have removed advertising from pirate websites (for example Levi’s).
• Search engines are the first port of call for many internet users looking for music online. The music industry wants search engines to prioritise search results relating to licensed services, which would be socially responsible and is feasible technically. However, searches for the names of popular artists followed by the term “mp3” still return a large number of results for illegal sources on the first page. In August 2012, Google announced it would take into account the number of valid copyright notices it receives when returning search results. That was a welcome step in principle but unfortunately has not been translated into results. A “report card” issued by IFPI’s sister US organisation, RIAA, has found Google’s actions have showed no “demonstrable impact”.
• Internet service providers (ISPs) have had a demonstrable effect on levels of copyright infringement on the internet when required to act. For example, in five European countries where ISPs were required by courts to block access to The Pirate Bay (Netherlands, Belgium, Finland, Italy and UK), usage levels fell 69 per cent during 2012 (ComScore/Nielsen). By contrast, in countries without the block, traffic rose by 45 per cent over the same period.

附件：Final 数字音乐报告完整版修订v7-0226