It’s now the third time that Will Page and Chris Carey from PRS for Music added up the UK music industry. The main result is that total UK music revenues fell 4.8 percent to £3.775bn in 2010 compared to £3.964bn the previous year. This figure includes the retail value of recorded music (-7.9% to £1.237bn) as reported by the British recorded music industry body (BPI), the estimated revenue of live music (-6.8% to £1.480bn), the adjusted collections by PRS for Music (-1.3% to £0.425bn), the adjusted collections by PPL and VPL (+18.9% to £0.079bn), the estimated inter-company B2B revenues (+7.2% to £0.218bn), the publishers’ direct revenues excluding income streams from PRS for Music (+0,6% to £0.242bn) and advertising and sponsorship revenue (+4.2% to £0.094bn).
Archive for the 'Analysis' Category
Tags: Australian music business, Brunswick Records, Clifford Industries, Columbia Graphophone Australasia, EMI Australia, Flexible Records Co., Klippel Record Co., labels vs broadcaster, Moulded Products Australasia, radio boycott, Sydney, The Gramophone Co., Unbreakable Disc Records, Vocalion Foreign/Australasia, Vocalion Gramophone Co., World Record Australia
For several years the Australian music industry was dominated by a few players who enjoyed a more or less monopolistic position. In the infant period of the industry Edison Co. dominated the record business with its cylinders and from 1931 on EMI had the monopoly of record distribution in Australia, which was not challenged until the end of World War II. Therefore, the period with a considerable level of competition in the Australian music industry lasted from 1924 to 1931.
The launch of music locker services by online retailer Amazon and search engine Google opens a new round of discussion on the future of music distribution. Are cloud based music services the main business models of the future music industry or is it just a hype with a lot of hot air in the cloud?
In the following you like to answer this question.
The British alternative rock band Radiohead caused a sensation when they announced on their website on October 1, 2007 that the new album In Rainbows was completed and would be released in 10 days for free. Fans were instructed to obtain a registration code in order to download the new album in MP3-format. Music consumers were left to determine the price on their own – ranging from US$ 0.00 to US $ 99.99. The response was overwhelming, and within a few weeks more than 1.2 million downloads were counted. According to the Internet market research firm comScore, 38% of the fans paid an average of US $ 6 per album, which resulted in US$ 2.4 million in revenue. Is this business model really as revolutionary as it appears at first sight? Continue reading ‘The Radiohead Revolution?’
Filesharing is made primarily responsible for the decline in sales in the phonographic industry, especially in the CD segment (see the current IFPI Digital Music Report). However, serious research on filesharing behavior (see Huygen et al 2009, Andersen/Frenz 2007, Oberholzer-Gee/Strumpf 2007 (working-paper March 2004), Blackburn 2004) shows that filesharing use does not necessarily have a negative impact on physical and digital sales. But if this is not the case, then there must be other causes for the now decade-long recession. In the following I would like to discuss alternative explanations for the recession in the music industry and try to substantiate them empirically. Continue reading ‘The recession in the music industry – a cause analysis’
The death of Michael Jackson on June 25, 2009 triggered a sales boom for his music. The American industry magazine Billboard published Soundscan sales figures for his albums the week after the “King of Pop’s” death, showing three of his albums occupying the top positions in the U.S.-album-charts and five more of his albums entering the Billboard-Top-50-list. Jackson’s music also ruled the weekly iTunes and Amazon download-charts after his death. Continue reading ‘Business model “Michael Jackson”’
The economic crisis exacerbates the recession in the music industry. Recorded music sales have been in sharply decline for years. Digital music offerings on the Internet and via mobile phone cannot compensate for the losses. One reason: The wrong licensing policies of the record labels.
The music industry cannot escape the general economic and financial crisis. In 2008 a dramatic slump in sales of recorded music for nearly all markets was reported. But the economic crisis only reinforces a downturn in the market for recorded music that begun already in the late 1990s. Thus, in the largest music markets the CD unit sales dropped in the period from 2000 to 2008 between 35% (United Kingdom) and 59% (USA). This recession, however, is a symptom of a paradigm shift from music delivered in form of a physical product to music as a service delivered in form of online and mobile music offerings. Continue reading ‘The CD is dead! Long live the music download?’