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20
Jun
17

Spotify Earnings: Growth Comes At A Cost

An excellent analysis by Mark Mulligan on Spotify’s economic fortune.

Music Industry Blog

spotify metrics

Spotify has published its much anticipated 2016 revenues. Because the company is under so much analytical scrutiny, there is little that is particularly surprising but there is still plenty we can learn from the results:

  • Growth maintains momentum: Spotify recorded revenues of €2.9 billion in 2016, up 51% from €1.9 billion in 2015. Although that was a lower growth rate in % terms (80% for 14/15), it was a bigger net add in revenue terms (€989 million net new revenue in 2016 compared to €863 million in 2015). Spotify still has some way to go before it challenges Netflix’s $8.2 billion streaming revenue, but it is making clear progress.
  • Spotify is getting ready for public reporting: The 2016 accounts featured heavy restating of previous year figures and many line items from last year’s accounts were no longer reported. All of which points to an organization getting its reporting structures in…

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15
May
17

WMG makes recorded-music market share gains, while indies extend publishing lead

Music & Copyright recently published the global market shares of the recorded music and the music publishing markets for 2016.

Music & Copyright's Blog

The annual survey by Ovum publication Music & Copyright of the recorded music and music publishing sectors has revealed the changes in global market share for the three major music groups and the independent sector. For the second consecutive year, recorded-music leader UMG lost market share, while smaller major WMG closed the gap on second-placed SME. Sony remained the leader in terms of corporate control of music publishing, though its share has fallen for two straight years. Little change in share for second-placed UMPG meant the company narrowed the gap with Sony. The collective shares of the independent publishing sector registered the biggest publishing share increase.

Shifting market shares, but majors still dominate
According to Music & Copyright, UMG had a 32.8% share of combined physical and digital recorded-music trade revenue last year, down from 33.7% in 2015. For physical revenue only, UMG’s share stood at 30.2%, while its…

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14
Sep
16

Introducing our guests: Gretchen Amussen (Paris Conservatoire)

foto_gretchen_amussenThe 7th Vienna Music Business Research Days from Sep. 27-29, 2016 are devoted to “Self-Management in the Digital Music Business”. International music business experts, therefore, discuss the challenges and chances of artist self-management as well as the future development. Find the program here.

After the introduction of Angela Myles-Beeching and Stefan Simon, who will be discussants on “Career Centers at Music Universities – Best Practices” in Joseph-Haydn-Hall on Sep. 29 from 10:15-11:15, we introduce now the third panelist: Gretchen Amussen.

Gretchen Amussen is Director for External Affairs and International Relations at the Paris Conservatoire. Over the last twenty years she has helped promote the Conservatoire, its students and teachers through an extensive worldwide network of educational and cultural organizations. Particularly active within European networks, she co-chaired the European Association of Conservatoires’ (AEC) first thematic working group dedicated to the implications of the Bologna Process (2001-2004), and subsequently co-chaired the AEC’s Polifonia working group dedicated to the music profession. Gretchen served as AEC Vice-President from 2010-2013 and from 2011-2014 she chaired the AEC’s Polifonia working group dedicated to entrepreneurship in music (www.musicalentrepreneurship.eu). She is currently a board member of the European Music Council and of the Paris Centre for Chamber Music.

 

07
Sep
16

Introducing our guests: Angela Myles-Beeching (Manhattan School of Music)

foto-beeching-endThe 7th Vienna Music Business Research Days from Sep. 27-29, 2016 are devoted to “Self-Management in the Digital Music Business”. International music business experts, therefore, discuss the challenges and chances of artist self-management as well as the future development. Find the program here.

Dr. Angela Myles-Beeching is the author of “Beyond Talent: Creating a Successful Career in Music“. She is dedicated to helping musicians live the life they desire. She has led workshops at the Juilliard School, and the Colburn, Peabody, and Oberlin Conservatories. Her experience includes directing the Center for Music Entrepreneurship at Manhattan School of Music as well as directing career programs at New England Conservatory and Indiana University. She maintains a thriving consulting practice coaching musicians and advising institutions.

A Fulbright Scholar and Harriet Hale Woolley grant recipient, Ms. Beeching holds a doctorate in cello performance from Stony Brook University. She is a contributing author to several volumes: “Embracing Entrepreneurship Across Disciplines,” “Disciplining the Arts: Teaching Entrepreneurship in Context,” and “Life in the Real World: How to Make Music Graduates Employable.”

Ms. Beeching gives an introduction to her book “Beyond Talent”  on Sep. 27, from 19:30-21:00 in the Large Conference Room of the Institute for Cultural Management and Cultural Studies at the University of Music and Performing Arts Vienna. On Sep. 29, she will also discuss best-practices of career centers at music universities with Gretchen Amussen (L’Association Européenne des Conservatoires, Paris) and Stefan Simon (Head of Career Center of the University for Music Detmold) in Joseph-Haydn-Hall from 10:15-11:15.

beeching_beyond_talent_cover   Angela Myles-Beeching, 2010, Beyond Talent. Creating a Successful Career in Music, 2nd edition, Oxford University Press.

 

 

 

05
Sep
16

Introducing our guests: Johannes Ripken (Northstar Connection)

5 : 7 Querformat

5 : 7 Querformat

The 7th Vienna Music Business Research Days from Sep. 27-29, 2016 are devoted to “Self-Management in the Digital Music Business”. International music business experts, therefore, discuss the challenges and chances of artist self-management as well as the future development. Find the program here.

Dr. Johannes Ripken, a music busines consultant from Kiel/Germany, talks on Sep. 29 from 11:45-12:45 on “Organic Artist Development in the Digital Music Business”. Dr. Ripken has established himself as an expert in artist development for more than 10 years. His work experience as artist and label manager has been backed with many years of intensive studies research in the music industry which was gathered in his Ph.D. thesis on artist development. He has been working in the music industry since 2006 at Universal Music Germany for the Polystar division and the Domestic division for artists like Tiesto and Afrojack, with his own record label Sonic Art Music including sub labels, as artist manager of the established artist Dennis Sheperd and as artist himself. Additionally, he exploits his expertise as lecturer at several universities such as Popakademie Baden-Württemberg, Macromedia University and Akademie Deutsche Pop. On a regular basis, he is invited as speaker at business conferences and has built his profile as author of the book “Organic Artist Development”, published by Nomos.

Cover Organisches Artist Development_Ripgen     Johannes Ripken, 2015, Organisches Artist Development, Nomos.

 

 

30
Jun
16

The Music Streaming Market Revisited, 2011-2015

Last year, I posted an analysis of the international music streaming for 2014 based on IFPI numbers. Since then the global streaming market was highly dynamic and therefore I updated my analysis and included also earlier data. In 2015 the global streaming revenue (subscriptions and ad-supported streaming revenue) increased by 42.5 per cent (IFPI 2016: 17) and had a volume of US $2.89bn. The music streaming market is almost as big as the music download market (US $2.97bn) (IFPI 2016: 49). Music streaming, therefore, accounts for 42 per cent of the global recorded music market. However, the market share of music streaming differs between countries. Whereas in Sweden the music streaming market share is 66.5 per cent of the overall recorded music market, in Germany just 11.4 per cent of the recorded music revenue comes from music streaming sources. And Japan, the second largest recorded music market in world, lags behind with meagre 4.6 per cent. In the following, please read an analysis of the international music streaming for the time-span from 2011-2015.

Animation of the international music streaming markets, 2011-2015

Continue reading ‘The Music Streaming Market Revisited, 2011-2015’




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