the music industry consists of companies and individuals who make money by creating new songs and pieces and selling live concerts and performances, audio and video recordings, compositions and music sheets, and organizations and associations that help and represent the music creators. Among the many individuals and organizations operating in the industry are: songwriters and composers who create new songs and music pieces; singers, musicians, conductors and bandleaders who do music; companies and professionals who create and sell recorded music and/or sheet music (eg, music publishers, music producers, recording studios, engineers, record labels, retail and online music stores, performance rights organizations); and those who help organize and present live music performances (sound engineers, booking agents, promoters, music venues, crew).
The industry also includes a range of professionals who help singers and musicians with their musical careers (talent managers, artists and repertoire managers, business managers, entertainment lawyers); those broadcasting audio or music video content (satellite, internet radio station, broadcast radio, and TV station); music journalist and music critic; DJ; educators and music teachers; manufacturers of musical instruments; as well as many others. In addition to businesses and artists working in the music industry to generate profits or income, there are various organizations that also play an important role in the music industry, including union musicians (eg, American Musician Federation), not spider-oriented organizations (eg, American Society of Composers, Authors and Publishers) and other associations (eg, the International Alliance for Women in Music, nonprofit organizations advocating female composers and musicians).
The modern Western music industry emerged between the 1930s and 1950s, when recording replaced sheet music as the most important product in the music business. In the commercial world, "the recording industry" - a reference to recording song performances and cuts and selling recordings-began to be used as a loose synonym for the "music industry". In the 2000s, the majority of the music market was controlled by three major corporate labels: the French Universal Music Group, Sony Music Entertainment of Japan, and the US Warner Music Group. Labels outside these three major labels are referred to as independent labels (or "indies"). The lion's share of the live music market for concerts and tours is controlled by Live Nation, the promoter and owner of the largest music venue. Live Nation is a former subsidiary of iHeartMedia Inc, which is the owner of the largest radio station in the United States.
In the first decade of the 2000s, the music industry underwent a drastic change with the rise of widespread digital music distribution over the Internet (which includes illegal file sharing of songs and legal music purchases at online music stores). A striking indicator of this change is total music sales: since 2000, recorded music sales have dropped substantially while live music has increased in importance. In 2011, the world's largest recorded music retailer is now an Internet-based and digital platform operated by computer companies: iTunes Store Apple Inc.
Video Music industry
History
Initial history
Music printed in Europe:
Music publishing using sheet music mold machines developed during the Renaissance music era in the mid-15th century. The development of music publications follows the evolution of print technology that was first developed to print regular books. After the mid-15th century, mechanical engineering for sheet printing was first developed. The earliest example, a collection of liturgical singing, dates from about 1465, shortly after the Gutenberg Bible was printed. Before this time, music had to be copied by hand. To copy music notation by hand is a very expensive process, takes a lot of time and a lot of time, so it's usually only done by monks and priests trying to preserve sacred music for the church. Some of the remaining secular (non-religious) collections of music are assigned and owned by rich nobles. Examples include Codex Squarcialupi of Italian Trecento music and Chantilly Codex from French subtropical music Ars.
The use of sheet music printing is enabled to be reproduced much faster and at a much lower cost than hand copy music notation. It helps the style of music to spread to cities and other countries more quickly, and also allows music to spread to more distant areas. Prior to the invention of music printing, the music of a composer was probably only known in his city of residence and the surrounding towns, as only rich nobles were able to buy hand-made copies of his music. However, with music printing, the music of a composer can be printed and sold at a relatively low cost to buyers from a wide geographic area. As the music sheet of the main composer song and song begins to be printed and distributed over a larger area, it allows composers and listeners to hear new music styles and shapes. A German composer can buy songs written by an Italian or English composer, and an Italian composer can buy works written by the Dutch composers and learn how they write music. This results in a more integrated musical style from different countries and regions.
The pioneer of modern musical printing is Ottaviano Petrucci (born in Fossombrone in 1466 - died in 1539 in Venice), a printer and publisher capable of securing a twenty-year monopoly on the printed music of Venice during the 16th century. Venice is one of the major business and music hubs during this period. Harmonice Musices Odhecaton, a collection of chanson printed in 1501, is often misidentified as the first book of sheet music that is printed of a movable type. In fact, the distinction belonged to the Roman Emperor Ulrich Han Missal Romanum in 1476. Nevertheless, the later work of Petrucci was remarkable for the complexity of its white notation and its small letters. He prints the first book of polyphony (music with two or more independent melodic lines) using this type of move. He also published many works by the most famous composers of the Renaissance, including Josquin des Prez and Antoine Brumel. He developed by focusing on Flemish works, not Italian, as they were very popular throughout Europe during the Renaissance music era. The printing shop uses a triple-impression method, in which a piece of paper is pressed three times. First impressions are the lines of staff, both words, and all three notes. This method produces very clean and readable results, though time consuming and expensive.
Until the 18th century, the process of formal composition and musical printing took place for the most part with patronage support from the aristocracy and the church. In the mid-18th century, players and composers like Wolfgang Amadeus Mozart began looking for commercial opportunities to market their music and performances to the general public. After Mozart's death, his wife (Constanze Weber) continued the process of commercializing his music through an unprecedented series of memorial concerts, selling his manuscript, and collaborating with his second husband, Georg Nissen, on Mozart's biography.
In the 19th century, publishers of sheet music dominated the music industry. Before the invention of voice recording technology, the main way for music lovers to hear new symphonies and opera arias (songs) was to buy sheet music (often set for piano or for a small music group) and do music in the living room, using friends is an amateur musician and singer. In the United States, the music industry comes along with the rise of "black faces". Blackface is a form of theater makeup that is used primarily by non-black players to represent blacks. This practice gained popularity during the 19th century and contributed to the spread of racial stereotypes of African Americans.
By the end of this century, the group of music publishers and songwriters who dominated popular music in the United States was known as Tin Pan Alley. His real name refers to a specific place: West 28th Street between Fifth and Sixth Avenue in Manhattan, and a plaque (see below) on the sidewalk on 28th Street between Broadway and Sixth commemorating that. Early Tin Pan Alley is usually dated around 1885, when a number of music publishers set up shop in the same district in Manhattan. The end of Tin Pan Alley is less clear. Several dates for the start of the Great Depression of the 1930s when phonographs and radios replaced sheet music as the driving force of American popular music, while others thought Tin Pan Alley had continued into the 1950s when the early style of American popular music was defeated by the rise of rock & amp; ; rolls.
The emergence of recorded music and radio broadcasts
At the beginning of the early 20th century, the development of sound recordings began to function as a disruptive technology for commercial interests that published sheet music. During the era of sheet music, if ordinary people want to hear a new song popular, he will buy sheet music and play it at home with a piano, or learn a song at home while playing the accompanist on a piano or guitar. Commercially launched phonograph records, which became available in the late 1880s, and then the widespread onset of radio broadcasting, beginning in 1920, forever changed the way music was heard and heard. Opera houses, concert halls and clubs continue to produce music and musicians and singers continue to perform live, but the power of radio allows bands, ensembles and singers who previously only performed in one area to be popular in national and sometimes even world scale. In addition, attendance at previous symphony and opera concerts is limited to high-income people in the pre-radio world, with broadcast radio, wider people, including low and middle-income people who can hear the best orchestras, big bands, popular singers and opera performances.
"Recording industry" eventually replaced the publisher of sheet music as the biggest strength of the music industry. Many record labels come and go. Some important labels from previous decades include Columbia Records, Crystalate, Decca Records, Edison Bell, The Gramophone Company, Invicta, Kalliope, PathÃÆ'Â ©, Victor Talking Machine Company and many others. Many record companies died as quickly as they formed, and in the late 1980s, the "Big Six" - EMI, CBS, BMG, PolyGram, WEA and MCA - dominated the industry. Sony bought CBS Records in 1987 and changed its name to Sony Music in 1991. In mid 1998, PolyGram Music Group merged with MCA Music Entertainment creating what we now know as Universal Music Group. Since then, Sony and BMG joined in 2004, and Universal took over most of the EMI music interests recorded in 2012. EMI Music Publishing, also a part of the now dead British conglomerate, is now jointly owned by Sony as a subsidiary Sony/ATV Music Publishing.
Genre-wise, music entrepreneurs are expanding their industry models into areas such as folk music, where composition and performance continue for centuries on the basis of ad hoc self-help. Establishing independent record labels, or "indie" labels, or signing to such labels continues to be a popular choice for up-and-coming musicians, especially in such genres as hardcore punk and extreme metal, despite the fact that indies can not offer the same financial support from a large label. Some bands prefer to sign with indie labels, as these labels usually give artists more freedom.
Rise of digital and online distribution
In the first decade of the 2000s, digitally downloaded and streamed music became more popular than buying physical recordings (eg CDs, recordings, and cassettes). This gives consumers almost "no friction" access to a wider variety of music than ever before, across devices. At the same time, consumers spend less money on recorded music (both physically and digitally) than in the 1990s. Total revenue in the US fell by half, from a high of $ 14.6 billion in 1999 to $ 6.3 billion in 2009, according to Forrester Research. Worldwide revenue for CDs, vinyl, cassettes and digital downloads dropped from $ 36.9 billion in 2000 to $ 15.9 billion in 2010 according to IFPI. The Economist
In response to the increasingly illegal spread of illegal files from digital music recordings, the recording industry is taking aggressive legal action. In 2001 it successfully shut down Napster's popular music website, and threatened legal action against thousands of people participating in the sharing of music song sound files. However, this failed to slow down the decline in music recording revenue and proved to be a public relations disaster for the music industry. Some academic studies even suggest that downloads do not cause a decline in record sales. The UK Music Rights Survey in 2008 showed that 80% of people in the UK wanted a legal peer-to-peer (P2P) file sharing service, but only half of the respondents thought that music creators had to be paid. The survey is consistent with previous research results conducted in the United States, where the Open Music Model is based.
The digital legal download became widely available with the debut of Apple's iTunes Store in 2003. The popularity of internet music distribution has increased and in 2012 digital music sales surpassed the physical sale of music. Atlantic Records reports that digital sales have exceeded physical sales. However, as The Economist reports, "paid digital downloads are increasing rapidly, but do not begin to cover the loss of revenue from CDs."
After 2010, Internet-based services such as Deezer, Pandora, Spotify, and iTunes Radio Apple began offering subscription-based "pay-to-you" services over the Internet. With a streaming service, users pay a subscription to the company for the right to listen to songs and other media from the library. While with a legal digital download service, the buyer has a digital copy of the song (which can be stored on a computer or digital media player), with a streaming service, the user never downloads a song file or has a song file. Subscribers can only listen to songs as long as they continue to pay for streaming subscriptions. After the user stops paying the subscription, they can no longer hear the company's song. Streaming services are beginning to seriously affect the industry by 2014.
Spotify, along with the music streaming industry in general, faces some criticism from artists who claim that they are not getting enough compensation for their work because of reduced sales of downloaded music and increased music streaming. Unlike physical sales or downloads, which pay a fixed price per song or album, Spotify pays the artist based on their "market share" (the number of streams for their song as the total proportion of songs streamed in the service). They distribute about 70% to rights holders, who will then pay the artist based on their respective agreements. Variables, and some say inadequate, the nature of this compensation, have led to criticism. The Spotify report pays an average of US $ 0.006 to US $ 0.008 per stream. In response, Spotify claims that they are benefiting the music business by migrating "them from piracy and less-monetized platforms and allowing them to generate far greater royalties than ever" by encouraging users to use their paid services.
The Recording Industry Association of America (RIAA) revealed through its 2015 earnings report that the streaming service is responsible for 34.3 percent of total industry revenue this year, growing 29 percent from a year earlier and becoming the largest source of revenue, attracting approximately $ 2.4 billion. Revenue streams grew 57 percent to $ 1.6 billion in the first half of 2016 and accounted for nearly half of industry sales. This is in stark contrast to the $ 14.6 billion in revenue received in 1999 by the music industry from CD sales.
The turmoil in the music industry recording in the 2000s changed the balance of the twentieth century between artists, record companies, promoters, retail music stores and consumers. In 2010, big box stores such as Wal-Mart and Best Buy sold more footage than the music-specific CD shop, which has stopped functioning as a major player in the music industry. The recording artists now rely on live performances and merchandise sales (T-shirts, jerseys, etc.) For most of their income, which in turn has made them more dependent on music promoters such as Live Nation (which dominates the promotion of the tour and has a large number of music venues). To benefit from all of the artist's revenue streams, the record company increasingly relies on the "360 deal", the new business relationship pioneered by Robbie Williams and EMI in 2007. At the other extreme, the record company can offer simple manufacturing and distribution deals, which gives a higher percentage to the artist, but does not include marketing and promotional costs.
Companies like Kickstarter help independent musicians produce their albums through fan funding bands they want to hear. Many new artists no longer see record contracts as an integral part of their business plan altogether. The cheap hardware and recording software makes it possible to record reasonable quality music on a laptop in the bedroom and distribute it over the Internet to audiences around the world. This, in turn, caused problems for recording studios, record producers and audio engineers: the Los Angeles Times reported that as many as half of the city's record facilities had failed. Changes in the music industry have given consumers access to a wider variety of music than ever before, at prices that are gradually close to zero. However, consumer spending on music-related software and hardware has increased dramatically over the past decade, providing a valuable new revenue stream for technology companies such as Apple Inc. and Pandora Radio.
Maps Music industry
Business structure
The music industry is a complex system of many different organizations, companies and individuals. It has undergone dramatic changes in the first decade of the 21st century. However, most participants in the music industry still fulfill their traditional roles, which are described below. There are three types of properties made and sold by the recording industry: compositions (songs, pieces, lyrics), recordings (audio and video) and media (such as CDs or MP3s, and DVDs). There may be many recordings of a single composition and a single recording will usually be distributed through many media. For example, the song "My Way" is owned by the composer, Paul Anka and Claude FranÃÆ'§ois, Frank Sinatra's recording of "My Way" is owned by Capitol Records, Sid Vicious's recording of "My Way" is owned by Virgin Records. , and millions of CDs and records that contain these recordings are owned by millions of individual consumers.
Composition
Songs, instrumental pieces and other musical compositions are made by songwriters or composers and are originally owned by composers, although they may be sold or their rights may be declared otherwise. For example, in the case of a job to rent, the composition is directly owned by another party. Traditionally, the copyright owner licenses or "grants" some of their rights to the issuing company, through a publishing contract. Publishing companies (or community groups operating on behalf of many publishers, songwriters, and composers) collect fees (known as "publishing royalties") when such compositions are used. Some royalties are paid by the issuing company to the copyright owner, depending on the terms of the contract. The music sheet provides an income stream that is paid exclusively to the composers and the publishing company. Usually (though not universally), the issuing company will provide the owner with a down payment on future earnings when the issuance contract is signed. Publishing companies will also promote the composition, such as by acquiring "placement" of songs on television or in movies.
Recordings
Records are made by recording artists, which include singers, musicians (including session musicians) and music ensembles (eg, backing bands, rhythm sections, orchestras, etc.) Usually with the help and guidance of record producers and audio engineers. They are traditionally created in recording studios (hired for daily or hourly rates) in recording sessions. In the 21st century, the advancement of digital recording technology has enabled many manufacturers and artists to create "home studios" using high-end computers and digital recording programs such as Protools, ignoring the traditional role of the official recording studio. Recording producers oversee all aspects of recording, making a lot of logistical, financial and artistic decisions working together with artists. Recording producers have different responsibilities including selecting material and/or working with composers, hiring session musicians, helping to organize songs, watching over musicians' performances, and directing audio engineers during recording and mixing to get the best sound. Audio engineers (including recording, mixing and mastery of engineers) are responsible for ensuring good audio quality during recording. They select and manage the microphone and use the effect unit and mixing console to adjust the sound and music level. Recording sessions may also require the services of an arranger, orchestra, studio musicians, session musicians, vocal trainers, or even ghostly hired authors to assist with lyrics or songwriting.
Records are (traditionally) owned by record companies. Some artists have their own record company (eg, Ani DiFranco). The recording contract determines the business relationship between the recording artist and the record company. In a traditional contract, the company provides an advance to the artist who agrees to record the music that the company will own. Department of A & amp; R from the record company is responsible for finding new talent and overseeing the recording process. The company pays for recording fees and promotional costs and record marketing. For physical media (such as CDs), companies also pay to produce and distribute physical footage. Smaller record companies (known as "indies") will form business relationships with other companies to handle many of these tasks. The record company pays the recording artist a portion of the revenue from the sale of the recording, also known as "royalty", but this is different from the publishing royalties described above. This section is similar to a percentage, but may be limited or expanded by a number of factors (such as free goods, reimbursable fees, bonuses, etc.) specified by the recording contract. The musicians and members of the session orchestra (as well as some recording artists in the specialty market) are under contract to provide jobs for hire; they usually pay only a one time fee or regular wage for their services, rather than ongoing royalties.
Media
Physical media (such as CDs or phonographs) are sold by music retailers and owned by consumers after they have purchased them. Buyers usually do not have the right to make digital copies of CDs or other media they buy, or rent or rent CDs, because they have no recordings on CDs, they only have individual physical CDs. Music distributors deliver physical media boxes packed from manufacturers to retailers and retain commercial relationships with retailers and record companies. The music retailer pays the distributor, who in turn pays the record company for the recording. Record companies pay mechanical royalties to publishers and composers through community collections. The record company then pays the royalty, if required by contract, to the recording artist. In the case of digital downloads or online music streaming, there is no physical media other than the consumer's computer memory on the portable media player or laptop. For this reason, artists such as Taylor Swift, Paul McCartney, Leon Kings, and others are calling for legal changes that would deny social media the right to stream their music without paying royalties. In the digital and online music market of the 2000s, distributors became optional. Large online stores can pay labels directly, but digital distributors do exist to provide distribution services for large and small vendors. When purchasing digital downloads or listening to music streams, consumers may be required to agree to record licensing terms of companies and vendors beyond those attached to copyright; for example, some services allow consumers to freely share recordings, but others may restrict users from storing music on certain hard drives or devices.
Broadcasts, soundtracks, and streaming
When recording is broadcast (either on radio or by background music services such as Muzak), performance rights organizations (such as ASCAP and BMI in the US, SOCAN in Canada, or MCPS and PRS in the UK), collect one-thirds of royalties known as royalties performance, paid to songwriters, composers and recording artists. This royalty is usually much smaller than publishing or mechanical royalties. In the last decade, more than 15 to 30 percent of songs in the streaming service were not identified with a particular artist. Jeff Price said "Audiam, an online music streaming service, has generated over several hundred thousand dollars last year from collecting royalties from online streaming." According to Ken Levitan, manager of Kings of Leon, Cheap Trick and others, "Youtube has become radio for children. "Due to overuse of YouTube and offline streaming, album sales have dropped 60 percent in the last few years.When recording is used on television and film, their composers and publishing companies are usually paid through a synchronization license In the 2000s , online subscription services (such as Rhapsody) also provide direct revenue streams to record companies, and through them, to artists, contracts allow.
Live music
A promoter brings together performing artists and place owners and arranges contracts. The booking agent represents the artist for the promoter, makes transactions and shows the book. Consumers usually buy tickets either from the venue or from a ticket distribution service such as Ticketmaster. In the US, Live Nation is the dominant company in all of these roles: they have most of the big spots in the US, they are the biggest promoters, and they have Ticketmasters. The choice of where and when the tour is determined by the artist and artist management, sometimes in consultation with the record company. The record company can fund the tour in the hope of helping to promote the recording sales. However, in the 21st century, it has become more common to release footage to promote ticket sales for live performances, rather than book tours to promote record sales.
Major, successful artists will usually hire a road crew: a semi-permanent tour organization that travels with artists during the concert series. The street crew is led by a tour manager. Crew members provide stage lighting, direct sound reinforcement, tuning and maintenance of musical instruments, bodyguards for artists and transportation of equipment members and ensemble music. On major tours, road crews can also include an accountant, stage manager, hairdresser, makeup artist and catering staff. The local crew is usually employed to help move the equipment to and from the stage. On a small tour with less financial support, all of these jobs can be handled by just a few roadies or by the musicians themselves. Bands signed with small "indie" labels and bands in genres like hardcore punk are more likely to tour unmanned, or with minimal support.
Artist, representative and staff management
Artists such as singers and musicians can recruit a number of people from other fields to assist them in their careers. The artist manager oversees all aspects of an artist's career in return for the percentage of artist's revenue. An entertainment attorney helps them with their contract details with record companies and other transactions. A business manager handles financial transactions, taxes, and bookkeeping. Unions, such as AFTRA and the American Federation of Musicians in the US provide health insurance and insurance instruments for musicians. Successful artists function in the market as brands and, as such, they can earn from other streams, such as merchandise, personal support, appearances (without appearing) at Internet-based events or services. These are usually supervised by artist managers and take the form of relationships between artists and companies that specialize in these products. Singers can also hire a vocal coach, dance instructor or acting coach. Actors can also hire a personal trainer or life coach to help them.
Appears business model
In the 2000s, traditional lines that once divided singers, instrumentalists, publishers, record companies, distributors, retailers, and consumer electronics had become blurred or erased. Artists can record in home studios using high-end laptops and digital recording programs like Protools or use Kickstarter to raise money for expensive studio recording sessions without involving record companies. Artists can choose to exclusively promote and market themselves by simply using free online video sharing services such as YouTube or using social media websites, bypassing traditional promotions and marketing by record companies. In the 2000s, consumer electronics and computer companies such as Apple Computer have become digital music retailers. The new digital music distribution technology and the tendency to use sampling of old songs in new songs or combine different songs to create "mashup" recordings have also forced the government and the music industry to review the intellectual property definition and the rights of all person. the parties involved. Also complicating the issue of defining copyright limits is the fact that the definitions of "royalties" and "copyright" vary from country to country and region to region, which changes the terms of some of these business relationships.
Sales statistics
Growth of digital album sales volume in 2014
According to IFPI, global digital album sales grew by 6.9% in 2014.
Source: Nielsen SoundScan, Official Charts Company/BPI, GfK and IFPI estimates.
Consolidation
Prior to December 1998, the industry was dominated by "Big Six": Sony Music and BMG have not joined, and PolyGram has not been absorbed into Universal Music Group. Following the PolyGram-Universal merger, 1998's market share reflects the "Big Five", ruling 77.4% of the market, as follows, according to MEI World Report 2000:
- Independent label - 22.6%
- Universal Music Group - 21.1%
- Sony Music Entertainment - 17.4%
- EMI - 14.1%
- Warner Music Group - 13.4%
- BMG - 11.4%
In 2004, Sony and BMG joint ventures created the 'Big Four' when the global market was estimated at $ 30-40 billion. Total sales of annual units (CD, music video, MP3) in 2004 was 3 billion. In addition, according to an IFPI report released in August 2005, the top four accounted for 71.7% of retail music sales:
- Independent label - 28.3%
- Universal Music Group - 25.5%
- Sony BMG Music Entertainment - 21.5%
- EMI Group - 13.4%
- Warner Music Group - 11.3%
Nielsen SoundScan in their 2011 report noted that "the top four" controlled about 88% of the market:
- Universal Music Group (USA based) - 29.85%
- Sony Music Entertainment (USA based) - 29.29%
- Warner Music Group (USA based) - 19.13%
- Independent label - 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 40 workers from EMI. The European regulator forced Universal Music to spin off EMI assets that became Parlophone Label Group acquired by Warner Music Group. Nielsen SoundScan released its report in 2012, noting that it holds 88.5% of the market, and further notes:
- Universal Music Group (USA based) with EMI Music - 32.41% 6.78% from EMI Group
- Sony Music Entertainment (USA based) with EMI Group publishing division - 30.25%
- Warner Music Group-- 19.15%
- Independent label-- 11.42%
Note: IFPI and Nielsen Soundscan use different methodologies, which make their numbers difficult to compare casually, and it is impossible to compare scientifically.
Album sales and market value
Total album sales have declined in the early decades of the 21st century, causing some music critics to declare the death of the album. (For example, the only platinum-signed album in the US in 2014 is the soundtrack of the Disney animated film Frozen and Taylor Swift's 1989 , while some artists do it in 2013.) The following shows the album sales and market value in the world in 2014.
Source: IFPI 2014 annual report.
Retail sales of recorded music
2000
In a June 30, 2000 annual report filed with the Securities and Exchange Commission of the United States, Seagram reported that Universal Music Group made 40% of the classical music sales worldwide over the previous year.
2005
Temporary physical retail sales in 2005. All figures in millions.
2003-2007
About 21% of total gross CD income in 2003 can be attributed to the sales of used CDs. This number increased to about 27% in 2007. This growth is attributed to increased online sales of used products by outlets such as Amazon.com, the growth of used music media is expected to continue to grow as digital download costs continue. up. The sale of used goods financially benefits vendors and online markets, but in the United States, the first sales doctrine prevents copyright owners (record labels and publishers, generally) from "double dipping" through levies on the sale of used music.
2011
In mid-2011, the RIAA shot up 5% sales during 2010, stating that "there may be no reason" for the bump.
2012
Nielsen & amp; The Billboard Industry Report 2012 shows overall music sales increased 3.1% during 2011. Digital sales led to this increase, with 14.1% growth in Digital Album sales and 5.1% Digital Track sales growth, while Physical Music sales decreased by 12 , 8% compared to 2011. Despite the Decrease, the physical album is still the dominant album format. Vinyl Record sales increased 17.7% and Holiday Season album sales decreased by 7.1%.
Total revenue by year
Global trade revenue by IFPI.
By region
- East Asian music industry
- The music industry of Northern Europe
- The music industry of Great Britain.
Associations and organizations
- Country Music Academy (ACM)
- Alliance of Artists and Recording Companies (AARC)
- The Independent American Music Association (A2IM)
- The American Musicians Federation (AFM)
- The Federation of American Art of Television and Radio (AFTRA)
- American Society of Composers, Author and Publisher (ASCAP)
- The Argentine Chamber of the Songs and Videograms (CAPIF) Rooms
- Recording Industry Association of Indonesia (ASIRI)
- AssociaÃÆ'§ÃÆ'  £ o FonogrÃÆ'¡fica Portuguesa (AFP)
- AssociaÃÆ'§ÃÆ' £ o de MÃÆ'ºsicos Artistas e Editoras Independentes (AMAEI)
- AssociaÃÆ'§ÃÆ'  £ o Brasileira dos Produtores de Discos (ABPD)
- Independent Music Association (AIM)
- Australian Recording Industry Association (ARIA)
- International Bureau des SociÃÆ' © sà © à © gÃÆ'  © rant les Droits d'Enregistrement et de Reproduction MÃÆ'  © canique (BIEM)
- Billboard Magazine, known as Billboard Hot 100
- The UK Phonographic Industry (BPI)
- Broadcast Music Incorporated (BMI)
- Country Music Association (CMA)
- The Italian Federation of Music Industries (FIMI)
- GEMA in Germany
- Gospel Music Association (GMA)
- Hong Kong Recording Industry Alliance (HKRIA)
- Harry Fox Agency (non-profit branch of NMPA)
- The Indian Music Industry (IMI)
- International Federation of Phonographic Industries (IFPI)
- Irish Record Music Association (IRMA)
- Latin Recording & Art Academy Science (LARAS)
- Community-Copyright Creative Techniques (MCPS)
- Canadian music
- Musicians of the Benevolent Fund
- Musicians' Union (MU)
- National Academy of Recording Art and Science (NARAS)
- National Association of Recording Merchandisers (NARM)
- National Music Publishers Association (NMPA)
- Philippine Recording Industry Association (PARI)
- PRS for Music (PRSM)
- Coalition of Artist Recorders (RAC)
- The Recording Industry Association of America (RIAA)
- Japan Recording Industry Association (RIAJ)
- Recording Industry Association of Korea (RIAK)
- Singapore Recording Industry Association (RIAS)
- Recording Industry Association of Malaysia (RIM)
- South African Recording Industry (RISA)
- Recording Industry Foundation in Taiwan (RIT)
- New Zealand Music Recording (RMNZ)
- Society of Stage Writers & amp; Composer (SESAC)
- SoundExchange (SE)
- Thai Entertainment Content Trade Association (TECA)
- Writer and Performer Union (ZAI)
Transparency
Source of the article : Wikipedia
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