Professional Documents
Culture Documents
Contents
p3 n Introduction: Music has embraced the future with new business models
– Will governments secure a future for digital content?
p22 n Section 4: Monetising music in an era of free – the role of ISPs and governments
– A future for local music and film? France and Spain in focus
– From concept to reality: governments start to move on ISP cooperation
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INTRODUCTION
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IFPI DIGITAL MUSIC REPORT 2009
Digital platforms now account for around 20 Another key change is the explosion of “With the advent of the access
per cent of recorded music sales, up from 15 consumer choice as music companies work
per cent in 2007. Recorded music is at the to offer music in as many ways as possible.
model, the music industry’s
forefront of the online and mobile revolution, These approaches range from à-la-carte economic model is at last aligned
generating more revenue in percentage terms download stores like iTunes and AmazonMP3 with the mobile industry’s. Both
through digital platforms than the newspaper, to subscription services, licensing of music will view the world through the
magazine and film industries combined. in games and films, merchandising, brand
same lens - average revenue per
Music consumption is becoming far more partnerships, ad-supported streaming
ubiquitous and revenue streams for music sites like YouTube and MySpace as well as user, commonly known as ARPU.”
companies are expanding and diversifying. collecting revenue generated by broadcast Edgar Bronfman, Chairman &
and public performance rights. In 2008
Chief Executive Officer,
Global digital revenues by industry (2008) a plethora of new channels continued to
emerge, reflecting a far more complex and Warner Music Group
Digital share
sophisticated commercial landscape in which
Games 35% consumers are being given the opportunity
Recorded music 20% to acquire music legally in many new ways.
4
shaping a new era in digital music
Michael Nash, executive vice president, digital music experience; from being part of the
strategy and business development, Warner discovery process, to music in games like
Music Group, believes these partnerships will Rock Band and Guitar Hero or recording and
play an important role in returning the music selling music at live events and so on. Our
industry to growth: “There is a multi-trillion role is not to put physical discs on a shelf but
dollar economy of digital connectivity, made to reach consumers wherever they are.”
up of digital networks, wireless, broadband
and hardware. Music is extremely important to This is also reflected in the new expertise
this economy and is also the driver of a wide music companies are bringing into their
range of larger industries. These industries are businesses. For example, Douglas Merrill,
thinking about how to partner with the music president, digital business at EMI Music, joined
industry in new ways. The health of the music the company from Google in April 2008. He
industry is going to contribute significantly to says that one of the big lessons from Google
the health of this trillion-dollar economy.” is to focus not on consumers’ destination
sites but on the ways they discover music:
Music downloads continue to grow healthily, “Social networks have been terrific for fans
with AmazonMP3 joining the European market looking for bands they know, but far more
broadening consumer choice. An important challenging as a way of finding new bands.
development in 2008 was the licensing of We have to help fans find music wherever
more online stores to sell downloads without they are and at the moment they want it. If we
digital rights management (DRM), meaning can do that we will find ways to monetise it.”
consumers can play the music they acquire on
any portable device. In January 2009, Apple Nurturing and investing in talent
announced it had signed deals with leading Along with all the dramatic changes of the
record companies to offer eight million DRM- digital music revolution, however, there is
free tracks at flexible price points. The move is continuity as well. Music companies, large
expected to significantly boost download sales. and small, believe their primary role in all these
new business partnerships is to remain the
Music companies are, meanwhile, commercially main investors in new talent and developers
licensing many of the most popular channels of artists’ careers. The skills, expertise,
of music discovery. One of the top brands investment capacity, creative understanding
in social networking, MySpace, and, above all, the ability to connect the
extended from the world of music artists’ work with their audience will remain
“The campaign against illegal discovery into a commercial the music company’s role well into the future.
music service. Video-streaming
file-sharing is a fight against the
sites like YouTube are hugely “The record company has two fundamental roles
perverse idea that music has no popular with consumers in search and both are from time to time undervalued and
cost. That illusion of “music for of music. Music companies are misunderstood - one as an investor, the other
free” is disastrous, particularly for working on licensing arrangements as a provider of skills and services,” says Martin
to make these sites part of Mills, chairman of Beggars Group, one of the
independent record companies
the legitimate music economy UK’s largest independent record companies:
producing specialised repertoire.” which respects content owners’ “These roles are always going to be required.”
Yves Riesel, President, rights, recompenses creators
Abeille Musique France for their work and incentivises The role of ISPs and government
the creation of new music. Music’s digital reinvention is happening in an
(independent label) environment where the vast majority – IFPI
Record labels are transforming estimates around 95 per cent – of tracks
themselves in this new are downloaded without payment to rights
environment, marrying traditional skills of artist holders. Online piracy is swamping the
development with new expertise in reaching legitimate music business, harming sales,
consumers. Elio Leoni Sceti, chief executive innovation, artists’ careers and investment
of EMI Music, says this has fundamentally in repertoire. Government regulation holds
changed the role, though not the value, the key to addressing this critical issue.
of the music company: “We don’t just sell In 2008, France led the way internationally
records any more, we act wherever people with draft legislation requiring ISPs to
experience music, from digital and physical be effective partners in addressing large-
formats to all the other ‘touchpoints’ of the scale copyright theft on their networks.
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IFPI DIGITAL MUSIC REPORT 2009
6
shaping a new era in digital music
4.0 25%
Digital music 3.7
2.5
US$ billions 2.2 15%
% digital
15%
2.0
1.0
5%
0.4 5%
0.5
2%
0.0 0%
2004 2005 2006 2007 2008
Source: IFPI. Figures include online, mobile and subscription trade revenues. 2008
figures are estimates. Figures rounded and expressed on a fixed exchange rate.
Top five digital music markets (2008) Top 10 Digital Single Tracks 2008
Country Digital share No. Artist Title Sales (m units)
US 39% 1 Lil Wayne Lollipop 9.1
Japan 19% 2 Thelma Aoyama Sobaniirune 8.2
UK 16% 3 Flo Rida feat. T-Pain Low 8.0
France 12% 4 Leona Lewis Bleeding Love 7.7
Germany 9% 5 Timbaland Apologize 6.2
Katy Perry
Lil Wayne
Flo Rida
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IFPI DIGITAL MUSIC REPORT 2009
8
New business models for a changing environment
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IFPI DIGITAL MUSIC REPORT 2009
10
New business models for a changing environment
Rihanna
“Twenty to thirty per cent of
MySpace US monthly traffic in
2007 was made up of music
destination unique visitors.” YouTube has equivalents from many countries
with similar video streaming platforms
Michael Nash, Executive Vice
including MyVideo and Daily Motion.
President, Digital Strategy
& Business Development, Advertising-supported services are a
Warner Music Group potential way to wean habitual non-payers
on to legitimate music services. Research
in the US suggests that at least 45 million
US consumers are willing to view adverts
This move into open music sampling as the price of listening to music (NPD
represents a significant expansion of MySpace Group). Younger consumers are the most
from a simple social networking site to “a likely to want to use such services. Existing
place for music” using its core community ad-supported services include Last.fm and
features as its foundation. In the first few days We7 in the UK, QTrax internationally, Imeem
of operation the service generated more than in the US, Deezer and Spotify in Europe.
one billion streams and in the first month
more than 80 million playlists were created. We7, supported by Peter Gabriel, launched
in November 2008 and offers a combination
Video streaming has dramatically increased of advertising-supported downloads and
in popularity, with 83 per cent of active music streaming. It has a catalogue of around
internet users worldwide watching a video four million tracks. Deezer is a French-
clip online in 2008 compared to 31 per cent based service with membership of more
in 2006 (Universal McCann). YouTube is the than three million users and a catalogue
overwhelming global market leader in the of 3.7 million tracks. Spotify, launched in
video streaming sector. While user-generated October 2008, offers users free-to-consumer
content is still crucial to the site’s appeal, streamed music supported by advertising.
it now carries licensed music, movies and
television programmes. Half the most popular
streams ever viewed on YouTube are licensed
“We have to help fans find
music videos from artists such as Alicia Keys,
Avril Lavigne, Chris Brown, Leona Lewis music wherever they are at
and Rihanna. No other content category the moment they want it.
delivers as much permanent value as music. If we can do that we will
A vast catalogue of music videos is watched
find ways to monetise it.”
repeatedly by consumers and keeps them
coming back. Douglas Merrill, President,
Digital Business, EMI Music
Leona Lewis
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IFPI DIGITAL MUSIC REPORT 2009
12
New business models for a changing environment
13
IFPI DIGITAL MUSIC REPORT 2009
Public performance:
getting fair value for music.
A huge economy of third-party businesses The corporate radio industry in the US
use music to attract and retain customers, generates US$17.6 billion in advertising
drive productivity and improve employee revenue every year (PWC), yet terrestrial
morale. One such sector is restaurants and broadcasters in America pay nothing to
hotels, valued at US$2.3 trillion internationally artists and producers for the music they
(Datamonitor). Another is radio, a US$32.5 play to attract the listeners that advertisers
billion global business (PWC) underpinned pay to reach. Artists, producers and
by recorded music. Public performance and others have come together to form the
broadcast income are important areas of musicFIRST (Fairness In Radio Starting
revenue growth for the music industry, but Today) coalition, which is pressing the
artists and producers face hurdles in getting US Congress to reform the law. Recently,
fair payment for the use of their music. legislation to end broadcast radio’s unique
exemption from paying creators for use
In August 2008, PriceWaterhouseCoopers of their works was marked up in the U.S.
published a study on this issue finding that House Judiciary Subcommittee on Courts,
historical methods for setting royalties for the Internet, and Intellectual Property, and
performance licenses were “inconsistent the legislation will once again be introduced
and lacked robustness”, resulting in the early on in the 111th Congress this year.
widespread undervaluing of music (see box).
New forms of digital and satellite radio are
Other independent research confirms the seeing spectacular growth in the US. Satellite
considerable value of music to commercial radio is the fastest growing subscription
third parties. In the UK, Entertainment Media service in the US, building up a subscriber
Research found there is a direct link between base of 20 million users in just seven years.
effective music policy, revenues and customer
loyalty. As many as 79 per cent of consumers John Simson, managing director of
said that music encourages them to stay SoundExchange, the performance rights
longer in stores and spend more. According to music licensing company in the US,
a report in the Financial Times in August 2008, says: “Radio is going through transitional
“Retailers have long known that the right song times. The radio experience will change
on the overhead speakers can keep shoppers even further as radio becomes more
in a store. Such is the power of music over interactive. Artists and record producers
consumer behaviour, claim the advertising will have to constantly revisit the terms on
executives, academics, music consultants which such radio stations are licensed. It
and market researchers who are all part of a could be that radio totally transitions to
cottage industry springing up around retailers a personalised online environment.”
using music to attract and keep clientele.”
14
New business models
shaping
foraanew
changing
era in environment
digital music
How music is
driving big
business.
PriceWaterhouseCoopers’ report
(2008) outlines key examples of how
music is driving businesses in sectors
ranging from radio to nightclubs:
US$0
productivity and drive
commercial growth.”
Jeremy Thorpe, Royalty payments
PWC Partner by US radio to artists
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IFPI DIGITAL MUSIC REPORT 2009
1
16
New business models for a changing environment
Music companies have been active in the Universal Music has carried out similar Sony Music Entertainment and Sony-
pre-loaded mobile business. In a partnership campaigns with artists such as Sandy & Junior Ericsson, reached a similar deal with music
between Warner Music International and and Ivete Sangalo. Universal partnered with by established local act Jota Quest. In the
Sony Ericsson, Madonna’s album Hard Candy Motorola to offer a pre-loaded song from local first wave of the campaign at the end of
was pre-loaded on Sony Ericsson phones. rock band NX Zero on Motorola’s phones 2007, some 800,000 Sony Ericsson Walkman
Two packages were made available with prior to the release of the band’s album. “It’s handsets were sold with the album Ate Onde
the phone - one with five tracks from the a good example of a developing act working Vai plus video tracks, behind-the-scenes
album and another with the full album. Both with digital,” says John Echevarria, chief footage and wallpapers. Many more were
featured extra content such as wallpapers and operating officer, Universal Latin America: “The sold with the band’s new album La Plata.
ringtones and were launched in the run-up coordination of traditional radio and digital pre- The package included behind-the-scenes
to Madonna’s tour of Latin America – one release promotion led to the sale of a million footage and an exclusive song for download.
of the fastest selling tours of all time in the handsets containing tracks from NX Zero.” In total, more than one million handsets
region. “The campaign drove substantial were sold pre-loaded with Jota Quest’s
re-orders following strong consumer music. Sony Music is expanding its mobile
demand,” says Alfonso Pérez-Soto, head deals with artists. International deals include
of business development and strategic partnerships with Justin Timberlake and P!nk.
partnerships, Warner Music Latin America.
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IFPI DIGITAL MUSIC REPORT 2009
18
the music company mission: nurturing & investing in talent
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IFPI DIGITAL MUSIC REPORT 2009
Things are very different now. A good In early June the album leaked onto the Viva La Vida became the top selling album
illustration of a modern launch campaign internet and the band responded by of 2008 on iTunes, selling two million copies
was Coldplay’s fourth studio album Viva making it available as a stream on their through the service. In November 2008, the
La Vida or Death and All His Friends. MySpace profile. The band also undertook band released a deluxe album, Viva La Vida
The track listing and release date were a series of high-profile media appearances – Prospekt’s March, which contained extra
announced in April 2008 on the band’s in the US to promote the album. material from Coldplay’s recording sessions.
website Coldplay.com. The title track
Viva la Vida was used in partnership with
Apple, forming the soundtrack for the
company’s new iPod TV ad campaign.
20
the music company mission: nurturing & investing in talent
Coldplay
21
IFPI DIGITAL MUSIC REPORT 2009
“ He loves the album – he wants to know where he can download it for free.”
22
MONETISING MUSIC IN AN ERA OF FREE - THE ROLE OF ISPs AND GOVERNMENTS
23
IFPI DIGITAL MUSIC REPORT 2009
“Music has been hit hard over the The evidence that graduated response will work
last ten years and if we don’t do
something there is a real danger n Seven out of ten (72%) UK music consumers would stop illegally
downloading if told to do so by their ISP (Entertainment Media Research, 2008)
that parts of the music industry will
be washed away.” n Seven out of ten (74%) French consumers agree internet account disconnection
is a better approach than fines and criminal sanctions (IPSOS, France, May 2008)
Andy Burnham,
UK Secretary of n Eight out of ten (82%) American teenagers familiar with the law think
sanctions for illegal downloading are appropriate; 57 per cent of
State for Culture
those unfamiliar with the law agree (KRC US, January 2008)
24
MONETISING MUSIC IN AN ERA OF FREE - THE ROLE OF ISPs AND GOVERNMENTS
Similar initiatives are being taken elsewhere. The momentum in favour of ISP cooperation
In December 2008 the US recording has reached Asia as well. In April 2008 in
industry announced it is working with the Japan, a consortium of ISP, music and New law ‘will sustain
Attorney General of New York and leading film trade associations was established to
ISPs on a series of voluntary online anti- agree measures against copyright abuse on
French creative industry’.
piracy initiatives, with Attorney General Japan’s chief ISP network. The national police
President
Andrew Cuomo urging a deal involving and senior government representatives are
Sarkozy’s ground-
a graduated response approach. In a observers on the consortium. ISP actions to
breaking proposal
separate but parallel move, the RIAA and notify infringers and terminate the accounts of
for legislation
several leading ISPs agreed on principles repeat offenders are on the agenda. The Hong
in France owes
under which ISPs will take responsibility to Kong government launched a discussion
much to the
send notices and institute a programme forum between content industries and ISPs in
leading economist
of escalating sanctions for subscribers 2008 and has said it is prepared to legislate
Olivier Bomsel, who says its key
who are repeat copyright infringers. if necessary. In South Korea the government
objective is “to sustain a content
has issued for consultation a draft law
industry in France in the future.”
In February 2009 New Zealand will start introducing a system of graduated sanctions
operating a graduated response system against online infringement, including
Bomsel sees the graduated response
following enactment of a law in April 2008 terminating the accounts of repeat offenders.
as important to the next development
requiring ISPs to adopt and reasonably
phase of the creative internet economy.
implement a policy of terminating the Meanwhile, courts in different countries have
In phase one, during the rapid expansion
accounts of repeat infringers. helped clarify the existing legal obligations
of broadband networks, ISPs used free
for ISPs to help fight piracy. In a landmark
content to boost the roll-out of their
In Australia the Minister for Broadband, judgment in 2007, a court in Belgium ordered
fast-growing new businesses. In this first
communications and the digital economy, the ISP Scarlet (formerly Tiscali) to make it
phase “content” took second place to
Stephen Conroy, interviewed on national impossible for its users to infringe copyright
the perceived benefits of the broadband
television, said illegal file-sharing has using peer-to-peer protocols on its networks.
revolution. “The consequences were
“decimated the music industry” and would The court found filtering to be a feasible and
a free ride for distributors, while the IT
do the same to film and other sectors unless appropriate means to distinguish between
industry successfully argued that the
there are “significant changes”. He added: legitimate and unauthorised files. In October
advantages of network rollout offset the
“The so-called three strikes legislation has 2008, a further court ruling rejected the ISP’s
losses to the content industry,” says
been talked about in Australia and we’re claims that filtering was impossible. The court
Bomsel. As a result, consumers were
watching closely what’s happening in said it was “not unreasonable to require of SA
prepared to pay for new equipment
France and the UK and we’re considering Scarlet that it make greater efforts than those
and network access while content
what we can do to support intellectual which it had shown thus far” to stop copyright
was made available largely via massive
property rights. People will change their infringement. The ISP has been liable for
intellectual property infringement.
behaviour if there’s an economic cost.” fines of €2,500 every day from 1st November
2008 until it takes effective steps to curb its
The new French law, says Bomsel,
users’ infringement of Belgian copyright law.
aims at a fair solution for the next
phase of the internet revolution.
Courts have also confirmed the need for
“When I exceed the speed limit on the In phase two, once the rollout of
ISPs to block access to copyright-infringing
roads too many times, I know I will lose broadband is over, the ISPs have to
websites. In November 2008, an appeal court
become fair distributors. A graduated
my licence for six months and I accept that in Denmark upheld a decision requiring an ISP
response system will be introduced by
as normal. There’s no reason for a change to block access to The Pirate Bay website.
which the repeat infringer would face
Courts have also ruled that the suspension
of attitude when it comes to the internet. suspension of internet access after two
of internet accounts being used illegally is
As human beings we don’t like rules and warnings. A government-appointed
acceptable under EU law. In Finland, a court
independent watchdog supervises
regulations, but we don’t live in an ideal ordered TeliaSonera, a leading ISP, to suspend
the system and relays the warnings
world and a free-for-all benefits nobody.” the internet connection of a customer
via the ISP. Bomsel says the element
whose connection was used to upload a
Chris Ancliff, of sanction in this system is essential:
considerable number of infringing music files.
“The system depends on the reliability
General Counsel, EMI
and deterrence of the sanction.”
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IFPI DIGITAL MUSIC REPORT 2009
there is a growing adult insecurity when “I am a father of three young kids
it comes to teaching young people about who are all very interested in music
the benefits and risks of an environment
and computers. They are forever
they do not understand themselves.
asking to use the computer to
Young People, Music and the Internet. download their favourite songs.
2008 saw the launch of a global information There is a constant worry about the
campaign to explain the world of music security of the internet with children.
downloading to teachers and parents
This new guide helps adults and children
worldwide. The simple guide, Young People,
Music and the Internet was published by
to use the internet safely and securely.”
children’s internet charity Childnet International Ronan Keating, Singer-songwriter
and supported by Pro-music (www.pro-
music.org), the international alliance of music
sector groups. It is being distributed through
schools and colleges, libraries, record stores,
teaching portals and websites in Argentina, “The new guide...should help to
Australia, China, Mexico, Singapore, spark off those vital conversations
Spain, the UK and the US, with a further between parents, teachers and
12 countries set to publish it in 2009.
young people that are so essential
Endorsed by the European Commission, it aims
for promoting responsible behaviour
to help close the “knowledge gap” between on the Internet..”
young people and their parents and teachers, Viviane Reding, EU Commissioner for
in order to promote the safe and legal use of
Information Society and Media
the internet and mobile phones to download
music. Hundreds of thousands of copies were
requested by teachers, libraries, local authorities,
parents and even computer repair stores.
Commissioner Reding
26
Education: the campaign for hearts and minds.
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IFPI DIGITAL MUSIC REPORT 2009
Paul McGuinness
the first time, there is now the prospect that
of top-selling acts from Tori Amos to We Are
if ISPs do not cooperate with steps to help
Scientists, says the idea that future talent will be
tackle copyright theft, then legislation may
supported solely from live music, sponsorship
require them to do so. This is real progress.”
and merchandising is an illusion: “I work with
a band that performed 300 shows on a two- Technology, says McGuinness, should pose no
year cycle to support their last album. They obstacle for ISPs. The “deep packet inspection”
went around the world three times and yet techniques routinely engaged in now by all ISPs
only sold around 400,000 copies. They made could be used in future to identify and interdict
about US $30,000 each before taxes. They illegal P2P files of film and music content.”
could have made more money on welfare.”
David Holmes, manager of Coldplay, also
Bertis Downs, manager of REM, believes favours a change of approach from ISPs. “We
the key question for new bands is how to need to think differently about how to ensure
Bertis Downs
make a living and build a long-term career music gets properly protected on the internet.
in an environment where new technology is We will all lose out if we let the idea take hold
challenging the very right for creators to be that the creators of recorded music don’t
paid: “For REM it wasn’t an overnight launch need rewarding for their work. I support the
to fame and fortune. It was a slow grind to campaign for ISPs to be involved in this. I would
success that took place over many years. I’m like them to do more to protect artist rights.”
not saying you can put the technological genie
Spivak believes the artist community has to
back in the bottle – that would be absurd.
speak out more if real change is going to
But I am saying that if we don’t take better
happen: “The artists and music companies
steps to protect the value of music, then you
should work together, not separately. They
have to ask where the next REM is going to
Arthur Spivak
28
CREATIVE VOICES SPEAK OUT.
29
IFPI DIGITAL MUSIC REPORT 2009
Pre-release piracy:
industry steps up action.
Pre-release piracy is probably the most Containing pre-release piracy,
500,000 infringing
damaging form of copyright infringement boosting sales
as it impacts on sales of the original Stopping an album leak prior to release
links removed by
tracks or album at what should be the aims to help boost its legitimate sales. IFPI 2007
high point of consumer interest. Zomba Records called in IFPI’s anti-
3 million infringing
piracy team after Usher’s latest album,
Pre-release copies are leaked days or weeks Here I Stand, leaked weeks before its
links removed by
before the official release date and then the May 2008 official release date. IFPI 2008
number of files online containing the music
quickly proliferates. There are special networks Investigators tracked down the original
and ripping groups that work to maximise the source of the leaks and issued more Action on campus in the US
distribution of pre-release infringing music. than 4,000 ‘notice and takedown’ orders The US music industry is focusing its
The damage this and subsequent file-sharing to remove links from blogs and forums education and deterrence programmes
causes can mean the difference between an to the copyright-infringing music. directly on the issue of music theft on college
album charting in the Top 10 or missing out – campuses. Illegal file-sharing by college
something that can have a huge impact on an For Zomba, as for other record companies, students is disproportionately high. A survey
artist’s career. Illegal services are able to offer this kind of action supports the marketing by Student Monitor in spring 2006 found
music before legitimate sites can – a major strategy, allows anticipation to build that more than half of students downloaded
advantage for them in terms of securing users. up ahead of release day and contains music and movies illegally and according to
the damage caused by the leak. Here NPD, students accounted for more than 1.3
Music companies are increasingly using I Stand went on to be a big success, billion illegal music downloads in 2006. This
the services of IFPI’s internet anti-piracy topping the Billboard Hot 100 chart. is despite the fact that every student in the
team to fight pre-release piracy. Searching country has access to affordable (even free),
the internet for infringing uploaders and A similar exercise by the IFPI team stopped legal music through innovative music industry
the operators of servers and indexing and all online pre-release leaks of Enya’s supported models like those offered by
tracking sites, the team sends notices November 2008 album And Winter Came.... Ruckus, AmazonMP3, and MySpace Music.
and warnings which may, if necessary, be Investigators ensured that sufficient security
followed up with legal steps, either criminal measures were in place on all aspects of Many universities have successfully
or civil. The results of this work are visible. the manufacturing process and artwork implemented anti-piracy technology tools and
production and also ensured that all report receiving fewer copyright infringement
In 2008, IFPI removed three million unauthorised content was taken down from (DMCA) notices. Several university officials have
infringing web links, up from 500,000 the internet as soon as it was discovered. testified about the efficacy and cost benefits
in 2007, stopping potentially hundreds The album subsequently became a top ten of adopting an anti-piracy technology. While
of millions of unlicensed downloads. hit in the US and many European countries. each university has its own policies and tools,
technology has clearly been part of the answer.
30
www.pro-music.org tells ‘all Recording Industry In Numbers
you need to know about is the definitive source of global
music online’. Users can music market information;
find out where to get music an annual report containing
legally online and discover global sales figures, country
more about the music specific data and insight into
industry. The website is key consumer trends. To find
backed by a cross-industry out more or to purchase a
group of rights holders. copy go to www.ifpi.org