Posts Tagged ‘music licensing

31
Jan
16

The Global Music Publishing Market – An Analysis

In a Music Business World Wide article[1], music industry analyst Will Page calculated a value of US $11.34bn for the global music publishing market in 2014. The number comprises of US $7.55bn for the collection of performance fees, US $1.32bn for mechanical collections and US $0.35bn for private copying collections by CISAC[2] members and US $0.42bn for non-CISAC mechanical collections (e.g. Harry Fox Agency collections). Further US $1.70bn of revenue have to be added for music directly licensed by the publishers (“grand rights” and synchronisation rights).

 

Figure 1: The global value of the music publishing market in 2014

Figure 1 - The global value of the music publishing market in 2014

Source: After Music Business World Wide, “$25 billion: The best number to happen to the global music business in a very long time”, December 10, 2015 (retrieved January 19, 2016)

 

The analysis highlights that music publishing is as relevant as the recorded music industry with a global market volume of about US$ 15bn. Therefore, this blog post analysis the global music publishing market in a long-term perspective and investigates economic relevance of music publishing for the music majors – Universal Music Group, Sony Music Entertainment and Warner Music Group – as well as the structure of the global music publishing market.

Continue reading ‘The Global Music Publishing Market – An Analysis’

17
Jun
13

Is Streaming the Next Big Thing? – The Business Models of Music Streaming Services

The music streaming market is currently the most dynamic segment in the music industry. The market entry of Apple with iTunes Radio and Google with All Access underpin the relevance of music streaming. It is just a question of time when Amazon will announce the launch of its rumoured music streaming service. Google, Apple & Co., however, enter a highly contested market. In the relatively small Austrian music market, eight streaming operators offer their services to the consumers (IFPI Austria 2013: 13) – not counted are the myriads of Internet radios, video streaming platforms such as YouTube, TapeTV, Vimeo and Hulu as well as the cloud-based music services of Amazon, Apple and Google.

Continue reading ‘Is Streaming the Next Big Thing? – The Business Models of Music Streaming Services’

14
Jun
13

4th Vienna Music Business Days

Logo VMBR-DaysThe 4th Vienna Musis Business Research Days will be held on the “Future of Music Licensing” in Joseph Haydn Hall at the University of Music Performing Arts Vienna (Anton-von-Webern-Platz 1, 1030 Vienna) from June 20-21, 2013. This international conference gathers scholars from different disciplines, but also business professionals and decision-makers from state and private bodies to discuss the future of collective music licensing as well as the future of copyright in a digital society. In addition young scholars present their recent findings on music business industry topics in an international workshop.

 

Admission free, but please register under music.business.research@gmail.com

 

You can follow the 4th Vienna Music Business Research from 19:30, June 20 (CEST until 18.00, June 21, 2013 (CEST) on a live audio stream: http://www.mdw.ac.at/mdwMediathek/livestream/

 

For the conference program, please click here.

 

Media coverage of the 4th Vienna Music Business Research Days 2013

Musikmarkt. Das Branchenmagazin, “Zwischen Theorie und Praxis. Die Wiener Tage des Musikwirtschaftsforschung”, Issue 22/2013, p. 44.

Salzburger Nachrichten, “Ein Ständchen kann teuer werden”, June 14, 2013.

Futurezone, “Experten diskutieren Musiklizenzierung in Wien”, June 17, 2013.

The Gap, “The Next Big Thing”, June 19, 2013.

 

 

19
Aug
12

Australian Music Business – The Market for Music Licencing by Collecting Societies in Australia

In this blog the early music industry in Australia was analysed in great detail (The Early Record Industry in Australia – part 1, part 2, part 3, part 4, part 5 and part 6). In a four part series on the Australian music business I would like to highlight the recent economic situation of the Australian music industry. In the first part of this series the charts of the Australian Recording Industry Association (ARIA) are analysed to understand the consumers’ taste downunder especially in respect to the Australian national repertoire. In the second part the question is answered, which labels benefit from the chart successes of international and domestic artists. In a third part the development of the recorded music sales in Australia from 2000 to 2011 is analysed to give an explanation for the ups and downs in the observed period. In the fourth and last part of the series the economic role of collecting societies in Australia is highlighted especially from the licensing income’s perspective.

In the last part of the series the role of the three Australian music collecting societies – APRA, AMCOS and PPCA – for the Australian music industry is highlighted.

Continue reading ‘Australian Music Business – The Market for Music Licencing by Collecting Societies in Australia’

08
Feb
12

Peter Jenner on the Digital Revolution in the Music Industry and the Need for an International Music Registry

On November 23, 2011 the British music manager and record producer Peter Jenner gave a talk on the digital revolution in the music industry and the need for an International Music Registry (IMR) at the Institute of Culture Management and Culture Studies (IKM) of the University of Music and Performing Arts Vienna. Peter Jenner has managed Pink Floyd, T Rex, Ian Dury, Roy Harper, The Clash, The Disposable Heroes of Hiphoprisy, Robyn Hitchcock, Baaba Maal and Eddi Reader (Fairground Attraction), Billy Bragg and others. He works at Sincere Management and was the Secretary General of the International Music Managers’ Forum, a director of the UK Music Managers’ Forum and is involved on the advisory board of the Featured Artists Coalition. Currently he is a consultant for the World Intellectual Property Rights Organization (WIPO) to help in the development of  an International Music Registry. More on this project and the rationale behind it can be read in the following abridged version of Peter Jenner’s talk, which was not only authorised but also edited by himself.

Continue reading ‘Peter Jenner on the Digital Revolution in the Music Industry and the Need for an International Music Registry’




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