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Recording Industry in Numbers 2011

The denitive source of global music market information

NOW AFTER 77 YEARS, PPL HAS GROWN INTO A MODERN SERVICE ORGANISATION, READY AND WILLING TO TACKLE THE GLOBAL LICENSING CHALLENGES OF THE MUSIC INDUSTRY IN THE TWENTY FIRST CENTURY.
It all started in a caf in Bristol, England in 1934, when dance musicians were replaced by vinyl records played on a phonograph. Back then, PPL had just two members EMI and Decca. Now we have over 5,750 record companies and, following the merger with the principal performer societies in 2006, 46,000 performers. In addition, our reach has extended to include international repertoire and overseas royalties through 52 agreements with similar organisations around the world. PPL licenses businesses playing music, from broadcasters to nightclubs, from streaming services to sports studios, from internet radio to community radio. Licensees are able to obtain a single licence for the entire PPL repertoire, a service which is seen as increasingly valuable for both rightsholders and users alike as consumption of music continues to grow. Broadcasters such as the BBC have commented that they simply would not be able to use music at such a scale, across ten TV channels, sixty radio stations, the iPlayer and numerous online services without a licence from PPL. The PPL licence is equally valuable to other users, such as commercial radio stations, BT Vision, Virgin Media, Last.fm and even the fteen oil rigs that want to keep their oil workers entertained on their tours of duty.

For the performers and record companies who entrust their rights to PPL, the income from these new distribution outlets is becoming increasingly valuable. Total income (including music videos which are licensed through VPL) now tops 150m. All the income generated, less the actual costs of licensing and distribution, is distributed direct to the record companies and performers whose recordings have been played. PPL takes no prot for itself and we are delighted that our already low cost to income ratio is decreasing. For most record companies and performers featured artists, session musicians, orchestral players, backing vocalists and others this revenue is an important income source. This signicant additional income stream also helps the record industry to continue the essential investment in new recordings. Each week PPL receives electronic details of approximately 6,500 new recordings. This information is now essential to almost every area of the music business. As well as underpinning PPLs licensing and distribution operations, this data is also passed on to PRS for Music for mechanical licensing, and to the BPI and IFPI for anti-piracy purposes.

PPL HAS COME A LONG WAY IN ITS HISTORY. NOW THE CHALLENGES ARE GLOBAL, DIGITAL AND DELIVERING AN EVER BETTER SERVICE TO THE RECORD COMPANIES AND PERFORMERS. PPL LOOKS FORWARD TO A BRIGHT FUTURE.
To nd out more: 020 7534 1000 ppluk.com

STANDING UP FOR MUSIC RIGHTS.


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IFPI Recording Industry in Numbers 2011

Contents

Contents
Introduction 1 Sources & Notes Top 20 Markets Summary Top Sellers Broader Music Industry World Of Performance Rights Cultural Diversity Australia Austria Brazil Belgium 2 4 5 6 8 7 RIN 3

Countries 9

MUSIC AND MEDIA LITIGATION


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+44 (0) 20 7291 3500

IFPI Recording Industry in Numbers 2011

Introduction

A World Of Diversity
This is the 18th edition of the Recording Industry in Numbers. The report continues to be an invaluable source of comprehensive information about trends in the global music business. One dominant theme inside these pages is the sheer diversity of the modern recording industry. It is found in the new business models that service the needs of a huge range of consumers around the world; in the different ways that people want to listen to the albums and tracks; and in the extraordinary variety of artists and genres in which the industry invests. Today the music industry is a multi-platform, multi-channel business characterised by a diverse range of licensed services. Download stores, subscription services, video streaming sites and offerings bundled with broadband or mobile packages have been drawing in signicant numbers of customers. Unlike some global industries, it is impossible to take one standard model for music and roll it out to all markets; we need to respond to consumers very differing requirements and desires. Subscription services in particular have caught the imagination of many consumers. IFPI estimates that some 10 million people worldwide paid a subscription fee for a music service in 2010. In 2011 new subscription services are being launched around the world. Consumer choice in the accessing of music is wider and better than it has ever been. This is an industry of enormous cultural diversity, too. Major companies have more than 4,000 artists on their rosters and tens of thousands more performers are signed to independent record companies around the world. Some of the performers that record companies invest in develop long careers in their particular genre of music. Others smash their way to the top of the overall charts. There is no single formula for success. The case studies of artists highlighted in this publication powerfully illustrate this. Cultural diversity means investing at the local level. This is an essential feature of todays recording industry. While superstars, such as Eminem and Lady Gaga, prove to be popular internationally and continue to top the global charts, local repertoire remains the lifeblood of many important markets worldwide. For example, music from local artists accounts for 81% of the industrys physical format revenues in Japan, 74% in India, 72% in South Korea, 59% in Brazil, 43% in Mexico, 52% in Italy and 32% in Germany. Record labels investments at local level continue to underpin cultural diversity worldwide. Meeting the diverse needs of millions of consumers, investing in repertoire and innovating with new business models is a challenging task. It is made more difcult by the prevalence of unlicensed music available online for download or streaming. Illegal services that do not pay performers and producers for the music they distribute continue to undermine investment in artists and hit jobs in the creative sector. The industry has made enormous strides despite this, creating a digital business worth US$4.6 billion. But it could do so much more if high rates of digital piracy could be reduced. We believe that with the help of governments and internet intermediaries worldwide we can turn the tide on piracy. Policymakers are increasingly waking up to the need to establish the rule of law on the internet. There is no point in devising policies to create super-speed broadband networks if the incentive to invest in new content to distribute through them dries up. Governments want to create a sustainable digital economy that delivers jobs, growth and tax revenues. This is only possible if intellectual property rights are respected in the digital space. In a sign of how signicant this debate is President Sarkozy of France has placed the issue of a civilised internet on the agenda of the G8 meeting at Deauville in May and the larger G20 summit in Cannes this November. We see other leading politicians worldwide working to deliver new frameworks that will encourage a vibrant digital economy. Whether this is achieved through legislation, regulation or governmentbacked voluntary deals, the important thing is to enlist the help of internet intermediaries to establish a digital environment where consumers are nudged to use legal services and discouraged from violating copyright law. This report sets out some of the amazing strides that are already being made by the record industry. Record labels have licensed more than 13 million tracks to 400 services of varying kinds around the world. Revenues from performance rights are an increasingly important source of funding. There is much more that can be done in this area, particularly if a broadcast right can be established in the US and a public performance right in China and Japan. In conclusion, record labels around the world are continuing to discover and nurture talented artists, promoting them to a broad audience. In doing so, they underpin cultural diversity and provide consumers with choice. The demand for new music seems as insatiable and diverse as ever, and record companies continue to meet it. But they are operating at only a fraction of their potential because of a difcult environment dominated by piracy. Determined action by governments and intermediaries to tackle this problem could create a framework for increased growth, more investment in artists and greater consumer choice.

IFPI Recording Industry in Numbers 2011

Sources & Notes

Sources & Notes


Sources
n Population, median age, language: World Factbook n Mobile subscriptions: World Factbook (www.cia.gov)

(www.cia.gov)
n GDP per capita: World Factbook (www.cia.gov) n GDP % change: World Factbook (www.cia.gov) n Currency, exchange rates: Oanda (www.oanda.com) n Broadband Households: OECD, Screen Digest and

and IFPI national groups


n Smartphone penetration: FutureSource Consulting Ltd,

Screen Digest
n Portable player users: FutureSource Consulting Ltd,

Screen Digest
n Top independent labels: IFPI national groups unless

IFPI sources
n Internet users: Internet World Stats

otherwise stated
n Digital single tracks and albums: IFPI National Groups

(www.internetworldstats.com) and IFPI national groups

and chart companies

Notes
n Trade value: or wholesale value refers to record companies n Performance rights revenues: monies received by record

revenue from the sale of recorded music products or from licensing, net of discounts returns and taxes. Promotional goods are excluded. Non-music related or non-recording artist related income are excluded. All analysis, growth and trends, are based on trade values unless otherwise stated.
n Retail value: estimate of the nal value paid by the consumer for

the purchase of music products, inclusive of relevant sales taxes and retailer mark-up. Retail values are estimates only and refer to physical and digital sales only (performance rights not included).
n US$ values: historical local currency values re-stated at the 2010

companies from music licensing companies for licenses granted to third parties for the use of sound recordings and music videos in broadcasting (radio and TV), public performance (nightclubs, bars, restaurants, hotels) and certain internet uses. Performance rights revenues refer to distributions to record companies it excludes non-allocated distributions, and non-recurring distributions such as settlement amounts. Distributions for the current year refer to monies collected by music licensing companies in the previous year (e.g. distributions for 2010 refer to monies collected in 2009 reaching the record company accounts in 2010). Figures are provided by the respective music licensing companies to IFPI.
n Rounding: gures are subject to rounding, which may affect

exchange rate.
n Physical sales: CD sales ordered via the internet (e.g. Amazon)

overall totals and percentages.


n Revisions and updates: some gures presented in

are reported as physical sales. Figures are provided by the record companies in the respective markets to the local IFPI body. IFPI applies a coverage factor to the gures to account for nonreporting companies, therefore representing 100% of the market.
n Digital sales: refers to sales via online, mobile channels and

this publication may differ from previous years due to revisions and updates, or because better information has become available.

via subscriptions. Income from ad-supported services, mono/ polyphonic ringtone income and bundled subscriptions were included in the digital sales gures from 2008.

IFPI gures may differ from local industry groups reports due to different methodologies. IFPI would like to thank the following companies that have contributed to the production of the RIN 2011: FutureSource Consulting Ltd, Screen Digest, NPD Group and all IFPI national groups. Compiled by Callum Smith and Laura Childs. Produced and edited by Gabriela Lopes.
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For further information visit www.ifpi.org Designed by: elliottyoung +44 (0)845 054 0070 elliottyoung.co.uk

For advertising opportunities in the RIN 2012, please contact: Laura Childs (laura.childs@ifpi.org)

IFPI Recording Industry in Numbers 2011

Recorded Music Sales In 2010

Recorded Music Sales In 2010


Global recorded music trade revenues totalled US$ 15.9 billion in 2010, a decline of 8.3% compared to 2009. Physical format sales fell by 14.2% globally offsetting the gains in other areas. Digital revenues grew by 5.3% in 2010 to US$ 4.6 billion and now account for 29% of all recorded music revenues, up from 25% in 2009. Continued growth in download sales and the expansion of subscription revenues drove this increase. On the other hand, the mobile sector continued to decline in many markets, notably impacting digital growth in the US and in Japan. Performance rights revenues grew by 4.6% in 2010 totalling US$ 851 million, now accounting for 5% of trade revenues. On a retail basis, the global recorded music market was worth an estimated US$ 24.3 billion in 2010. There were marked variations in the development of music markets around the world in 2010. Three major markets saw sales increases: South Korea (+11.7%), India (+16.5%) and Mexico (+0.9%). There were also increases in eight markets, namely Slovakia, Malaysia, Singapore, Taiwan, Argentina, Central America, Chile and Peru. The US and Japanese markets accounted for 57% of the global decline in 2010, compared with 80% in 2009. Germany overtook the UK as the third largest recorded music market in the world, reecting a more stable physical retail environment. The UK and Australia, which had both seen increases in 2009, fell in 2010. France and Germany, however, continued to experience modest market declines. 2010 also marked the year Spain dropped out of the top 10 after years of market decline and widespread piracy. In the performance rights sector, Europe continues to lead in terms of revenues but the biggest increases came from the US (+27.9%) and India (+53.3%). Germany also saw a healthy growth of 18.5%. While still accounting for a relatively small share of the sector (4%), Latin America was the fastest growing region, up 26.1%.
Global Recorded Music Trade Sales (US$ millions)
2009 Physical Digital Perf. rights Total market Source: IFPI. 12,164 4,407 813 17,384 2010 10,440 4,643 851 15,933 % change -14.2% 5.3% 4.6% -8.3%

Global Recorded Music Sales by Sector

3% 10%

3% 15%

4%

5%

5%

22%

25%

29%

87%

82%

74%

70%

66%

2006 n Physical
Source: IFPI.

2007 n Digital

2008 n Performance Rights

2009

2010

Global Recorded Music Sales 19972010 (US$ billions) 0.4

0.4

0.5

0.5

0.6 2.2

0.6 3.1

0.4

0.8 4.0

1.2

0.8 0.9 4.4

26.1 27.3 27.3 26.9 26.5 24.7

22.9 22.3

4.6

20.8

18.8

16.4

13.9

12.2

10.4

97

98

99

00

01

02

03

04

05

06

07

08

09

10

n Physical
Source: IFPI.

n Digital

n Performance

IFPI Recording Industry in Numbers 2011

Regional Overview

Regional Overview
North America
The US saw a sharp drop in music sales in 2010, fuelled by an acceleration in the rate of decline in the physical sector. Shrinking shelf-space at fewer brick-and-mortar retailers continued to impact CD sales. Despite the decline in the physical sector, there were some positive developments and encouraging signs. Digital now represents nearly 50% of all music revenues in the US, but grew at a modest pace in 2010 (+1.2%). A steep decline in the mobile sector drove the overall digital growth rate down. By contrast, online sales grew by 8.4% in value terms, with single track downloads growing by 11.8% in value. Digital albums grew by 12.1% in value terms and now account for 26.5% of all albums units sold in the US (Nielsen SoundScan). A range of digital services are set to launch in 2011. Performance rights revenues also saw strong growth in the US (+27.9%) although still accounting for a small share of revenues (2%). According to analysis by the NPD Group, there are encouraging signs for the US music industry: 1)  The number of consumers paying for CDs and in the US stopped declining in 2010. Compared to 2009, the CD buyer base was essentially at while the number of digital-music buyers grew, aided by strong adoption among consumers aged 13-25. Almost half (45%) of the 94 million US music buyers paid to download music via a-la-carte services in 2010. 2)  Fuelled by releases from Justin Bieber, Kesha, Lady Gaga, Taylor Swift, and others, teens came back in a big way and started spending money on music again. The number of hours teens spent each week listening to music swelled by nearly 20% over the prior year. Even though a portion of that listening is from unlicensed sources, more teens bought CDs in 2010, than they did the previous year and the number of teens paying for music downloads also grew handsomely. There is clear evidence that ownership still has value when artists build sufcient audience appeal. 3)  Entertainment companies in the US are slowly moving toward a subscription and micropayment model, whether for digital books, game add-ons, or home video. The explosion in connected or smart devices in the home and mobile space has already begun to redene the platforms for digital music. For example, in the third quarter of 2010, Pandora enjoyed 40% awareness among US internet users.

 Premium access music services present exciting new opportunities to expand the market for commercial digital music by offering fans innovative cloud-based solutions for conveniently interacting with their favorite music in virtually any room in the home, on-the-go and, ultimately, in the car.

Thomas Hesse, President, Global Digital Business, US Sales and Corporate Strategy, Sony Music Entertainment

Europe
In Europe, digital revenues growth surpassed many expectations in 2010, showing an increase of 21.6%. Most major markets, including France, Germany, Italy, Netherlands, Spain and the UK, saw doubledigit sales increases. Subscription-based streaming services and ISP/mobile operators music service partnerships have helped drive digital growth and attracted signicant numbers of consumers.
European Digital Sales (US$ M) 2,500 59 2,000 176 365 466 628 818 995

1,500

1,000

500

0 2004 n US n Europe 2005 n Asia 2006 2007 2008 2009 2010 n Latin America

Resilience in the physical sector is one key reason why Germany has overtaken the UK to become the third largest music market in the world. Physical sales still account for 81% of music revenues in Germany the highest proportion in Western Europe after Portugal. This compares to a European average of 73%. A number of factors underpin the relative stability of Germanys retail landscape: there have been no systematic store closures; cannibalisation rates from online piracy are lower; consumer behaviour tends to be more conservative; retail prices have been more stable and sales of deluxe and special edition products remain strong.

IFPI Recording Industry in Numbers 2011

Regional Overview

Digital sales in Germany have grown steadily over the years but remain at a fraction of their potential. Germanys digital infrastructure compares well with the UK in terms of broadband penetration rates, GDP per capita and average broadband prices. Despite this, the UK digital market is nearly twice the size of Germanys. Digital growth in Germany is being driven by online single tracks and albums, with iTunes as the dominant player followed by AmazonMP3. Local services such as Musicload, once the market leader, have struggled to compete. The subscription sector, despite the recent growth, remains relatively small. Many of the growing ad-supported and subscription services in Europe have not launched in Germany due to difculties in reaching licensing agreements with the authors collecting society GEMA. National repertoire is relatively strong in Germany, and locally signed music is seeing an increased share of the market. Today, around 50-60% of artists on German record companies rosters are local acts. Examples of successful breakthrough acts in the past few years including Tokyo Hotel, Mia and Unheilig (which featured in the global top 50 albums in 2010 at #37). Talent shows have also helped this trend. In 2010 around 50% of the top 100 best selling albums and 44% of the top selling singles were domestic repertoire. The UK music market experienced a sharp drop in revenues in 2010 driven by a 19.2% decline in physical sales. The digital sector by contrast performed well, growing by 19.6%. Digital albums continued to increase their share, accounting for 17.5% of all album sales in 2010, compared to 12.5% in 2009. According to consumer research by Kantar, 20% of the UK population aged 12+, almost 10 million individuals, bought digital music in 2010.
% local repertoire (top 100) 60% 50% 40% 30% 20% 10% 0 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 n Albums
Source: Media Control.

It was a solid year for British artists in the album charts. Take Thats Progress sold more than 1.8 million copies during 2010, boosted by rst week sales of almost 520,000, making it the fastest-selling album in the UK in the last 10 years. Another four local acts features in the top 10, including Plan B, Paolo Nutini, Florence & The Machine and Mumford & Sons. In France, music sales fell by 5.1% in 2010 in trade value, with digital sales growing by a strong 14.1%. Single track download sales from services such as iTunes, Fnacmusic and VirginMega rose by 35.4%. Digital album sales were up 34.6%, now accounting for 8% of all album sales in France. Subscriptions saw a striking growth, with revenues up 60.5%, as Deezer, MusicMe and Spotify increased their presence in the French market. France saw a signicant change in its legal landscape in the end of 2009. The Creation and Internet law on graduated response entered into force in October 2009 enabling the administrative authority HADOPI to send warnings to online copyright infringers. Under the system, two warnings are sent to infringers within a period of six months. If a third infringement occurs within one year, the authority transfers the les of repeat infringers to the criminal courts. A single judge is then empowered to order the suspension of internet access for up to one month, as well as a ne of 1,500. In October 2010 the government adopted a decree imposing nes on ISPs that do not cooperate. Coinciding with this improvement in the legal environment there has been a signicant decline in P2P activity in France. Overall P2P use fell by 13% since the rst despatches of infringement notices, and by 30% during the whole of 2010 (Nielsen). A survey conducted by research company BVA in October 2010 found that since the law was passed in 2009, 29% of French downloaders had stopped their illegal downloading and a further 24% had cut back their activity. While it is still too early to evaluate the impact of graduated response measures in France, these are positive signs of change.

n Singles

Take That

Photo credit: Bryan Adams

IFPI Recording Industry in Numbers 2011

Regional Overview

Asia Pacic
In Asia, the Japanese market continued to decline in 2010, but there was strong growth in sales India, South Korea and other markets. Japan saw an overall market decline of 8.3% in 2010. The physical market drop was largely driven by weak international repertoire sales. Domestic sales accounted for 81% of the physical market in Japan. There were some positive developments nevertheless strong sales of CD singles and releases aimed at an older demographic. Rapidly rising online piracy is threatening the development of the digital market in Japan. Overall digital sales fell in 2010, but ringback tunes continued to see growth. South Korea stands out as a music market seeing signicant growth, helped by a range of factors including the introduction of graduated response measures, efforts by online portals to combat piracy, government takedown actions and education initiatives. Music sales grew by 11.7% in 2010, the second year of strong growth following a 10.4% rise in 2009. The graduated response law strengthens enforcement measures by authorising the Korea Copyright Commission to issue notices requiring takedown of infringing content. The law also empowers the Ministry of Culture and Tourism to order online service providers to send infringement notices to subscribers and order the suspension of infringing accounts that have been subject to three notices for a period of up to six months. Investment in local repertoire has been a beneciary of this change. Music companies are again investing in local A&R and many South Korean acts are now being exported to neighbouring countries. India continued to experience growth in 2010 with both digital sales and performance rights showing increases year-on-year. The mobile sector continued to dominate with sales from ringback tunes accounting for 75% of the Indian digital market. Australias music market fell by 12.4% in 2010 even though digital and performance rights saw strong growth. The digital sector in Australia is largely dominated by online single track sales and digital albums which combined account for nearly 80% of digital revenues. 2010 and early 2011 also saw the emergence of new legal digital services such as Guvera, Bandit.FM, Sonys Music Unlimited and AAPTs Music to Your Ears. Australian acts improved their presence in the market, accounting for 30 of the top 100 albums in 2010, up from 26 in 2009, led by Angus and Julia Stones Down the Way at #7 (ARIA).

Latin America
Latin America saw the fastest growth in digital revenues in 2010 (+35.1%), now representing 19% of music sales in the region. Brazil, Mexico and Argentina combined represented 86% of total sales in the region. In Brazil, Nokia continues to lead the digital arena alongside Sonora, while in Mexico iTunes dominates the digital download market. Digital sales in Mexico saw the biggest growth since 2007, increasing by 54.3%.

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IFPI Recording Industry in Numbers 2011

Regional Overview

China case study


Today, as much as 76% of Chinas recorded music market revenues come from digital channels. Ringback tones and ringback tone music box (bundled ringback tones) account for the bulk of the digital music market, with China Mobile being the dominant player. Most of the titles released in China are produced in neighbouring territories Taiwan and Hong Kong. Mandarin repertoire accounts for the majority of sales. The legitimate digital music market in China is still at a fraction of its potential and swamped by piracy. China has almost thirty times more broadband subscriptions than Brazil, but its digital revenue per capita is only about 20% of Brazils. The low share of revenues music companies receive, typically 5% of the retail value or less, also contributes to lower per capita digital trade revenues. Mobile music is a potentially vast market in China. Nearly 850 million Chinese consumers had a mobile connection as at January 2011 and 8% of mobile users had a smartphone (Screen Digest), making China the second largest smartphone market in the world after the US. In the online environment, 450 million consumers have access to broadband. Google pioneered free, ad-supported legal music downloads in China with the launch of top100.cn in March 2009.Download stores have not developed a mass customer base in China where consumers are very price sensitive, disposable income is still low, there is hesitancy about disclosing credit card information online and credit card penetration itself is very low. Piracy remains a major barrier to Chinas digital market development. According to CNNIC (The 27th Report on the Internet Development in China- January 2011), online music was the second most popular internet application in China, used by 79.2% of all internet users. This highlights the importance of music content to any internet business in China. There remains a huge disparity between the demand for music and the ability of legitimate music services to thrive. A major legislative objective for the recording industry is the establishment of a broadcasting and public performance right in sound recordings in China. According to gures from PWC, the radio advertising market in China was worth US$ 1.4 billion in 2010 and could therefore mean a signicant revenue stream to creators. In terms of the share of GDP accounted for by the creative industries, China still lags well behind Europe and the US. Only 2.5% of Chinas GDP comes from the creative sectors compared to 6.9% in Europe and 11.1% in the US (Tera Consultants, 2009 and IIPA, 2007). Chinas weakest creative industries include lm and music. The lm and music sectors have suffered from high levels of regulation, state control and lack of international competition. Investment in these industries is further damaged by high levels of piracy and lagging liberalisation.

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IFPI Recording Industry in Numbers 2011

An Increasing Pace Of Change In The Digital Sector

An Increasing Pace Of Change In The Digital Sector


Consumers worldwide are embracing digital media, adopting new devices and changing their entertainment consumption habits. The digital music sector is evolving rapidly, with music companies radically rethinking their strategies. The music industry has built a portfolio of business models, catering for different consumers in different ways. Music companies have embraced creative partnerships, licensed new services and developed a range of innovative products, offering greater choice to music fans around the world. The music industry has managed to develop a multi-billion dollar digital business, despite the challenge of monetising content in an environment dominated by online piracy. Existing digital music services continued to improve their offerings in order to respond to the rapidly changing nature of consumer demand. In 2010 digital music services rolled out innovations in social networking functions and recommendation engines, making it easier for consumers to discover new music. The integration of services across multiple devices and the growth in mobile apps have also greatly enhanced consumers entertainment experience. Music companies have also made important changes to the way they release music. As part of the marketing build-up of an album, record companies supplied tracks to broadcasters weeks before they went on sale to drive consumer interest and position the release at the top of the charts. In 2011, Sony Music and Universal Music radically changed this approach in the UK, announcing the On Air, On Sale initiative. Music fans can now purchase tracks or albums at the same time they are released for promotional activity.
Global Digital Revenues Share 50% 40%

30%

20%

10%

0 Game Music Newspaper Books Film


The digital music market is bigger than the newspapers, books and lm digital businesses combined. Source: PWC Global Entertainment and Media Outlook.

 We are embracing new services. Those who claim the industry has not adapted are illinformed just look at how many different services are available and the different modes of consumption around the world.
Rob Wells, President, Global Digital Business, Universal Music Group

 We live in an immediate world and to this extent Im not sure the word wait is in younger fans vocabularies. We have a responsibility to act in order to protect new artist A&R investment and allow new digital music services to compete.
David Joseph, Chairman, CEO, Universal Music UK.

 Legal services are more compelling fan experiences than unlicensed ones. Theyre easier to use, safer and higher quality; they offer portability, the ability to make playlists and often great editorial content and discovery tools.
Warner APPROVED to be attributed

 In order to take the business to the next level and capture the enormous potential thats still untapped, we need new services to truly break through to the mass market. To do that, an attractive user interface, a strong value proposition and a clear marketing message are essential ingredients.
Corporate Strategy, Sony Music Entertainment

Subscription services expand


2010 was the year the industry broke the seal on subscription services, rmly establishing the concept in the market and among consumers. Until recently, the underlying technology to deliver subscription services was limited. Broadband penetration levels and the quality of broadband needed to deliver such services were inadequate in a number of key music markets and portable subscriptions only worked in certain devices. Today, consumers have full exibility as to which device they use, vastly improving the portable experience. Streaming is also gaining momentum as consumers gradually embrace music access services.

Thomas Hesse, President, Global Digital Business, US Sales and

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IFPI Recording Industry in Numbers 2011

An Increasing Pace Of Change In The Digital Sector

This new wave of subscription services includes Spotify, Deezer, Rdio and Slacker that offer an entry-level free ad-supported streaming service as well as a premium paid-for subscription service. The combination of these two tiers into a single service is often described as the freemium model. These services have expanded their audiences signicantly in the past year. IFPI estimates that around 10 million consumers subscribed to a music service worldwide in 2010. Spotify reported one million paying subscribers across all its markets (Sweden, Norway, Finland, UK, France, Spain and the Netherlands) in March 2011. Spotify is the second biggest digital service in Europe, after iTunes. Deezer reported more than 500,000 paying subscribers in January 2011, most of those in France. The service is also available in Germany, Italy, Spain and the UK. Aspiro, which supports the music service Wimp, reports more than 100,000 paid subscriptions. In the mobile space, Vodafones MP3 bundle subscriptions has attracted more than half a million subscribers. In Spain, Vodafone was the biggest digital music retailer in 2010, offering a data tariff bundled with an all-you-can-eat music service for 212 per month.

Strategic partnerships with ISPs and mobile operators


Strategic partnerships combining music subscription services with offers from internet service providers (ISPs) or mobile operators are a key focus for the music industry. These partnerships aim to boost the take-up of music subscription services, leveraging the universal appeal of music with ISPs and mobile operators customer reach and billing relationships. Removing barriers on the billing side is vital for the broad take up of digital music services. Using music as part of their consumer proposition offers four potential sweet spots for ISPs: 1. Valuable customer acquisition and renewal tool 2.  Signicant effect in churn reduction, reducing consumer acquisition costs; longer term contracts 3.  Increased average revenue per user (ARPU) and growing revenues from data packages 4. Brand repositioning tool These are borne out in some recent studies. Analysis by research rm Informa Telecoms & Media (Unlocking the Real Value of Mobile Music, October 2010) found that large mobile operators in Western Europe could realise as much as 277.7 million each in the rst year from partnerships with established music streaming services, such as Spotify. This gure consists of revenues earned from new customers, upselling data plans and smartphones and savings from reduced churn.

 Vodafone has a relationship with 360 million customers around the world and we are a brand people trust. Music will remain a key focus for Vodafone in 2011. We want to reach one million paid music subscribers within a year by selling music that our customers can buy at aggressive prices and that they can keep forever.
Martin Kummer, Principal Commercial Manager Music, Vodafone Group

In North America, Slacker is within the top two online radio subscription services, alongside Pandora. It claims to have one of the highest conversion rates from the free-ad-supported tier to a paid service in North America, with more than 200,000 paying subscribers as reported at the end of 2010. Pandora had 75 million registered users, up from 20 million in 2008, and half a million paying subscribers at the end of 2010. Third party research points to subscription services as the main driver of future growth in the digital music sector. Ovum forecast global digital music trade revenues will hit US$ 12.6 billion by 2015 (US$ 20 billion at retail level) nearly three times the market size in 2010 with subscriptions accounting for 31% of revenues.

 We believe that one cannot achieve scale in this marketplace without the involvement of operators. That means highly visible distribution on the handset and direct billing that puts the consumer no more than two clicks away from the transaction. There is simply no substitute for that.
Jonathan Sasse, Senior Vice President Marketing, Slacker Strategic partnerships have generally taken two forms: the ISP either develops its own-branded music service (e.g. TDC Play, Vodafone) or partners with an existing music service (e.g. Telia-Spotify). In Sweden and Finland, ISP Telia offers a four-month free Spotify subscription to its customers when they sign up to a mobile package. Telias customers can also exclusively access Spotify through their TV sets a feature the ISP believes gives them a unique selling proposition. The partnership was cited by Telia in its earnings announcement for 2009 as one of three reasons for its strong performance that year.

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IFPI Recording Industry in Numbers 2011

The Increasing Pace Of Change In The Digital Music Sector

 Music has always been on that list of things that interest a wide variety of people. Spotify has a very attractive offering with an outstanding customer experience and we felt that we could enhance our business with a partnership. It has been a huge success for us. We had a 12 month sales plan and that sales target was reached within four weeks. This type of partnership is the future and we see that in all our customer surveys.
Kent Jonsson, Vice President Consumer Market Broadband, Telia Sonora

Italys largest telecommunications company, Telecom Italia, also released its own music service in February 2011. CuboMusica has a catalogue of over four million songs and offers a four-month free trial period, after which subscriptions cost 2 per month. Another ISP , FASTWEB, partnered with music service Dada to launch FASTWEB Music in November 2010. The service provides access to a library of more than one million songs from major and independent labels. Users pay 26 per month to download 15 DRM-free tracks as well as enjoying unlimited streaming. One of Irelands major ISPs, Eircom, launched a music service, MusicHub, in December 2010. It offers four million tracks for streaming or individual download. Streaming is free and unlimited for Eircom customers and is available for a monthly charge for non-Eircom subscribers. Subscriptions vary from 25.99 to 222.99 per month. In South Korea music subscription came to the market as early as 2004, when SK Telecom launched MelOn, a monthly music subscription service. The service had an immediate and signicant impact on SK Telecoms data revenues, helping to make it a leader in data revenues in the South Korean market. In Taiwan, leading ISP Far EastTone Telecommunications launched a digital music service, Omusic, in February 2011. The ISP expects the service to attract 60,000 users by the end of 2011. With about 200,000 songs available for download, Omusic charges NT$19 for a single song. In addition to downloads, Omusic will launch a streaming service in the second quarter of 2011. In Latin America, Sonora, part of the ISP and portal operator Terra Networks (Telefonica Group), continued to expand capturing a reported 400,000 paying subscribers in the region in 2010. The service is available in Brazil, Argentina, Chile, Colombia and Mexico. The service is looking to expand into the US market in 2011.

In Denmark, TDC was the rst ISP to offer unlimited music downloads to its mobile and broadband customers at no additional charge. In November 2010, TDC announced its customers had downloaded 250 million songs since launch the equivalent of 45 songs downloaded per Dane. Moreover, since launch, streams have increased by an average of 52% per month. Music services have helped TDC reduce broadband churn by approximately 50%. In Norway, Telenor launched a subscription service, WiMP, in cooperation with mobile content provider, Aspiro and Platekompaniet, Norways largest chain of music stores. The service is also available in Denmark and Sweden. WiMP is available for a free trial period, and has managed to convert 70% of its free trials into paid subscriptions in Norway and Denmark.

 Operators can provide a music service that their customers want in an environment that they trust. This keeps customers happy and they keep their contracts for longer. By connecting themselves to music, operators can also move into new segments, attracting new users. By partnering with an operator we can reach more people and that is a good way of educating the market.
Gunnar Larsen, Global Sales Director, Aspiro Music

 Strategic distribution deals have a real shot at producing signicant penetration of music subscription services.
Warner Music to be attributed

14

IFPI Recording Industry in Numbers 2011

The Increasing Pace Of Change In The Digital Music Sector

Music in the living room and in the cloud


The digital music market is still evolving and a host of strategic partnerships and new services are expected to launch in 2011-2012. Music services will increasingly go live through set-top boxes, the TV and myriad in-home consumer electronic devices. Given most households have their surround sound systems in the living room, that becomes an obvious place to build a digital music experience. In-car entertainment is also an area that will attract a wave of new legitimate music consumers. In early 2011, Sonys Music Unlimited powered by Qriocity became the rst cloud-based music streaming service to launch in Australia, Ireland, New Zealand, the UK and the US. The service allows subscribers to house their music on remote servers (clouds) for use in a range of internet-connected devices such as smartphones, game consoles, TVs and Blu-ray players.

In the car, numerous stereo equipment manufacturers have adopted digital services in 2011. Pandora, Slacker, MOG and other services are now reaching customers in their cars.

Download stores continue to grow


The music industry continued to see growth in the download space as services like iTunes and AmazonMP3 attracted new audiences. 2010 marked the release of The Beatles catalogue to iTunes customers and Apples launch of its own social network, Pin. 7Digital, the UK based online music store that provides a-la-carte downloads to Spotify, also expanded its operations by forging deals with Samsung and Research in Motion (RIM) to power a music service on both companys tablet devices.

 We are coming to a point where we can create a connective experience in the living room that can be very exciting. The living room is an important place for digital music to reach fans because thats where more than 70 percent of consumers say they listen to music.
Thomas Hesse, President, Global Digital Business, US Sales and Corporate Strategy, Sony Music Entertainment

Other recent innovations include the partnership between Spotify and Sonos, offering Spotify premium subscribers in Finland, France, the Netherlands, Norway, Spain, Sweden and the UK, the ability to stream songs in any room in their home via the Sonos Multi-Room Music System. Rdio-Sonos and Spotify-Logitech are examples of similar deals that have been struck. Apple also launched the new version of its Apple TV, allowing iTunes customers to access their digital libraries through their TVs.

The beatles Abbey Road

Photo credit: Guy Hayden

Introducing Spotify into the living room is a major step forward in our continued efforts to make the service available wherever consumers want it. This follows the launch of our mobile app in 2009.
Daniel Ek, CEO and Founder of Spotify

Over 6 million songs sold in 3 months; Let It Be is the best-selling Beatles song

15

IFPI Recording Industry in Numbers 2011

The Increasing Pace Of Change In The Digital Music Sector

Smartphones create added revenue opportunities


The mobile handset market experienced one of its strongest ever years in 2010 driven to a large extent by the growth in adoption of smartphones. The next phase of smartphone growth is set to come from less afuent consumers as well as increasing penetration in developing markets. Nomura Equity Research estimates the average price of smartphones will fall by about 10% in 2011, following a 3% fall in 2010. The rising penetration of smartphones like the iPhone and Android devices, which are effectively portable computers in consumers pockets, has created incremental revenue opportunities, with a growing proportion of downloads coming directly from this source. The growth in smartphone usage has also brought other benets. Mobile apps have allowed digital services to create powerful portable subscription offerings, growing the paid subscriber audience for services like Spotify, Slacker and Pandora. In addition, mobile music apps such as Shazam are helping convert music discovery into commerce through links to online stores. The company said in early 2010 that it facilitates over a quarter of a million track purchases a day globally or between 8-10% of all tagged songs. Apps will be a sector of signicant innovation in the coming years gradually extending the consumers ability to access music.

Which of the following have you done in the last 3 months? 60%

50%

40%

30%

20%

10%

0 Streamed music on my computer Streamed music on my mobile phone from a music mobile application Paid to download a whole digital album to my computer Downloaded a song from the internet without paying for it Downloaded or used music apps on my mobile phone Paid to download a music track to my computer Watched music videos on computer Watched music videos on mobile phone

Music videos
There is great interest in the prospects for music video platforms and premium advertising opportunities. The massive reach of music video content could gradually translate into a sizeable advertising-supported business. YouTube remains the biggest platform for music videos online but other services such as Vevo and MTV are also advancing.

Source: Nielsen, survey of 26,644 online consumers in 53 markets during September 2010.

16

IFPI Recording Industry in Numbers 2011

The Increasing Pace Of Change In The Digital Music Sector

The evolution of music services


Online downloading: the digitisation of the music collection, your music library on your computer Online streaming: from ownership to access Portable access: music on the move on mobile phones and smartphones In-home entertainment: the in-home integrated experience via settop boxes, TV, consumer electronics In-car entertainment: another dimension to portability Music everywhere: accessing music across a range of devices via cloud-based music services 400+ digital music services worldwide: record companies are actively licensing new services and a wide variety of business models 13+ million songs available: substantial investments made in catalogues and local repertoire digitization over the past years by record companies, offering consumers more choice than they could ever experience in a physical store

17

IFPI Recording Industry in Numbers 2011

The Impact Of Digital Piracy On The Creative Industries

The Impact Of Digital Piracy On The Creative Industries


Digital piracy is severely affecting growth prospects for a range of creative industries. While music was the rst content industry to suffer, other sectors like the lm, games, books and newspaper industries are also being affected. In 2010, according to Digital Entertainment Group, which represents Hollywood studios and retailers, US spending on lmed home entertainment on DVD, Blu-ray and digital downloads fell by more than US$ 2 billion. While sales of Blu-ray discs and digital downloads increased in 2010, this failed to counter the decline in DVD sales still the dominant source of revenues for the industry. In the UK, total video sales were at in 2010 according to BVA. Globally, Screen Digest estimates a 5.3% decline in the physical home entertainment business in 2010, which includes buying and renting home video on DVD and Blu-ray formats. This follows a 7.3% fall in 2009. Numerous studies have demonstrated the scale of digital piracy and its impact on the creative economy and jobs. The most recent studies available are summarised below.
n Research on BitTorrent conducted in Australia by the Internet

Commerce Security Laboratory found that 89.9% of all torrent les from the sample examined were conrmed to be infringing copyrighted content (Investigation Into The Extent Of Infringing Content On BitTorrent Networks, April 2010). Of the les in the top three categories (movies, music and TV shows), there were no legal torrent les in the sample.
n Research by RIAJ (August 2010), found that online piracy is a

growing problem that is severely impacting the music market in Japan. An estimated 4.4 billion music les were downloaded in 2010, the majority of which came from stream ripping services. This compares to 442 million legitimate digital tracks sold.
n The UK market continued continues to suffer from stiff competition

Recent studies on the economic impacts of digital piracy


n Frontier Economics estimates the global economic value of

from unlicensed online services. According to research conducted in September 2010 by Harris Interactive, 29% of internet users aged 16-54 (7.7 million individuals) were engaged in some form of unauthorised music downloading. P2P remains the primary channel for the acquisition of music and remained fairly stable in volume since the beginning of 2009. In addition, usage of cyberlockers and other forms of piracy are growing. Harris Interactive estimated that more than 1.2 billion music tracks were illegally downloaded in 2010 in the UK, indicating that 76% of all tracks downloaded were unauthorised.
n High levels of online piracy in Mexico are hampering the further

counterfeiting and piracy to be US$ 650 billion, based on 2008 estimates (Estimating the Global Economic and Social Impacts of Counterfeiting and Piracy, February 2011). This gure is expected to escalate to US$ 1.8 trillion by 2015. Digitally pirated music, movies and software accounts for US$ 30-75 billion and is expected to rise to US$ 80-240 billion by 2015. Digital music piracy is estimated to be worth around US$ 40 billion. This gure reects the value of digitally pirated products, not losses to the industry.
n In Australia, Sphere Analysis found that the content industries

development of the digital sector. Research by IPSOS MediaCT released in December 2010 estimated that as many as 5.8 billion music les were downloaded illegally in Mexico in 2010, up from 5.1 billion in 2009. As many as 15 million Mexicans engaged in the activity. The majority (54%) of illegal downloaders are from the ABC economic class.

Other academic studies on digital piracy


n An academic paper by Adermon & Liang of Uppsala University

including music, lm, publishing, games and software development encompassed a signicant segment of the national economy, employing 7% of the Australian workforce, generating 7.3% of gross domestic product and over 1% of Australian exports (The Impact of Internet Piracy on the Australian Economy, February 2011). However, online piracy constitutes an important threat to innovation and investment in online content. In 2010 over 8,000 jobs were lost in the content industries as a result of internet piracy. By 2016 a further 40,000 jobs could be lost in the sector, as well as US$ 5.2 billion per year in retail losses.

investigated the impact internet piracy on sales in Sweden and found that physical sales would have been 72% higher in the absence of piracy and that digital sales would have been 131% higher (Piracy, Music, and Movies: A Natural Experiment, October 2010). The paper estimated that piracy accounted for 43% of the drop in sales between 2000 and 2008. The study supports the claim that piracy is the main cause of the decline in sales and that pirated music is a strong substitute for legal music.
n An academic paper by R. Cuevas of the University of Madrid

Recent studies evidencing the scale of digital piracy around the world
n Envisional found that 23.8% global internet trafc is estimated to

be infringing (Technical Report: An Estimate of Infringing Use of the Internet, January 2011). BitTorrent is the most used le sharing p2p protocol worldwide with 100 million regular users.

found that a small fraction of BitTorrent content publishers are responsible for 67% of the published content and 75% of the downloads (Is Content Publishing in BitTorrent Altruistic or ProtDriven?, December 2010). Companies with nancial incentives, offering services that generate advertising income, donations or fees, largely drive content publishing in BitTorrent.

18

IFPI Recording Industry in Numbers 2011

The Impact Of Digital Piracy On The Creative Industries

What if everything you believe about the music market is wrong?


Youre ying solo into the cloud
The NPD Groups Annual Music Study can empower all your key decisions with fact-packed expert insights. Learn about the latest shifts in consumer music behaviors, discover the factors driving trends, and better inform strategy and distribution decisions.

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n

After years of decline, the number of music fans actually paying has bottomed out

n Teens are back, and theyre paying to get more music n

Theres a new piracy menace and its not P2P or borrowing CDs to rip and burn The industry is missing larger opportunities to use social media and truly engage music fans

Find new opportunities.


There are difcult revenue trends in the U.S. music industry, but there are also opportunities to retain the core customer base, invest in A&R and marketing that appeals to key customers, and capitalize on the changing technology landscape. Russ Crupnick, Entertainment Industry Analyst

Talk to The NPD Group.


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npd.com 19

IFPI Recording Industry in Numbers 2011

Recorded Music Sales Top 20 Markets Summary

Recorded Music Sales Top 20 Markets Summary


Recorded Music Sales Top 20 Markets Summary
Trade Value Rank 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 Change up down up down up down up down up new down new Country USA Japan Germany UK France Canada Australia Netherlands Italy Brazil Spain South Korea Switzerland India Belgium Sweden Mexico South Africa Austria Norway Global US$ (M) 4,167.7 3,958.6 1,412.2 1,378.5 866.1 394.2 392.7 261.4 237.1 228.5 186.5 178.4 161.6 159.0 149.7 136.1 130.4 123.5 122.6 106.4 15,932.2 Local currency (Millions) 4,167.7 347,680.9 1,059.2 896.0 649.5 406.0 428.0 196.0 177.8 404.5 139.9 206,959.1 168.0 7,304.8 112.2 981.5 1,649.7 906.2 92.0 643.8 % change -10.0% -8.3% -4.1% -11.0% -5.1% -13.5% -12.4% -2.6% -2.3% -1.2% -21.0% 11.7% -13.3% 16.5% -6.7% -7.1% 0.9% -7.3% -12.0% -7.5% -8.4% Market Split (trade value) Physical 49% 73% 81% 67% 74% 66% 68% 70% 75% 75% 65% 45% 79% 41% 79% 61% 76% 93% 76% 65% 66% Digital 49% 25% 13% 25% 17% 29% 27% 8% 15% 17% 20% 55% 16% 34% 9% 28% 23% 5% 14% 25% 29% Perf. rights 2% 2% 6% 8% 9% 5% 5% 22% 10% 8% 15% 0% 5% 25% 12% 11% 1% 2% 10% 10% 5% Retail Value US$ (Millions) 7,324.3 5,343.2 2,026.2 2,002.4 1,280.0 550.5 603.2 308.0 336.0 331.5 245.4 361.6 212.6 237.8 211.6 204.7 215.7 183.8 216.4 180.7 24,278.0 Local currency (Millions) 7,324.3 469,290.1 1,519.6 1,301.6 960.0 567.0 657.5 231.0 252.0 586.8 184.1 419,423.1 221.1 10,925.4 158.7 1,475.9 2,728.3 1,348.8 162.3 1,093.2

20

IFPI Recording Industry in Numbers 2011

Global Best Sellers of 2010

Global Best Sellers of 2010


Eminems Recovery was the best selling album of 2010, reaching sales of 6 million units worldwide. This is the second time Eminem scores the number one global album the last time he achieved the mark was in 2002 with The Eminem Show. Digital albums accounted for 20% of Recoverys sales, nearly double the top 50 average (11%). The album with the highest share of digital sales in the top 50 was the debut title from Florence & The Machine, Lungs, with 27% of sales in digital format. There were seven debut albums in the top 50 in 2010. This is the rst time in ten years that no debut album reached the the global top 10. In 2009 two debuts albums reached the top 10 Susan Boyles I Dreamed a Dream and Lady Gagas The Fame. Four artists had more than one album in the global top 50 in 2010 Lady Gaga (3 titles), Taylor Swift (2 titles), Justin Bieber (3 titles) and Black Eyed Peas (2 titles). The best selling single of 2010 was Ke$has Tik Tok, selling a total of 12.8 million units worldwide. This is the rst time the top single crosses the 10 million mark. The best seller in 2009 was Lady Gagas Poker Face, which sold 9.8 million units.
Top Sellers By Company
EMI Artist Lady Antebellum Katy Perry Various Artists David Guetta Gorillaz Robbie Williams Various Artists Keith Urban Various Artists Various Artists Title Need You Now Teenage Dream Now That's What I Call Music! 77 One Love Plastic Beach In And Out Of Consciousness: Greatest Hits 1990 2010 Now That's What I Call Music! 76 Get Closer Now That's What I Call Music! Vol. 33 Now That's What I Call Music Vol. 36 Sony Music Artist Susan Boyle Michael Jackson Sade Kings of Leon Ke$ha AC/DC Glee Cast Usher P!nk Alicia Keys Universal Music Title The Gift Michael Soldier of Love Come Around Sundown Animal Iron Man 2 Glee: The Music, Volume 1 Raymond v Raymond Greatest HitsSo Far!!! The Element of Freedom

Global Best Sellers By Genre


Pop Rock Rap/hip hop Country Classical Compilation Lady Gaga The Fame Monster Kings of Leon Come Around Sundown Eminem Recovery Taylor Swift Speak Now Michael Buble Crazy Love Bon Jovi Greatest Hits, The Ultimate Collection

There were seven debut albums in the top 50 in 2010 Ke$has Animal, Lady Gagas The Fame, Drakes Thank Me Later, Florence & The Machines Lungs, Mumford & Sons Sigh No More, Nicki Minjas Pink Friday and Justin Biebers My Worlds.
Global Top 10 Digital Songs
Artist 1 2 3 4 5 6 7 8 9 10 Ke$ha Lady Gaga Eminem Lady Gaga Usher featuring Will.I.Am Katy Perry Train Justin Bieber Black Eyed Peas Paramore Title TiK ToK Bad Romance Love The Way You Lie Telephone OMG California Gurls Hey, Soul Sister Baby I Gotta Feeling crushcrushcrush Units (m) 12.8 9.7 9.3 7.4 6.9 6.7 6.6 6.4 6.1 6.1 Sony Music Universal Music Universal Music Universal Music Sony Music EMI Music Sony Music Universal Music Universal Music Warner Music

Artist Eminem Lady Gaga Taylor Swift Rihanna Justin Bieber Justin Bieber Take That Black Eyed Peas Bon Jovi Alicia Keys Warner Music Artist Michael Bubl Linkin Park Josh Groban Muse The Twilight Saga: Eclipse Phil Collins Plan B James Blunt Kid Rock Zac Brown Band

Title Recovery The Fame Monster Speak Now Loud My Worlds My World 2.0 Progress The E.N.D. (The Energy Never Dies) Greatest Hits The Ultimate Collection The Element of Freedom

Title Crazy Love A Thousand Suns Illuminations The Resistance The Twilight Saga: Eclipse Going Back The Defamation of Strickland Banks Some Kind Of Trouble Born Free The Foundation

Source: IFPI. Period of 12 months to November 2010. Combines all versions of the same song.

21

IFPI Recording Industry in Numbers 2011

Global Best Sellers of 2010

Eminem

Photo credit: Nigel Parry

Kesha

Photo credit: Patrick Fraser

Rank Artist 1 2 3 4 5 6 7 8 9 10 11 12 Eminem Lady Gaga Susan Boyle Taylor Swift Lady Antebellum Michael Jackson Rihanna Justin Bieber Justin Bieber Take That Katy Perry Michael Bubl

Album Recovery The Fame Monster The Gift Speak Now Need You Now Michael Loud My Worlds My World 2.0 Progress Teenage Dream Crazy Love The E.N.D. (The Energy Never Dies) Soldier of Love Greatest Hits The Ultimate Collection Come Around Sundown Animal The Beginning A Thousand Suns Iron Man 2 Glee: The Music, Volume 1 Raymond v Raymond My Beautiful Dark Twisted Fantasy Greatest HitsSo Far!!! The Fame The Element of Freedom Thank Me Later

Company Universal Music Universal Music Sony Music Universal Music EMI Music Sony Music Universal Music Universal Music Universal Music Universal Music EMI Music Warner Music Universal Music Sony Music Universal Music Sony Music Sony Music Universal Music Warner Music Sony Music Sony Music Sony Music Universal Music Sony Music Universal Music Sony Music Universal Music 28 Florence & The Machine Lungs Glee: The Music, The Christmas Album Universal Music Sony Music

29 Glee Cast 30 Mumford & Sons

Sigh No More  Universal Music/ Glassnote Records Ikimonobakari Members Best Selection Illuminations Now Thats What I Call Music! 77 Sale El Sol Pink Friday To The Sea Grosse Freiheit One Love The Resistance Plastic Beach Epic Records Japan Inc. Warner Music EMI Music Sony Music Universal Music Universal Music Universal Music EMI Music Warner Music EMI Music

31 Ikimonogakari 32 Josh Groban 33 Various Artists 34 35 36 37 38 39 40 Shakira Nicki Minaj Jack Johnson Unheilig David Guetta Muse Gorillaz

13 Black Eyed Peas 14 Sade 15 Bon Jovi 16 17 18 19 20 21 22 Kings of Leon Ke$ha Black Eyed Peas Linkin Park AC/DC Glee Cast Usher

41 Robbie Williams 42 Arashi 43 The Twilight Saga: Eclipse 44 45 Phil Collins Sugarland

In And Out Of Consciousness: EMI Music Greatest Hits 1990 2010 Bokunomiteirufuukei The Twilight Saga: Eclipse Going Back The Incredible Machine Glee: The Music, Volume 3 Showstoppers The Remix Merry Christmas II You My World Fearless J Storm Inc. Warner Music Warner Music Universal Music Sony Music Universal Music Universal Music Universal Music Universal Music

23 Kanye West 24 25 26 27 P!nk Lady Gaga Alicia Keys Drake

46 Glee Cast 47 48 49 50 Lady Gaga Mariah Carey Justin Bieber Taylor Swift

Source: IFPI. Different versions of the same title are combined. Music video content is excluded. Sales include physical and digital sales.

22

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IFPI Recording Industry in Numbers 2011

IFPI Platinum Europe Awards

IFPI Platinum Europe Awards


IFPIs platinum Awards were launched in 1996 to honour artists who achieve album sales of one million units in physical and digital formats across Europe. To this day the Plats are an established hallmark of success for artists in Europe.
n 44 albums received a Platinum Award in 2010, up from 39 in 2009. n 8 albums (19%) achieving the Platinum Award were 2010 releases, Platinum Europe Award-Winning 2010 Releases
Artist Take That Bon Jovi Eminem Kings Of Leon Michael Jackson Rihanna Robbie Williams Unheilig Source: IFPI. Album Title Progress Greatest Hits The Ultimate Collection Recovery Come Around Sundown Michael Loud In And Out Of Consciousness Grosse Freiheit Award Level 2 1 1 1 1 1 1 1 Parent Universal Music Universal Music Universal Music Sony Music Sony Music Universal Music EMI Music Universal Music

down from 14 (36%) in 2009.


n The most successful album across Europe in 2010 was Take Thats

Progress with sales of 2.7 million in Europe. Bon Jovis Greatest Hits The Ultimate Collection followed with just over a million units sold.
n 24 awards (53%) given in 2010 were to European acts, up from

European Million Selling Albums by Origin (%total)

51% in 2009.
n UK repertoire continued to lead in Europe with seventeen (74%)

11%

15%

11%

2% 28%

6% 37%

9% 27%

11%

3% 46%

7% 37%

of the twenty-four European titles. Second was Germany and France with two releases each. Ireland, Italy and the Netherlands all had one title each receiving an award.
n Four debut albums released in 2010 made it onto the Platinum

29%

39%

45% 70%

34%

Awards list. These were Leona Lewiss Spirit, Cheryl Coles 3 Words, Florence & The Machines Lungs and Mumford & Sons Sigh No More.

60% 46% 44%

64% 57% 55% 51% 56%

2002 2003 2004 2005 2006 2007 2008 2009 2010 n EU Acts n US Acts n Other

Source: IFPI. Based on artist nationality, excludes soundtracks and multi-artist compilations.

Take That

Photo credit: Bryan Adams

24

IFPI Recording Industry in Numbers 2011

IFPI Platinum Europe Awards

IFPI Platinum Europe Awards 2010


Artist Amy Winehouse Phil Collins Barry White Coldplay Eminem Leona Lewis Norah Jones Black Eyed Peas Various Artists Lady Gaga Michael Buble Susan Boyle Fleetwood Mac Lady Gaga Linkin Park Muse Ronan Keating Seal Take That Andre Rieu & His Johann Strauss Orchestra Andrea Bocelli Bon Jovi Carpenters Cheryl Cole David Guetta Eminem Florence & The Machine Ich + Ich Il Divo Johnny Cash Kings Of Leon Leona Lewis Massive Attack Michael Jackson Mumford & Sons Papa Roach Queen Radiohead Rihanna Rihanna Robbie Williams Robert Plant Snow Patrol Unheilig Title Back To Black Hits The Ultimate Collection X&Y The Eminem Show Spirit Feels Like Home The E.N.D. Mamma Mia! The Movie Soundtrack The Fame Monster Crazy Love I Dreamed A Dream The Very Best Of Fleetwood Mac The Fame Minutes To Midnight The Resistance 10 Years Of Hits Soul Progress In Concert Vivere Greatest Hits Greatest Hits The Ultimate Collection Gold 3 Words One Love Recovery Lungs Vom Selben Stern The Promise The Man Comes Around Come Around Sundown Echo Collected Michael Sigh No More Infest Absolute Greatest Amnesiac Rated R Loud In And Out Of Consciousness Raising Sand Up To Now Grosse Freiheit Company Universal Music EMI Music Universal Music EMI Music Universal Music Sony Music EMI Music Universal Music Universal Music Universal Music Warner Music Sony Music Warner Music Universal Music Warner Music Warner Music Universal Music Warner Music Universal Music Universal Music Universal Music Universal Music Universal Music Universal Music EMI Music Universal Music Universal Music Universal Music Sony Music Universal Music Sony Music Sony Music EMI Music Sony Music Universal Music Universal Music EMI Music EMI Music Universal Music Universal Music EMI Music Universal Music Universal Music Universal Music Award Level 7 6 5 5 5 4 4 3 3 3 3 3 2 2 2 2 2 2 2 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 Black eyed Peas Photo credit: Meeno Kings of Leon Photo credit: Dan Winters Lady Gaga Photo credit: Max Abadian 2010 Entry

Source: IFPI. Award level refers to million units sold, cumalative, across Europe since the launch of the awards in 1996. 2010 entry refers to rst IFPI Platinum Europe Award being given in 2010.

25

IFPI Recording Industry in Numbers 2011

The Broader Music Industry

The Broader Music Industry


Border Music Industry Value (US$ billions) 30 28.7 28.4 25.4 24.3 19.8 18.1 14.8 10 16.0 16.0 20 14.0 10.1 10.1 8.8 9.0 8.7 8.9 3.5 Live music sector Audio home systems Radio advertising revenues Portable digital sales Songwriter musical copyright Musical instrument sales Music TV/ mags advertising revenue Recorded music retail sales 0 1.8 1.6 1.6

n 2009 n 2010
Source: PWC Global Entertainment and Media Outlook.

The global broader music sector was worth an estimated US$ 132.3 billion in 2010, a drop of 4% compared to 2009. Most sectors suffered a decline in 2010, with the sharpest falls coming from the live music sector, portable player sales and music related video games. The radio advertising market rebounded in 2010, growing by 2%, following a sharp drop in 2009. Recorded music retail sales continued to fall (-6%), with physical retail offsetting the gains in the digital sector. The musical instruments sector saw an increase in sales of 8% in 2010. The portable player market saw another decline in 2010 (-13%) as growth shifted to smartphones and tablets. Sales of home audio systems remained at. After years of growth, 2010 was a challenging year for the live music sector which saw an estimated drop in revenues of -9%. According to Pollstar, the global top 50 tours suffered a decline of 12% in revenues in 2010, despite a 4% increase in average ticket prices. A weakened economy also contributed to the fall in attendance. Despite this decline, parts of the live sector performed well. The top superstar concerns remained popular and music festivals also help up well. Bon Jovi claimed the top grossing tour of 2010, followed by AC/DC, U2, Lady Gaga and Metallica.

Music related games saw a sharp drop in 2010 (-50%) largely due to a slide in sales of instrument-based games such as Guitar Hero and Rock Band. Dance games, such as Just Dance, lled some of the gap, but not enough to offset the once hugely popular instrument-based sector. The global performance rights market was worth US$ 1.8 billion in 2010, up 10% compared to 2009. This gure includes all amounts collected by music licensing companies on behalf of producers and performers, as well as the amounts distributed to producers and performers.

26

Performance rights market

Music related video games sales

IFPI Recording Industry in Numbers 2011

The Broader Music Industry

Songwriters music copyright and the publishing sector


The net global value of songwriters musical copyright is estimated at US$ 9 billion for 2010, which is up 2.4% on the prior previous year, holding exchange rates constant. This growth was driven by increases in performing right collections which more than off-set declines in mechanical royalty income. Songwriter copyright comprises mainly of performing, mechanical and sync licence income. The majority of this revenue comes through collecting societies, with sync, stage and print mainly being licensed by publishers directly. This net value not only adjusts for the double counting of mechanical income in physical sales which is already captured within the IFPI trade values, but also includes an estimate of sync and directly licensed income for publishers. Breaking the 2010 estimates down, there was US$ 7.1 billion in collecting societies income which is derived from evidence based projections for 2010 based on the most recent 2009 CISAC report. This comprises US$ 6.3 billion in performing rights (television, radio and public performance) and US$ 0.7 billion in mechanical rights which has been adjusted for double counting. Disappointingly, digital revenues still only account for 1.6% of total global collections according to CISAC, although societies like PRS for Music (UK), NCB (on behalf of Nordic Societies) and JASRAC (Japan) have made signicant steps to developing their respective digital markets. The second songwriter revenue stream of US$ 1.9 billion refers to royalties that are collected outside of the society framework, and refer mainly to sync income which is licensed directly by the publisher on behalf of the songwriter. We estimated this by analysing how much of a publishers turnover comes from outside of the societies based on analysis of the US, EU and global markets, and scaling up accordingly. By Will Page and Bruce Dickinson, PRS for Music

Sources and notes:


IFPI does not track revenues from music-related industries, other than recorded music sales, directly. 2009 estimates may have been revised.
n Radio advertising: PWC Global Entertainment and Media Outlook

2010-2014 projections for 2010.


n Recorded music retail: IFPI estimate based on trade value data and

estimated retailer mark-ups (including VAT). Includes physical and digital retail revenue estimates.
n Live Music: IFPI estimate based on Pollstar data and IEG

sponsorship gures. Includes ticket sales and the sponsorship market for entertainment and attractions.
n Portable digital players: FutureSource. Refers to devices that have

screen sizes smaller than 6 and can play digital audio and or video les but cannot support mobile telephony. Does include devices capable of supporting wireless internet browsing, e.g. iPod Touch.
n Musical instruments: IFPI estimate based on data from the Music

Trades Magazine (you said it was a straight gure from Music Trades)
n Audio home systems: FutureSource. Includes integrated audio

systems, loudspeakers, MP3 speaker docks and ampliers. It excludes home theatre systems.
n Songwriters music copyright (publishing): PRS for Music, based

on data by CISAC and PRS for Music internal calculations.


n Music TV and magazine advertising: IFPI based on PWC Global

Entertainment and Media Outlook 2010-2014 and Viacom company reports.


n Music related video games: IFPI estimate based on NPD Group

data and PWC Global Entertainment and Media Outlook 20102014 projections for 2010.
n Performance rights market: IFPI gures from neighbouring rights

collecting societies. Includes collections for producers and performers for sound recordings and music videos. Note these gures are different to the performance rights revenues reported in the recorded music trade value gures (see notes section).

27

IFPI Recording Industry in Numbers 2011

Investing In Artists

Investing In Artists: A Core Function Of The Business


Investing in music talent is a dening role of record companies, and one which involves diverse artists, genres, styles, geographical regions and cultures. There are more than 4,000 artists on major companies global rosters and tens of thousands more acts are signed to independent labels. These range from international superstars to performers with a more local audience. There is a constant turnover of new signings: it is estimated that one in four of the artists on a record company roster is a new signing. IFPI estimates that record companies globally invested around US$4.8 billion in discovering, nurturing and promoting artists in 2010. That accounts for approximately a third of the industrys revenues. The aggregated costs of breaking a new act in a major market are estimated at around US$1 million. This investment takes the form of advances, recording costs, the creation of music videos, promotion, marketing and tour support. While the top of the global album chart is dominated by performers with a global reach, domestic repertoire is still very important in most markets. The examples below illustrate this:
n In Japan, the second largest market in the world, 46 of the 50 top

Artist Case Studies From local to global: Imelda May


Decca Records is a label that sits within the Universal Music Group. Dickon Stainer, president, Decca Records Group, says: We are in the hits business. We take so-called niche music and sell it to the mainstream market. We recognise the artists we invest in often have a longer lifespan than many pop artists and often an easier ability to reach a global audience. Irish singer-songwriter Imelda May is one of Deccas artists. She had been long-established on the Dublin music scene before Decca began to invest in developing her presence in Ireland and internationally, rst putting out her record Love Tattoo. Imelda May has moved from the Dublin music scene to an appearance at the Grammys and 2011 tours in the US and Europe.

selling albums in 2010 were local acts;


n In France, half of the top 50 best selling albums of 2010 were by

Pop sounds in all languages: Frida Gold


Frida Gold is a young German four-piece band. After years of trial and error gigs and home recording sessions, the group was signed by Warner Music in May 2010, opening up opportunities to reach a wider audience. They now write all their own material, producing a blend of rock, pop and dance, with German lyrics. Their rst single Zeig Mir Wie Du Tanzt was on the German charts for seven weeks. Bernd Dopp, Chairman & CEO WarnerMusic Central & Eastern Europe,says: This band belong to a new generation of artists with whom we are partnering across all areas of their careers.

local artists, and nearly 25% of these titles were debut releases;
n Domestic repertoire remains strong in Italy where it holds more

than 50% of the total market;


n In Brazil, 22 of the top 25 best selling albums in 2010 were local

acts;
n In Germany 50-60% of the acts on record label rosters are locally

signed. Recent successful breakthrough acts include Tokio Hotel, Peter Fox, LaFee, Mia and Unheilig. In 2010, around half of the top 100 best selling albums and 44% of the top selling singles contained domestic repertoire.

Breaking new ground: Alison Balsom


EMI Classics rst became interested in trumpeter Alison Balsom when she won the BBC Radio 3 New Generation Artists competition, a well-known source of talent in the UK. Balsoms accolades since include becoming the rst British woman to win best female artist award at the Classical BRITS in its 20 year history. Alexa Robertson of EMI Classics says: Its unusual to have a woman so prominent in the brass eld, which is traditionally male dominated. She has become a real ambassador for the instrument, helping to broaden the repertoire for the trumpet.
28

IFPI Recording Industry in Numbers 2011

Investing In Artists

Music is a global language: Manel


Manel were once an unknown folk-pop band singing in their native Catalan. Now signed to Warner Music, they have won numerous prizes and performed soldout gigs in Madrid, Buenos Aires and London. Their second album10 Milles Per Veure Una Bona Armadur could become rst Catalan band to reach number one in the Spanish charts. Charlie Sanchez, President, Warner Music Spain, says: Manel have shownwhat is possible if you stay true to your roots, work hard and partner with an international music company

Waiting for the right moment: Philippe Jaroussky


French sopranist countertenor Philippe Jaroussky rst came to the attention of Virgin Classics when he was still a student aged 19. The label thought it would be a good idea to record an album of duets with established star Grard Lesne. Alain Lanceron, A&R vice president of Virgin Classics says: I listened to the pair of them perform at a concert in Paris. I thought Hes good, but he could be so much better. Jaroussky signed an exclusive deal with Virgin Classics and is now their best selling artist, established in France and Germany, and now expanding his career in Japan and the UK.
xxx Photo credit: xxx

Guitar from Montenegro: Milo Karadaglic


Montenegrin guitarist Milo Karadaglic is signed to Deutsche Grammophon. He won his rst national competition at the age of 11, studied at the Royal Academy of Music in London and won several high-prole prizes before being signed in 2010. His debut album, The Guitar, will be released in April 2011. Costa Pilavachi, senior VP , classical A&R, for Universal Music Group International, says: We believe Milo has the ability to restore the popularity of guitar music to the levels it enjoyed in the 1970s.

xxx

Photo credit: xxx

Imelda May Frida Gold Alison Balsom Manel Philippe Jaroussky Milo Karadagli c

Photo credit: Chris Clor Photo credit: Alexander Gndinger Photo credit: Chris Dunlop Photo credit: Photo credit: Simon Fowler Photo credit: Olaf Heine

29

IFPI Recording Industry in Numbers 2011

The World Of Performance Rights

The World Of Performance Rights


Performance rights collections represent a signicant income stream for record companies and artists. Businesses that use recorded music to attract and retain customers, drive productivity and motivate employees increasingly pay a fair price for doing so wherever they are located. Music is used in a vast range of commercial contexts, from bars, shops and nightclubs to radio and television broadcasts. Such businesses are required by law in most countries to pay performers and producers when they use their work. There are some signicant exceptions to this including analogue broadcasters in the US and entertainment venues in Japan but in most cases the relevant legislation is in place. Where the legal environment falls short of international best practice, performers and producers are campaigning to have their rights respected. A variety of music licensing companies are authorised by rights holders to collect the revenues generated by performance rights on behalf of producers and performers. This means business owners do not have to deal with thousands of different rights holders individually for permission to use their music. Global collections of performance rights by music licensing companies has increased strongly in recent years, from US$ 1.2 billion in 2006 to US$ 1.8 billion in 2010, a 50% increase. Growth is attributable to a combination of improved rights, better market penetration, enforcement of licensing conditions and signicant productivity gains by music licensing companies. This review offers a snapshot of the current state of the performance rights market.

The US
The US is the largest market for performance rights in the world, generating US$ 259 million in collections to producers and performers in 2010, despite the absence of an analogue broadcast right meaning the market consists of new media revenue streams such as simulcasting that would be considered marginal in many other parts of the world. Music licensing company SoundExchange has been in the vanguard of the development of producers and performers rights for satellite and new media usage of recordings in the US. Mike Huppe, president of SoundExchange, says: There have been three main drivers behind our recent success: rates, usage and enforcement. In 2011, negotiations are recommencing with Sirius XM, the satellite radio corporation, to set updated rates that fairly reect the role music plays in the companys ability to recruit 22 million subscribers. New media usage continues to climb sharply in the US, with webcasting up by an estimated 35-40%. This is due in part to the success of internet radio services, such as Pandora, which now claims more than 80 million registered users and half a million paying subscribers, and the move by traditional broadcasters to develop online simulcasting. Enforcement is a vital part of SoundExchanges work. Performance royalties are paid by commercial parties under federal law, but it is essential to ensure that businesses comply with the rules. SoundExchange has developed a team that has become ever more efcient at checking compliance and reaching out to businesses that need to obtain a licence, recovering millions of dollars of revenue. The lack of an analogue broadcast right remains the biggest drag on performance rights income in the US. Some progress was made during the last Congress and the campaign to persuade lawmakers the US should follow international practice and ensure artists and producers are fairly remunerated when their music is used in broadcasting continues.

30

IFPI Recording Industry in Numbers 2011

The World Of Performance Rights

Europe
Growth in performance rights collections across Europe was steady at 3% year on year overall since 2009. In some of the newer markets in central and Eastern Europe however, this gure is much higher. An example of growth in Eastern Europe is Poland where ZPAV collects performance rights on behalf of producers. Polands performance rights market has grown in recent years and is now valued at US$ 8.1 million. Boguslaw Pluta of ZPAV says: By 2010, most venues accept that if they use recorded music they have to pay for it. When we approached people four years ago, they asked who we were. Today, they know very well why we are reaching out to them. There is scope to develop the market still further. ZPAV estimates it is collecting between 25-30% of the countrys potential performance rights market value. Performance rights now form an important part of Polish record companies and artists revenues. Income growth is accelerating year-on-year, fuelled by ZPAVs investment in technology. Pluta adds: We approach our customers as business people. They use our product, so they must pay a fair price. In that respect its not that different from any other marketing activity. In Spain, increasing collaboration between different rights holders is delivering real growth. The performance rights market is now worth US$ 67 million. It is extremely costly to license venues such as bars and restaurants. By creating a joint venture between producers society AGEDI and the authorss society SGAE, we have been able to reduce administrative overheads, and step up the number of venues we reach, says Jos Bueno of music industry association Promusicae. The joint venture benets from 300 eld agents that authors have long used to monitor usage and identify unlicensed venues. Producers have signed up around a third of the businesses that already pay a licence to the authors, and this gure is expected to climb in the future. Such a process involves a great deal of education work, explaining to sometimes sceptical businesses why they need to pay for the resource that works so hard for them. AGEDI and SGAE are working with an academic to produce a detailed study, scheduled to be published in 2012, about the benets to businesses of using recorded music. In the UK, music licensing company PPL saw the successful conclusion of a 10-year campaign when the government amended the Copyright, Designs and Patents Act (1988) which had previously limited its rights in public performance licensing. Britains government has now nally complied, albeit under pressure, with its obligations under EU law. For the rst time, PPLs rights in the public performance arena are on a par with those enjoyed by its counterparts in the rest of Europe and by songwriters and publishers collecting society PRS for Music.

Latin America
Performance rights collections in Latin America have enjoyed a constant growth trajectory since 2001. In 2010, the region generated US$ 141 million in performance rights collections, an astonishing 250% increase year on year. Javier Asensio, who heads up performance rights issues for IFPI Latin America, says: Success in the region has been partly driven by a series of deals struck between rights holders and large business organisations that enabled us to drive up market penetration. One such example is the deal struck in Mexico with the National Association of Discos and Nightclubs, an organisation that represents more than 8,000 venues that are effectively dependent on recorded music across the country. A similar agreement was signed with the body that represents 30,000 small businesses in Mexico City. Argentina, where music licensing companies have been active for more than 40 years, remains a regional champion, delivering a 32% growth in collections in 2010. New deals struck include agreements with dancing salons and hotels for the parties they host. Securing better agreements with broadcasters in Latin America is a key focus for 2011. Negotiations are currently proceeding with the Caribbean Broadcasters Association (CBA) and the International Association of Broadcasters to secure a better working relationship with these potentially key partners. Asensio adds: Music licensing companies representing producers across the region want to work even more closely with artists and songwriters to advance the performance rights market and drive down administrative costs wherever possible.

31

IFPI Recording Industry in Numbers 2011

The World Of Performance Rights

PPL continues to campaign for its constituents on a range of issues. Fran Nevrkla, chairman and chief executive of PPL, says: Our biggest handicap is the enormous gulf in the term of copyright protection between record companies and performers compared with songwriters and music publishers. PPL will continue to play an important role in the campaign to extend the term of copyright protection for sound recordings through EU legislation. Having delivered good nancial results in 2010, PPL is determined to repeat that performance in 2011. The main focus will be on increasing all income streams, especially public performance revenues. This continued focus, coupled with competent teams and the creation of rst-class IT systems, give PPL condence it shall continue maximising the value of the rights entrusted to it by its constituents while keeping costs down. Another priority for PPL, in collaboration with its business partner, Deloitte, is the building of a globally enabled repertoire database of sound recordings that can serve PPL and its counterparts around the world. Nevrkla says: This project has now been well underway over the last two years or so and so far has been exceptionally successful, with all the various stages having been delivered on time and on budget.

Asia/Pacic
The performance rights market in Asia is growing rapidly as the region continues to post strong economic growth, and as music licensing companies improve market penetration and user education. Institutional barriers constraining further growth remain, notably the lack of a broadcasting and public performance right in China and a public performance right in Japan. Performers and producers continue to campaign to right the anomaly in both countries. India is one of the most potentially exciting markets for performance rights worldwide. The sector has grown by 100% since 2005. PPL India says this growth is attributable to four main reasons: improvements in infrastructure and operational cost management, better tariffs, and education. The process began when PPL India took the decision to operate across the whole country. It has increased its ofces in recent years from three to 11, and hired people with local market knowledge in states across the country. Market penetration remains higher in the cities, but PPL India is launching a programme called Reaching the Unreached which will see a team cover all 28 Indian states. This is being piloted in Maharashtra and Rajasthan. Vipul Pradham, chief executive of PPL India, says: It is an uphill struggle to grow the market because there is no culture of compliance. We have to go back to all of our licensees and repeatedly explain why they need to take out a license every year.
32

The planned extension of radio services in India should also grow revenues, with PPL India estimating that the 500 new stations currently being proposed across the country could add 10 to 15% to its revenues. It is possible this gure could be even greater if the courts take a more positive view on the royalties that should be attached to the legally granted broadcast right. In New Zealand, payments from commercial radio have increased from US$ 2.6 million in 2009 to US$ 4.6 million in 2010. The increase was due to the change in commercial radio tariffs from the internationally very low level of 1.8% to slightly higher 3% of revenue following a ruling by the Copyright Tribunal. The New Zealand example highlights the opportunities that exist to develop fairer rates for sound recording performance rights around the world. Music licensing company PPNZ is also campaigning to improve its public performance rights. At the moment, producers and performers are not entitled to receive remuneration when a commercial establishment plays their work on the radio or free-toair videos unless the venue charges an entry fee. The company has made a submission to legislators on the matter. The company is also working with other rights holders to secure an extension of New Zealands 50-year term of copyright protection. Kristin Bowman, managing director of PPNZ, says: A major target for us in 2011 is to grow our public performance market. We know that sustainable growth in public performance revenues is an exercise in patience, but we want to reach a situation where all users of music in public pay a sum that fairly represents the value of the music they use.

IFPI Recording Industry in Numbers 2011

The World Of Performance Rights

33

IFPI Recording Industry in Numbers 2011

Country Data Index

Country Data Index

North America 28 : Canada 29 : USA Europe 30 : Austria 31 : Belgium 32 : Bulgaria 33 : Croatia 34 : Czech Republic 35 : Denmark 36 : Finland 37 : France 38 : Germany 39 : Greece 40 : Hungary 41 : Ireland 42 : Italy 43 : Netherlands 44 : Norway 45 : Poland 46 : Portugal 47 : Russia 48 : Slovakia 49 : Spain 50 : Sweden 51 : Switzerland 52 : Turkey 53 : UK

Asia 54 : China 55 : Hong Kong 56 : India 57 : Indonesia 58 : Japan 59 : Malaysia 60 : Philippines 61 : Singapore 62 : South Korea 63 : Taiwan 64 : Thailand Australasia 65 : Australia 66 : New Zealand Latin America & Caribbean 67 : Argentina 68 : Brazil 69 :  Central America/Caribbean 70 : Chile 71 : Colombia 72 : Ecuador 73 : Mexico 74 : Peru 75 : Uruguay 76 : Venezuela Africa 77 : South Africa

34

IFPI Recording Industry in Numbers 2011

Country Data Index

35

IFPI Recording Industry in Numbers 2011

North America

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler

33.7 41 English 39,600 3.0% Canadian Doller (CAD) 1.03 Nielsen SoundScan Canada www.ca.nielsen.com Re:Sound www.resound.ca

Top Independent Labels (in alphabetical order) Arts & Crafts Productions Inc. Last Gang Records Inc. Disques Atma inc. Disques Audiogramme inc. (Les) Distort Inc.. Groupe Analekta inc. Groupe Archambault Inc Last Gang Records Inc. Linus Entertainment Inc Maplecore Ltd Nettwerk Productions Prodat inc. Somerset Entertainment Tandem.mu

Canada
World Ranking
Physical Digital Performance rights Total market 7 6 10 6

Link Performance rights music licensing company Link

Source: Canadian Independent Music Association (CIMA)

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 26.2 9.5 24.0 8.1 8.0 261.5 335.5 373.0 440.5 547.8 Digital 113.5 99.8 88.5 55.0 33.5 Performance Rights 19.2 20.4 20.8 20.2 18.9 Total (US$) 394.2 455.8 482.4 515.8 600.1 Total (CAD) 406.0 455.8 482.4 515.7 600.1 Total % Change -10.9% -5.5% -6.5% -14.1% -7.0%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users Portable player users

Recorded Music Sales Trend (US$ million)


34 19 20 55 21

20 19 100 114

Recorded Music Sales by Sector 2010 n 66% Physical n 29% Digital n 5% Performance rights
548 441

89

373

336

93

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Digital Sales by Format 2010 (value) n 43% Online single track n 35% Digital album n 10% Mastertones n 12% Other

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 25.9 30.2 35.0 40.8 49.1 Music Video 2.7 2.3 3.1 3.3 3.9 Other Physical 0.1 0.1 0.2 Single Tracks 67.9 58.2 40.7 25.8 14.9 Digital Digital Albums 6.0 4.9 3.4 2.0 1.0

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only

Top Selling Albums, 2010


Artist 1 2 3 4 5 6 7 8 9 10 Eminem Taylor Swift Justin Bieber Lady Antebellum Lady Gaga Johnny Reid Ke$ha Susan Boyle Michael Bubl Katy Perry Title Recovery Speak Now My World 2.0 Need You Now The Fame Place Called Love Animal Gift Crazy Love Teenage Dream Company Universal Music Universal Music Universal Music EMI Music Universal Music EMI Music Sony Music Sony Music Warner Music EMI Music

Source: Nielsen SoundScan Canada

36

IFPI Recording Industry in Numbers 2011

North America

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link

310.2 37 English 47,400 2.8% US Dollar (USD) 1.0 Nielsen SoundScan www.nielsen.com Sound Exchange www.soundexchange.com

Top Independent Labels (in alphabetical order) Concord Records CURB Epitaph Records Koch Entertainment Madacy Razor & Tie Starbucks Sub Pop Victory Records Walt Disney Records/Buena Vista/Hollywood Records Wind-Up Records
Source: Nielsen SoundScan

USA
World Ranking
Physical Digital Performance rights Total market 2 1 4 1

Performance rights music licensing company Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 239.9 83.4 293.0 66.0 114.3 10.4 2,048.7 2,557.2 3,138.7 4,559.1 5,542.0 Digital 2,029.3 2,005.1 1,991.2 1,530.0 1,094.2 Performance Rights 89.7 70.1 54.8 23.5 15.3 Total (US$) 4,167.7 4,632.4 5,184.8 6,112.6 6,651.5 Total (CAD) 4,167.7 4,632.4 5,184.8 6,112.6 6,651.5 Total % Change -10.0% -10.7% -15.2% -8.1% -5.2%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users Portable player users Tablet users

Recorded Music Sales Trend (US$ million)


15 24 55 1,530 1,991 2,005 5,542 4,559 3,139 2,557 2,049 2,029 70 90

1,094

Recorded Music Sales by Sector 2010 n 49% Physical n 49% Digital n 2% Performance rights

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Recorded Music Sales Volume (million units) Digital Sales by Format 2010 (value) n 48% Online single track n 30% Digital album n 7% n 5% n 3% Mastertones Subscriptions Ad-supported and other licensing Other Top Selling Albums, 2010
Artist 1 2 3 4 5 6 7 8 9 10 Susan Boyle Eminem Lady Antebellum Lady Gaga Justin Bieber Andrea Bocelli Taylor Swift Justin Bieber Taylor Swift The Black Eyed Peas Title I Dreamed A Dream Recovery Need You Now The Fame My World 2.0 My Christmas Fearless My World (ep) Speak Now The E.N.D. Company Sony Music Universal Music EMI Music Universal Music Universal Music Universal Music Universal Music Universal Music Universal Music Universal Music 2010 2009 2008 2007 2006 Physical CD 225.8 292.8 384.7 511.1 619.8 Music Video 9.1 12.1 12.8 27.5 23.2 Other Physical 5.6 4.6 4.3 5.3 5.2 Single Tracks 1,172.0 1,160.0 1,070.0 844.2 582.0 Digital Digital Albums 86.5 76.4 65.8 50.0 32.6

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only (Nielsen Soundscan).

n 7%

Source: Nielsen SoundScan

37

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link

8.2 42 German 40,300 2.0% Euro (EUR) 0.75 Media Control Austria www.austriatop40.at LSG www.lsg.at

Top Independent Labels (in alphabetical order) Echo-ZYX Music Edel Musica GoodToGo Hoanzl Lotus Records MCP Preiser Rebeat
Source: IFPI Austria

Austria
World Ranking
Physical Digital Performance rights Total market 16 23 16 19

Performance rights music licensing company Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 6.1 1.9 11.8 1.6 1.2 15 92.90 110.9 119.8 127.7 131.4 Digital 17.1 14.5 9.2 8.7 7.6 Performance Rights 12.6 13.8 12.3 11.9 11.1 Total (US$) 122.6 139.2 141.3 148.3 150.1 Total (CAD) 91.9 104.5 106.0 111.2 112.6 Total % Change -12.0% -1.4% -4.7% -1.2% -5.1%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users Portable player users

Recorded Music Sales Trend (US$ million)


8 11 9 12 9 12 14 14

Recorded Music Sales by Sector 2010 n 76% Physical n 14% Digital n 10% Performance rights
131 128 120

17

111

93

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Digital Sales by Format 2010 (value) n 39% Digital album n 36% Online single track n 10% Mobile single track n 5% Mastertones n 10% Other

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 7.5 8.4 9.1 10.0 10.1 Music Video 0.7 0.8 1.1 0.6 0.7 Other Physical 0.1 0.5 0.9 1.2 1.1 Single Tracks 3.9 4.0 3.0 2.0 1.2 Digital Digital Albums 4.2 0.3 0.2 0.1

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only

Top Selling Albums, 2010


Artist 1 2 3 4 5 6 7 8 9 10 Source: IFPI Austria Unheilig David Guetta Lady Gaga Andreas Gabalier Eminem Michael Jackson Peter Fox EAV Helene Fischer Green Day Title Grosse Freuheit One Love The Fame Herzwerk Recovery King Of Pop Stadtaffe Neue Helden Braucht Das Land Best Of Helene Fischer 21st Century Breakdown Company Universal Music EMI Music Universal Music Universal Music Universal Music Sony Music Warner Music EMI Music EMI Music Warner Music

38

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link Performance rights music licensing company Link

10.8 41 Flemish, French and German 37,900 1.6% Euro (EUR) 0.75 Ultratop/Gfk www.ultratop.be SIMIM www.requit.be

Top Independent Labels (in alphabetical order) ARS CNR NEWS PIAS V2
Source: Belgium Entertainment Association

Belgium
World Ranking
Physical Digital Performance rights Total market 13 24 13 15

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 8.1 3.2 12.0 1.3 1.2 10 11 11 17 24 16 118.0 126.2 132.6 153.7 162.5 Digital 13.8 14.3 16.2 11.0 10.3 Performance Rights 17.9 19.9 23.6 17.1 10.8 Total (US$) 149.7 160.4 172.4 181.8 183.7 Total (CAD) 112.2 120.3 129.3 136.4 137.7 Total % Change -6.7% -7.0% -5.2% -1.0% 1.7%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users Portable player users

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 79% Physical n 12% Performance rights n 9% Digital
163 154

20 14

18 14

133

126

118

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Digital Sales by Format 2010 (value) n 65% Online single track n 20% Digital album n 4% Mastertones n 11% Other

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 10.3 10.7 11.6 13.2 17.5 Music Video 0.7 0.8 1.0 1.2 1.1 Other Physical 0.2 0.3 0.7 1.2 2.4 Single Tracks 8.0 5.9 5.3 5.2 3.2 Digital Digital Albums 0.8 0.6 0.4 -

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only

Top Selling Albums, 2010


Artist 1 2 3 4 5 6 7 8 9 10 Black Eyed Peas Michael Jackson K3 Lady Gaga David Guetta Mumford & Sons Various Artists Enfoires Muse Christophe Mae Title The E.N.D. This Is It Mamase! The Fame Monster One Love Sigh No More Junior Eurosong 2010 2010 Les Enfoires La Crise De Nerfs! The Resistance On Trace La Route Company Universal Music Sony Music Studio 100 Universal Music EMI Music Universal Music EMI Music EMI Music Warner Music Warner Music

Source: Ultratop/GfK

39

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Performance rights music licensing company

7.1 42 Bulgarian 12,800 0.0% Bulgarian Lev (BGN) 1.48 Prophon www.prophon.org

Top Independent Labels (in alphabetical order) Animato Music Ltd Ara Audio-Video Ltd. Avenue Production Ltd Harbour Island Records Inc. KA Music Plus Ltd MI Productions Ltd Orpheus Music Ltd Select Music Media Ltd
Source: Bamp

Spotlight Ltd Stars Records Ltd Stereoroom Ltd Toxity Records Ltd Universal Music Virginia Records Ltd Vitality Music Ltd

Bulgaria
World Ranking
Physical Digital Performance rights Total market 49 46 52 52

Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 3.4 1.0 10.6 1.6 3.5 5.7 7 4.4 Digital 0.4 0.7 Performance Rights 0.7 2.0 Total (US$) 2.7 6.1 5.7 7.0 4.4 Total (BGN) 4.1 9.1 8.5 10.4 6.6 Total % Change -55.0% 7.5% -18.7% 58.1% -

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010


2

n 59% Physical n 26% Performance rights n 15% Digital


4 1 7 6 4 1 0.4 2 2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 0.3 0.6 1.0 0.8 0.7 Music Video 0.1 Other Physical 0.1 0.2 0.2 0.5

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

40

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Performance rights music licensing company

4.5 41 Croatian 17,500 -1.4% Croatian Kuna (HRK) 5.51 ZAPRAF www.zapraf.hr

Top Independent Labels (in alphabetical order) Croatia Records Hit Records Scardona
Source: IFPI Croatia (HDU)

Croatia
World Ranking
Physical Digital Performance rights Total market 44 50 31 44

Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 2.2 1.8 6.0 6.1 8.1 11.2 12.9 11.2 Digital 0.1 0.1 Performance Rights 3.7 3.3 2.8 Total (US$) 9.9 11.5 11.2 12.9 14.0 Total (CAD) 54.7 63.0 61.8 71.0 77.2 Total % Change -13.2% 1.9% -12.9% -8.0% 11.2%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 61% Physical n 38% Performance rights n 1% Digital

3 3 0.1 11 13 11 8 4 0.1 6

2006 2007 2008 2009 2010

Digital Sales by Format 2010 (value) n 33% Mastertones n 29% Online single track n 20% Digital album n 13% Mobile single track n 5% Other

n Physical

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 1.3 2.4 3.9 4.9 2.1 Music Video 0.1 0.1 0.2 0.1 0.1 0.1 Other Physical

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only.

41

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link Performance rights music licensing company Link

10.2 40 Czech 25,600 1.8% Czech Koruna (CZK) 19.12 IFPI Czech Republic www.ifpicr.cz Intergram www.intergram.cz

Top Independent Labels (in alphabetical order) BESTI.A Good Day Records Championship Records Indies MG Multisonic On Air Music Panther Popron Music Supraphon Tomm Records
Source: IFPI Czech Republic

Czech Republic
World Ranking
Physical Digital Performance rights Total market 34 42 22 37

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 6.7 1.4 10.1 2.2 4 5 2 2 1 5 6 7 1 19.3 27.2 30.5 26.3 28.0 Digital 1.4 1.2 1.7 1.8 1.1 Performance Rights 6.9 5.9 5.1 4.7 4.0 Total (US$) 27.6 34.3 37.2 32.8 33.1 Total (CZK) 525.5 655.8 711.3 626.6 632.8 Total % Change -19.9% -7.8% 13.5% -1.0% -8.2%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 70% Physical n 25% Performance rights n 5% Digital
28 30 27

26

19

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Digital Sales by Format 2010 (value) n 27% Ad-supported and other licensing n 10% Mastertones n 10% Ringback tones n 10% Subscriptions n 6% Mobile single track

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 4.9 8.8 11.5 4.5 2.9 Music Video 0.2 0.3 Other Physical 0.1 0.2 0.3 0.1 0.1

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

n 37% Other

42

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link Performance rights music licensing company Link

5.5 41 Danish, Faroese, Greenlandic 37,000 1.8% Danish Krone (DKK) 5.62 Nielsen Music Control www.hitlisten.nu Gramex www.gramex.dk

Top Independent Labels (in alphabetical order) ArtPeople Bonnier Amigo Music MBO Playground Music Voices Music & Entertainment
Source: IFPI Denmark

Denmark
World Ranking
Physical Digital Performance rights Total market 23 17 15 21

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 4.7 3.2 7.4 1.1 1.3 7 14 12 59.0 74.5 82.0 101.1 111.4 Digital 30.3 24.8 17.6 12.1 7.1 Performance Rights 12.9 12.8 13.4 11.6 13.6 Total (US$) 102.2 112.1 113.0 124.8 132.2 Total (DKK) 575.0 629.9 635.0 701.5 742.7 Total % Change -8.7% -0.8% -9.5% -5.6% 1.4%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users Portable player users

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 58% Physical n 29% Digital n 13% Performance rights
111

12

13 18

13 25

13 30

101

82

75

59

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Digital Sales by Format 2010 (value) n 32% Online single track n 27% Online album n 25% Subscriptions n 7% n 9% Streams Other

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 6.2 6.8 7.4 8.6 9.8 Music Video 0.1 0.1 0.1 0.2 0.3 Other Physical 0.1 0.1 0.1 Single Tracks 7.8 6.1 4.7 2.2 Digital Digital Albums 1.1 0.8 0.4 -

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only.

Top Selling Albums, 2010


Artist 1 2 3 4 5 6 7 8 9 10 Source: IFPI Denmark Rasmus Seebach Kim Larsen Medina Tina Dickow Thomas Helmig Take That Hansi Hinterseer Kashmir Volbeat Lady Gaga Title Rasmus Seebach Mine Damer Og Herrer Velkommen Til Medina Welcome Back Colour Thomas Helmig Past Forward Progress The Danish Collection Trespassers Beyond Hell/Above heaven The Fame Monster Company ArtPeople EMI Music Labelmade/A:larm A:larm/MBO Sony Music Universal Music Sony Music Sony Music EMI Music Universal Music

43

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link Performance rights music licensing company Link

5.3 42 Finnish 35,300 2.1% Euro (EUR) 0.75 IFPI Finland/Ranger Computers (physical) The Ofcial UK Chart Company (digital) www.suomenvirallinenlista. (physical) www.latauslista. (download chart) Gramex/IFPI Finland www.gramex.

Top Independent Labels (in alphabetical order) Fg-Naxos Fullsteam Records Karaoke Service Finland Playground Music BAM VL-Musiikki
Source: The Finnish Group of IFPI

Finland
World Ranking
Physical Digital Performance rights Total market 26 27 18 24

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 4.5 1.4 7.7 1.4 0.6 9 9 3 10 9 4 6 49.4 58.6 73.2 74.9 81.1 Digital 11.0 5.9 4.0 3.3 2.0 Performance Rights 9.9 8.8 9.7 8.9 9.4 Total (US$) 70.3 73.3 87.0 87.2 92.5 Total (EUR) 52.7 54.6 65.2 65.4 69.4 Total % Change -3.4% -16.3% -0.2% -5.8% -1.2%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users Portable player users

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 70% Physical n 16% Digital n 14% Performance rights
81 75 73

10 11 59

49

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Digital Sales by Format 2010 (value) n 37% Subscriptions n 28% Ad-supported and other licensing n 15% Digital album n 14% Online single track n 6% Other

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 5.2 5.1 6.5 6.4 6.9 Music Video 0.3 0.3 0.4 0.4 0.4 Other Physical 0.1 0.2 0.1 0.2 0.3 Single Tracks 1.2 1.0 0.8 0.4 Digital Digital Albums 1.2 -

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only.

44

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link

64.8 40 French 33,300 1.6% Euro (EUR) 0.75 SNEP/GFK www.disqueenfrance.com SCCP http://www.scpp.fr/SCPP/

Top Independent Labels (in alphabetical order) Harmonia Mundi Nave Pschent PIAS Wagram
Source: SNEP

France
World Ranking
Physical Digital Performance rights Total market 5 5 5 5

Performance rights music licensing company Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 44.6 20.3 60.9 8.4 10.1 76 69 93 70 77 79 126 78 146 641.1 704.1 728.8 910.3 1,126.0 Digital 146.1 126.3 128.7 92.9 75.6 Performance Rights 78.1 79.4 77.5 70.4 69.0 Total (US$) 865.3 909.8 935.0 1,073.5 1,270.6 Total (EUR) 649.5 682.3 701.3 805.2 952.9 Total % Change -4.8% -2.7% -12.9% -15.5% -8.4%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users Portable player users

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 74% Physical n 17% Digital n 9% Performance rights
1,126 910

129

729

704

641

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Digital Sales by Format 2010 (value) n 25% Digital album n 24% Online single track n 17% Subscriptions n 7% n 5% Mobile single track Mastertones

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 48.4 51.0 53.8 62.6 75.7 Music Video 3.3 3.4 3.2 4.9 5.7 Other Physical 1.6 0.3 5.0 8.2 18.2 Single Tracks 35.1 30.8 21.5 10.0 5.9 Digital Digital Albums 3.8 3.3 2.1 -

n 22% Other

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only.

Top Selling Albums, 2010


Artist 1 2 3 4 5 6 7 8 9 10 Source: GfK Christophe Mae Les Pretres Les Enfoires Yannick Noah Jean Ferrat Zaz Lady Gaga Muse The Black Eyed Peas Mylene Farmer Title On Trace La Route Spiritus Dei 2010 La Crise De Nerfs Frontieres Best Of Zaz The Fame Monster The Resistance The End Bleu Noir Company Warner Music Universal Music Emi Music Sony Music Sony Music Sony Music Universal Music Warner Music Universal Music Universal Music

45

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link

82.3 44 German 35,900 3.3% Euro (EUR) 0.75 Media Control www.musicline.de GVL www.gvl.de

Top Independent Labels (in alphabetical order) Edel Indigo Readers Digest Rough Trade Soulfood Music
Source: Bundesverband Musikindustrie

Germany
World Ranking
Physical Digital Performance rights Total market 3 4 3 3

Performance rights music licensing company Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 65.1 22.7 120.0 9.1 1.1 17.5 149 1,143.0 1,246.0 1,315.3 1,355.0 1,431.1 Digital 178.2 149.3 121.4 89.0 74.2 Performance Rights 91.0 76.8 80.1 83.5 80.8 Total (US$) 1,412.2 1,472.1 1,516.8 1,527.5 1,586.0 Total (EUR) 1,059.2 1,104.8 1,137.6 1,145.6 1,189.5 Total % Change -4.1% -2.9% -0.7% -3.7% -2.6%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users Tablet users Portable player users

Recorded Music Sales Trend (US$ million)


74 81 89 83 121 80 77

91 178

Recorded Music Sales by Sector 2010 n 81% Physical n 13% Digital n 6% Performance rights

1,431

1,355

1,315

1,246

1,143

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Recorded Music Sales Volume (million units) Digital Sales by Format 2010 (value) n 45% Digital album n 31% Online single track n 7% n 6% Subscriptions Mobile products
CD 2010 2009 2008 2007 2006 98.7 103.3 105.1 113.3 114.4 Physical Music Video 8.7 8.9 7.9 9.1 10.3 Other Physical 7.6 8.6 12.0 15.3 21.5 Single Tracks 59.4 45.8 37.2 34.5 26.0 Digital Digital Albums 10.6 7.6 4.6 2.8 2.0

n 11% Other

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only.

Top Selling Albums, 2010


Artist 1 2 3 4 5 6 7 8 9 10 Unheilig Peter Maffay Lady Gaga Ich & Ich Lena Amy MacDonald David Garrett Xavier Naidoo Helene Fischer Andrea Berg Title Groe Freiheit Tattoos The Fame Gute Reise My Cassette Player A Curious Thing Rock Symphonies Alles Kann Besser Werden Best Of Schwerelos Company Universal Music Sony Music Universal Music Universal Music Universal Music Universal Music Universal Music Tonpool EMI Music Sony Music

Source: Media Control Charts

46

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link

10.7 42 Greek 30,200 -4.8% Euro (EUR) 0.75 IFPI Greece/Deloitte www.ifpi.gr

Top Independent Labels (in alphabetical order) Aerakis Alpha Records Etairia Ekdoseon (Lyra-MBI-Legend) General Music Heaven Music
Source: IFPI Greece

Greece
World Ranking
Physical Digital Performance rights Total market 35 37 28 36 2010 2009 2008 2007 2006 5.0 2.1 13.8 0.5

Recorded Music Sales (US$ million, trade value)


Physical 19.2 34.3 42.5 59.5 64.2 Digital 5.2 7.1 5.1 5.2 4.2 Performance Rights 4.1 6.3 5.0 3.9 2.4 Total (US$) 28.5 47.7 52.6 68.6 70.8 Total (EUR) 21.4 35.7 39.4 51.5 53.1 Total % Change -40.1% -9.5% -23.4% -3.0% -0.4%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Portable player users

Recorded Music Sales Trend (US$ million)


4 2 5 4 5 5 197 64 6

Recorded Music Sales by Sector 2010 n 67% Physical n 18% Digital n 15% Performance rights

7 60 43 34

19

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 4.4 6.2 5.6 7.6 6.9 Music Video 0.2 0.2 0.2 0.3 0.3 Other Physical 0.2 0.2 0.3 Single Tracks 0.6 0.3 0.2 Digital Digital Albums -

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only.

47

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link

10 40 Hungarian 19,000 0.8% Hungarian Forint (HUF) 208.25 MAHASZ www.mahasz.hu MAHASZ www.mahasz.hu

Top Independent Labels (in alphabetical order) CLS Fekete Szemek Hammer Music Hungaroton Record Express
Source: MAHASZ

Hungary
World Ranking
Physical Digital Performance rights Total market 37 44 26 39

Performance rights music licensing company Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 6.2 1.9 12.2 1 1 4 5 1 5 33 30 21 19 1 1 5 5 16 15.6 18.9 21.1 30.2 33.3 Digital 0.5 1.0 1.0 1.0 0.5 Performance Rights 5.2 5.2 5.4 5.1 4.4 Total (US$) 21.3 25.1 27.5 36.3 38.2 Total (HUF) 4,441.5 5,234.3 5,731.4 7,561.3 7,959.6 Total % Change -15.1% -8.7% -24.2% -5.0% 6.3%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 73% Physical n 25% Performance rights n 2% Digital

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value) n 26% Online single track n 25% Mobile streams n 18% Mastertones n 8% n 8% Digital album Mobile single track
2010 2009 2008 2007 2006

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 3.6 3.6 2.9 4.5 4.7 Music Video 0.1 0.1 0.1 0.2 0.2 Other Physical 0.1 0.1 0.2 0.2 0.5

n 15% Other

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

48

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link

4.4 35 English, Irish 37,600 -0.6% Euro (EUR) 0.75 IRMA/Chart-Track www.irma.ie www.chart-track.co.uk PPI www.ppiltd.com

Top Independent Labels (in alphabetical order) Interactive Dolphin Beggars Banquet 2 Entertain Not Now
Source: Chart-Track/IRMA

Ireland
World Ranking
Physical Digital Total market 27 25 26

Performance rights music licensing company Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 3.0 1.5 4.6 0.4 0.8 45.4 58.5 85.3 108.0 121.5 Digital 13.5 12.4 10.4 8.0 4.3 Performance Rights Total (US$) 58.9 70.9 95.7 116.0 125.8 Total (EUR) 44.2 53.2 71.8 87.0 94.3 Total % Change -16.9% -25.9% -17.5% -7.7% -2.3%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users Portable player users

Note: Performance rights revenues not included.

Recorded Music Sales Trend (US$ million)


4 8

Recorded Music Sales by Sector 2010 n 77% Physical n 23% Digital


121 108

10 12 85 58 35 2006 2007 2008 2009 2010 14

n Physical Digital Sales by Format 2010 (value) n 51% Online single track n 34% Digital album n 7% n 8% Mobile single track Other

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 4.9 6.3 7.2 8.1 8.8 Music Video 0.2 0.2 0.3 0.4 0.5 Other Physical 0.2 0.3 0.5 0.9 1.2

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

Top Selling Albums, 2010


Artist 1 2 3 4 5 6 7 8 9 10 Source: IRMA Various Script Progress Crazy Love Loud The Fame/The Fame Monster Sigh No More Sunny Side Up Lungs My Worlds Title Now Thats What I Call Music! 77 Science & Faith Take That Michael Buble Rihanna Lady Gaga Mumford & Sons Paulo Nutini Florence & The Machine Justin Bieber Company EMI /Universal Music Sony Music Universal Music Warner Music Universal Music Universal Music Universal Music Warner Music Universal Music Universal Music

49

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler

58.1 44 Italian 30,700 1.1% Euro (EUR) 0.75 Nielsen SoundScan International (digital) GfK (physical) SCF www.sctalia.it

Top Independent Labels (in alphabetical order) Edel Sugar Time


Source: FIMI

Italy
World Ranking
Physical Digital Performance rights Total market 9 15 9 9

Performance rights music licensing company Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 30.0 11.6 88.6 7.1 14.4 177.7 183.6 240.9 309.8 383.3 Digital 36.3 32.4 26.2 25.6 25.3 Performance Rights 23.1 26.0 26.0 20.7 19.7 Total (US$) 237.1 242.0 293.0 356.0 428.3 Total (EUR) 177.8 181.5 219.8 267.0 321.2 Total % Change -2.0% -17.4% -17.7% -16.9% -11.6%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users Portable player users

Recorded Music Sales Trend (US$ million)


25 20 26 21 26 26 32 383 310 241 184 178 26 23 36

Recorded Music Sales by Sector 2010 n 75% Physical n 15% Digital n 10% Performance rights

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Digital Sales by Format 2010 (value) n 27% Online single track n 24% Digital album n 12% Ad-supported and other licensing n 9% n 6% n 5% Subscriptions Mobile single track Mastertones

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 0.4 16.6 20.6 25.5 28.8 Music Video 0.6 0.7 0.7 1.1 1.7 Other Physical 14.6 0.8 0.4 0.3 0.6 Single Tracks 12.4 11.2 6.6 4.9 2.9 Digital Digital Albums -

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only.

n 17% Other

Top Selling Albums, 2010


Artist 1 2 3 4 5 6 7 8 9 10 Source: Media Control Arrivederci, Mostro! Oltre Inaspettata Una Canzone Pop Il Mondo In Un Secondo Chocabeck Casa 69 The Fame Monster Re Matto Tracks 2 Title Ligabue Emma Biagio Antonacci Pierdavide Carone Alessandra Amoroso Zucchero Negramaro Lady Gaga Marco Mengoni Vasco Rossi Company Warner Music Universal Music Sony Music Sony Music Sony Music Universal Music Warner Music Universal Music Sony Music Sony Music

50

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link Performance rights music licensing company Link

16.8 41 Dutch 40,500 1.7% Euro (EUR) 0.75 GfK Megacharts BV www.megacharts.nl SENA www.sena.nl

Top Independent Labels (in alphabetical order) Artist & Company Challenge Record Services CNR Records Play It Again Sam Rough Trade
Source: NVPI

Netherlands
World Ranking
Physical Digital Performance rights Total market 8 22 6 8

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 17.9 6.2 20.0 2.2 2.9 31 183.8 192.0 203.4 221.2 239.6 Digital 21.2 16.1 13.7 11.3 8.8 Performance Rights 56.4 60.3 44.3 41.3 30.6 Total (US$) 261.4 268.4 261.4 273.7 279.0 Total (EUR) 196.1 201.3 196.1 205.3 209.3 Total % Change -2.6% 2.7% -4.5% -1.9% -1.5%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users Portable player users

Recorded Music Sales Trend (US$ million)


9 41 11 44 14 60 16 56 21

Recorded Music Sales by Sector 2010 n 76% Physical n 15% Performance rights n 9% Digital
2006 2007 2008 2009 2010 240 221

203

192

184

n Physical

n Digital

n Performance Rights

Digital Sales by Format 2010 (value) n 54% Digital album n 27% Online single track n 11% Streams n 8% Other

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 16.7 17.8 18.9 18.8 19.3 Music Video 2.0 2.8 3.3 3.0 3.5 Other Physical 1.0 1.0 0.8 1.1 1.8 Single Tracks 5.7 5.5 4.2 2.9 2.5 Digital Digital Albums 1.2 0.9 0.7 -

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only.

Top Selling Albums, 2010


Artist 1 2 3 4 5 6 7 8 9 10 Source: NVPI Caro Emerald Marco Borsato Nick & Simon Jan Smit K3 John Mayer Various Artists Gipsy Kings The Baseballs Ilse Delange Title Deleted Scenes From The Cutting Room Floor Dromen Durven Delen Fier Leef Mamase! Battle Studies 538 Hitzone 54 The Best Of Strike Next To Me Company Grandmono/Rough Trade Rodeo Media/Universal Music Artist & Company Artist & Company Studio 100 Sony Music Sony Music Sony Music Warner Music Universal Music

51

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler

4.7 40 Bokmal Norwegian, Nynorsk Norwegian 59,100 1.5% Norwegian Kroner (NOK) 6.04 Ns Newspaper/IFPI Norway www.ifpi.no Gramo www.gramo.no

Top Independent Labels (in alphabetical order) Bare Bra Musikk/Tylden Bonnier Amigo/Tuba Mudi Playground VME
Source: IFPI Norway

Norway
World Ranking
Physical Digital Performance rights Total market 20 20 17 20

Link Performance rights music licensing company Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 4.4 1.7 6.7 0.8 0.8 69.2 87.6 96.3 114.5 122.5 Digital 26.3 16.7 10.0 7.6 4.7 Performance Rights 10.9 10.7 9.5 8.9 6.9 Total (US$) 106.4 115.0 115.8 131.0 134.1 Total (NOK) 643.8 695.9 700.7 792.7 811.6 Total % Change -7.5% -0.7% -11.6% -2.3% -9.4%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users Portable player users

Recorded Music Sales Trend (US$ million)


5 7 8 9 10 10 11 11

Recorded Music Sales by Sector 2010 n 65% Physical n 25% Digital n 10% Performance rights
123 115

17 26

96

88

69

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Digital Sales by Format 2010 (value) n 31% Subscriptions n 23% Digital album n 21% Online single track n 17% Streams n 8% Other

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 7.5 8.3 8.2 9.2 9.7 Music Video 0.2 0.3 0.3 0.4 0.4 Other Physical 0.1 0.1 0.2 0.4 0.4 Single Tracks 5.6 6.0 4.9 3.4 1.3 Digital Digital Albums -

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only.

Top Selling Albums, 2010


Artist 1 2 3 4 5 6 7 8 9 10 Source: IFPI Norway Hellbillies Kurt Nilsen Susanne Sundfr Eminem Bruce Springsteen Sissel Kyrkjeb Odd Nordstoga Bjrn Eidsvg The Baseballs Madrugada Title Leite Etter Lykka Have Yourself A Merry Little Christmas The Brothel Recovery The Promise ...Til Deg... November Rundt Neste Sving Strike! The Best Of Madrugada Company EMI Music Sony Music EMI Music Universal Music Sony music Universal Music Universal Music Sony music Warner Music EMI Music

52

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler

38.5 38 Polish 18,800 3.3% Polish Zloty (PLN) 3.02 ZPAV/Pentor Research Institute www.zpav.pl ZPAV www.zpav.pl

Top Independent Labels (in alphabetical order) Agora Fonograka Metal Mind Production Reader's Digest Sonic
Source: ZPAV

Poland
World Ranking
Physical Digital Performance rights Total market 19 41 24 23

Link Performance rights music licensing company Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 22.5 5.0 44.4 3.7 0.4 2 2 3 75.5 82.1 82.1 76.2 67.9 Digital 2.7 3.5 2.0 0.4 Performance Rights 6.4 4.7 3.9 2.9 1.6 Total (US$) 85.5 86.8 89.5 81.2 69.9 Total (PLN) 255.3 262.2 270.3 245.2 211.0 Total % Change -2.6% -3.0% 10.3% 16.2% -0.6%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users

Recorded Music Sales Trend (US$ million)


4 4 5 3 6

Recorded Music Sales by Sector 2010 n 89% Physical n 8% n 3% Performance rights Digital
68 76 82 82 76

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 8.9 10.2 9.9 9.8 7.9 Music Video 0.6 1.3 0.8 0.5 0.6 Other Physical 0.1 0.1 0.4 0.2 0.2

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

Top Selling Albums, 2010


Artist 1 2 3 4 5 6 7 8 9 10 Source: ZPAV Sade Ania Sting Dz em . Stare Dobre Mazenstwo Various Artists Brodka Various Artists Dz em Michael Jackson Title Soldier of love Ania Movie Symphonicities 30-te Urodziny Blues Nocy Bieszczadzkiej ta RMF Najlepsza Muzyka Na Swie Granda Najlepsza Muzyka Na Impreze Vol.2 Muza King Of Pop Company Sony Music Sony Music Universal Music Emi Music Emi Music Universal Music Sony Music Universal Music Emi Music Sony Music

53

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Performance rights music licensing company

10.8 40 Portuguese 23,000 1.0% Euro (EUR) 0.75 AFP/AC Nielsen Audiogest AFP

Top Independent Labels (in alphabetical order) Espacial Farol Musica iPlay Vidisco
Source: AFP

Portugal
World Ranking
Physical Digital Performance rights Total market 29 40 27 33 2010 2009 2008 2007 2006 5.2 2.1 15.8 2.6 0.8

Recorded Music Sales (US$ million, trade value)


Physical 37.4 48.1 56.1 64.6 75.8 Digital 3.4 3.8 5.1 3.4 3.3 Performance Rights 4.3 3.8 2.4 2.4 2.2 Total (US$) 45.2 55.7 63.6 70.4 81.3 Total (EUR) 33.9 41.8 47.7 52.8 60.9 Total % Change -18.8% -12.4% -9.6% -13.4% -7.6%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users Portable player users

Recorded Music Sales Trend (US$ million)


3 2 3 2 5 2 4 4 3 76 65 4

Recorded Music Sales by Sector 2010 n 83% Physical n 10% Performance rights n 7% Digital

56

48 37

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Digital Sales by Format 2010 (value) n 23% Digital album n 16% Online single track n 14% Mastertones n 12% Ringback tones n 10% Mobile single track n 25% Other

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 5.3 6.3 6.7 4.7 6.0 Music Video 0.5 0.6 0.8 0.8 1.0 Other Physical 0.1 0.5 0.2 0.2 0.3 Single Tracks 0.4 0.4 0.8 0.4 0.2 Digital Digital Albums 0.1 0.4 -

Note: music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only.

Top Selling Albums, 2010


Artist 1 2 3 4 5 6 7 8 9 10 Tony Carreira Varios Artists Deolinda Varios Artists Lady Gaga Black Eyed Peas Varios Artists Varios Artists Pedro Abrunhosa & Comite Cavia Michael Bubl Title O Mesmo De Sempre Morangos Com Acucar Vive O Teu Talento Dois Selos E Um Carimbo Viver A Vida Internacional The Fame The E.N.D. Anual Mix Summer 2010 Anual Mix 2010 Mixed By Dj Fernando Longe Crazy Love Company Farol Musica Farol Musica EMI Music Vidisco Universal Music Universal Music Vidisco Vidisco Universal Music Warner Music

54

Source: AFP

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Performance rights music licensing company

139.4 39 Russian 15,900 3.8% Russian Rouble (RUB) 30.43 RPA www.rpa-society.com

Russia
World Ranking
Physical Digital Performance rights Total market 21 16 52 22

Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 59.7 14.1 187.5 66.8 103.0 171.0 181.5 187.0 Digital 33.9 22.5 6.2 2.8 0.7 Performance Rights 3.3 0.6 0.3 Total (US$) 100.7 125.6 180.5 184.9 187.9 Total (RUB) 3,064.4 3,820.7 5,492.2 5,626.5 5,718.6 Total % Change -19.8% -30.4% -2.4% -1.6% 4.3%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions

Recorded Music Sales Trend (US$ million)


1 0.3 3 1 6 3

Recorded Music Sales by Sector 2010 n 63% Physical n 37% Digital


23 187 182 171 103 67 34

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

55

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate

5.5 37 Slovak 22,200 4.0% Euro (EUR) 0.75

Top Independent Labels (in alphabetical order) East West Promotion Forza Home Production Inagranti Records Opus Street Production Supraphon
Source: IFPI Czech Republic

Slovakia
World Ranking
Physical Digital Performance rights Total market 45 49 32 45 2010 2009 2008 2007 2006 4.1 0.7 5.5 0.5 3

Recorded Music Sales (US$ million, trade value)


Physical 6.0 6.0 6.0 6.2 6.4 Digital 0.3 0.4 Performance Rights 3.0 2.7 3.9 3.0 Total (US$) 9.3 6.4 8.7 10.1 9.4 Total (EUR) 6.9 4.8 6.5 7.6 7.1 Total % Change 44.8% -30.0% 7.3% 8.0% -11.0%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users

Recorded Music Sales Trend (US$ million)


4 3 0.3 3

Recorded Music Sales by Sector 2010 n 65% Physical n 32% Performance rights n 3% Digital
0.4

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value) n 31% Mastertones n 17% Mobile single track n 12% Subscriptions n 6% Ringback tones n 34% Other
2010 2009 2008 2007 2006

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 1.3 1.4 1.7 1.1 1.0 Music Video 0.1 0.1 0.1 Other Physical 0.1 -

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

56

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link

46.8 41 Castilian Spanish 29,500 -0.4% Euro (EUR) 0.75 GfK / Nielsen www.promusicae.es AGEDI www.agedi.es

Top Independent Labels (in alphabetical order) Avispa Blanco Y Negro Boa Dial Discmedi Divucsa Harmonia Mundi Naive Open
Source: PROMUSICAE

Spain
World Ranking
Physical Digital Performance rights Total market 12 14 8 11

Performance rights music licensing company Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 29.1 10.3 51.0 6.6 6.5 122.1 170.9 215.2 245.7 330.5 Digital 36.6 30.6 27.6 24.4 18.1 Performance Rights 27.8 34.6 32.6 27.4 22.7 Total (US$) 186.5 236.0 275.5 297.4 371.3 Total (EUR) 139.9 177.0 206.6 223.0 278.5 Total % Change -21.0% -14.3% -7.4% -19.9% -10.0%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphones Portable player users

Recorded Music Sales Trend (US$ million)


18 23 27 24 331 33 35

Recorded Music Sales by Sector 2010 n 65% Physical n 20% Digital n 15% Performance rights

28 31

28 37 171 122

246

215

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Digital Sales by Format 2010 (value) n 28% Subscriptions n 24% Ad-supported and other licensing n 11% Online single track n 11% Digital album n 7% n 5% Mobile single track Mastertones

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 10.5 15.2 19.8 21.1 25.9 Music Video 1.4 4.0 1.4 2.0 2.5 Other Physical 0.1 0.2 0.3 0.8 2.6 Single Tracks 6.4 7.3 7.2 1.8 Digital Digital Albums -

Note: music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. 2009 digital volumes not available.

n 14% Other

Top Selling Albums, 2010


Artist 1 2 3 4 5 6 7 8 9 10 Sergio Dalma Juan Manuel Serrat Alejandro Sanz Dani Martin Miguel Bose Justin Bieber Joaquin Sabina Estopa David Bisbal Bustamante Title Via Dalma Hijo De La Luz Y De La Sombra Paraso Express Pequeo Cardio My Worlds Vinagre Y Rosas X Anniversarivm Sin Mirar Atrs A Contracorriente Company Universal Music Sony Music Warner Music Sony Music Warner Music Universal Music Sony Music Sony Music Universal/Vale Music Universal/Vale Music

Source: Promusicae/GfK

57

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link Performance rights music licensing company Link

9.1 42 Swedish 39,000 4.1% Swedish Krona (SEK) 7.21 GLF/IFPI Sweden www.hitlistan.se IFPI Sweden www.ifpi.se

Top Independent Labels (in alphabetical order) Bonnier Amigo Music Group Family Tree Music Playground Music Scandinavia Roxy Recordings Sound Pollution Recordings
Source: IFPI Sweden

Sweden
World Ranking
Physical Digital Performance rights Total market 17 13 14 16

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 8.4 3.0 11.0 1.6 1.8 82.9 111.1 109.6 119.3 135.5 Digital 37.5 21.7 9.9 9.3 8.3 Performance Rights 15.7 13.7 11.4 12.1 11.4 Total (US$) 136.1 146.5 130.9 140.7 155.2 Total (SEK) 981.5 1,056.0 944.0 1,014.3 1,118.9 Total % Change -7.1% 11.9% -6.9% -9.3% -5.8%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users Portable player users

Recorded Music Sales Trend (US$ million)


8 11 9 12 10 11 22 14 16

Recorded Music Sales by Sector 2010 n 61% Physical n 28% Digital n 11% Performance rights
136 119

38

110

111

83

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Digital Sales by Format 2010 (value) n 61% Online streaming n 12% Online single track n 9% n 5% Digital album Mobile streaming

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 13.7 13.6 11.6 13.0 15.2 Music Video 0.4 0.4 0.4 0.6 0.6 Other Physical 0.2 0.6 1.0 1.1 1.2 Single Tracks 4.2 4.7 3.5 3.0 1.8 Digital Digital Albums 0.5 0.4 -

n 13% Other

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only.

Top Selling Albums, 2010


Artist 1 2 3 4 5 6 7 8 9 10 Source: IFPI Sweden The Playtones Kent Lady Gaga Hkan Hellstrm Robyn The baseballs Bruce springsteen Lasse Stefanz Jay Smith Rod Stewart Title Rock 'N' Roll Dance Party En Plats I Solen The Fame Monster 2 Steg Frn Paradise Body Talk Pt.1 Strike! The Promise Texas Jay Smith Fly Me To The Moon...The Great American Songbook Volume V Company Universal Music Sony Music Universal Music Universal Music EMI Music Warner Music Sony Music Warner Music Sony Music Universal Music

58

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link Performance rights music licensing company Link

7.7 41 German, French, Italian 42,900 2.8% Swiss Franc (CHF) 1.04 Media Control AG www.hitparade.ch Swissperform www.swissperform.ch

Top Independent Labels (in alphabetical order) K-Tel International AG Musikvertrieb AG Nation Music GmbH Phonag Records AG TBA AG
Source: IFPI Schweiz

Switzerland
World Ranking
Physical Digital Performance rights Total market 11 21 21 13

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 5.7 2.9 9.3 1.1 2.0 128.5 155.9 179.6 193.3 211.8 Digital 25.5 23.0 13.8 12.3 7.2 Performance Rights 7.6 7.4 6.6 5.7 6.8 Total (US$) 161.6 186.3 199.9 211.3 225.8 Total (CHF) 168.0 193.7 207.9 219.7 234.9 Total % Change -13.3% -6.8% -5.4% -6.5% -11.2%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users Portable player users

Recorded Music Sales Trend (US$ million)


7 7 12 6 14 7

7 8 23 26

Recorded Music Sales by Sector 2010 n 80% Physical n 16% Digital n 4% Performance rights
212 193 180 156

129

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Recorded Music Sales Volume (million units) Digital Sales by Format 2010 (value) n 42% Online single track n 41% Digital album n 12% Subscriptions n 5% Other
CD 2010 2009 2008 2007 2006 8.4 9.8 11.4 11.6 12.7 Physical Music Video 0.2 0.3 0.2 0.3 0.4 Other Physical 0.3 0.5 0.9 1.1 1.4 Single Tracks 12.3 10.0 6.0 5.6 1.9 Digital Digital Albums 1.9 1.2 0.7 0.6 0.2

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only.

59

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Performance rights music licensing company

77.8 28 Turkish 12,300 7.3% Turkish Lira (TRY) 1.51 M-YAP www.mu-yap.org

Top Independent Labels (in alphabetical order) Avrupa Mzik Yapim Dogan Mzik Yapim Emre Grafson Mzik Kalan Mzik Pasaj Mzik Seyhan Mzik Prodksiyon
Source: M-YAP

Turkey
World Ranking
Physical Digital Performance rights Total market 24 35 30 28

Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 35.0 8.0 62.0 4 52.1 59.5 63.9 73.6 83.5 Digital 5.8 5.0 Performance Rights 4.2 3.8 7.6 5.5 3.9 Total (US$) 62.0 62.8 71.5 79.1 87.4 Total (TRY) 93.7 103.0 108.0 119.5 132.0 Total % Change -9.1% -4.6% -9.6% -9.5% -8.3%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions

Note: 2005-2008 performance rights revenues are including digital revenues.

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 84% Physical n 9% n 7% Digital Performance rights
83

6 8 5 4 6 4

74

64

60

52

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 10.4 10.3 10.7 13.3 13.5 Other Physical 0.6 1.0 2.1 4.8 9.2

Note: Other physical includes singles, vinyl, cassette and other.

60

IFPI Recording Industry in Numbers 2011

Europe

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate

62.3 40 English 35,100 1.6% British Pound (GBP) 0.65 OCC/Millward Brown
www.theofcialcharts.com

Top Independent Labels (in alphabetical order) Bella Union Cherry Red Cooking Vinyl Delta Demon Domino Recordings HNH MSHK Not Now Music Union Square XL Beggars
Source: OCC/BPI

United Kingdom
World Ranking
Physical Digital Performance rights Total market 4 3 1 4

Chart compiler Link Performance rights music licensing company Link

PPL www.ppluk.com

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 51.4 18.8 80.4 10.3 1.4 17.9 920.0 1,138.5 1,211.9 1,341.9 1,604.6 Digital 347.4 290.5 196.8 134.9 101.7 Performance Rights 111.1 120.7 111.6 98.7 93.8 Total (US$) 1,378.5 1,549.6 1,520.3 1,575.4 1,800.2 Total (GBP) 896.0 1,007.2 988.2 1,023.7 1,170.1 Total % Change -11.0% 1.9% -3.5% -12.5% -6.0%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users Tablet users Portable player users

Recorded Music Sales Trend (US$ million)


102 94 99 135 112 121 111 197 291 347

Recorded Music Sales by Sector 2010 n 67% Physical n 25% Digital n 8% Performance rights

1605

1342

1212

1139

920

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Recorded Music Sales Volume (million units) Digital Sales by Format 2010 (value) n 46% Online single track n 36% Digital album n 7% n 5% Subscriptions Ad-supported and other licensing Other Top Selling Albums, 2010
Artist 1 2 3 4 5 6 7 8 9 10 Take That Michael Buble Various Artists Lady Gaga Rihanna Plan B Various Artists Paolo Nutini Alicia Keys Florence & The Machine Title Progress Crazy Love Now Thats What I Call Music 77 The Fame Loud The Defamation Of Strickland Banks Now Thats What I Call Music 76 Sunny Side Up The Element Of Freedom Lungs Company Universal Music Warner Music Emi Music/Universal Music Universal Music Universal Music Warner Music Emi Music/Universal Music Warner Music Sony Music Universal Music 2010 2009 2008 2007 2006 Physical CD 99.8 119.4 131.2 139.0 164.4 Music Video 3.5 5.0 4.5 5.2 7.3 Other Physical 2.8 4.5 7.1 11.8 19.8 Single Tracks 159.7 149.7 109.8 77.5 52.5 Digital Digital Albums 21.0 16.1 10.3 6.2 2.2

Note: music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only.

n 6%

Source: OCC/BPI

61

IFPI Recording Industry in Numbers 2011

Asia

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Performance rights music licensing company Link

1336.7 35 Standard Chinese, Mandarin 7,400 10.1% Chinese Yuan (CNY) 6.78 CAVCA (for Karaoke Videos) www.cavca.org

Top Independent Labels (in alphabetical order) HY Brothers Modern Sky Taihe Rye Music Co. Ltd.
Source: IFPI Asian Regional Ofce

China
World Ranking
Physical Digital Performance rights Total market 38 10 52 27

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 457.0 450.0 634.0 15.5 19.4 32.4 42.3 55.5 Digital 48.8 56.2 52.6 35.6 31.5 Performance Rights Total (US$) 64.3 75.5 85.0 77.9 87.0 Total (CNY) 435.8 512.2 576.1 528.2 589.8 Total % Change -14.9% -11.1% 9.1% -10.4% 24.5%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 76% Digital n 24% Physical


56 32 36 53 56 49 42 32 19 16

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value) n 27% Ringback tones n 18% Streams n 14% Ad-supported and other licensing n 12% Mobile single track n 10% Subscriptions n 10% Mastertones n 7% Unearned Advances & OneOff Payments Other

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 4.1 4.2 7.7 13.1 16.6 Music Video 0.1 0.8 2.1 1.5 6.9 Other Physical 2.9

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

n 2%

62

IFPI Recording Industry in Numbers 2011

Asia

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link

7.1 43 Chinese (Cantonese) 45,600 5.7% Hong Kong Dollar (HKD) 7.77 PP(SEA)L and HKRIA www.ppseal.com www.hkria.com

Top Independent Labels (in alphabetical order) Avex Asia Ltd. BMA Records Ltd. East Asia Music (Holdings) Ltd. East Asia Record Production Co. Ltd. Emperor Entertainment (Hong Kong) Ltd. Evolution Limited Forward Music Co. Ltd.
Source: IFPI Hong Kong Group Ltd.

Gold Typhoon Entertainment Ltd. HNH International Ltd. (Naxos) Love Da Group Co. Ltd. Neway Star Ltd. Worldstar Music International Ltd. WOW Music Ltd.

Hong Kong
World Ranking
Physical Digital Performance rights Total market 31 28 43 34

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 4.9 2.9 13.0 31.5 35.5 42.5 50.0 56.6 Digital 8.6 8.2 7.1 6.6 4.9 Performance Rights 6.2 6.3 5.4 Total (US$) 40.1 43.7 55.8 62.8 66.9 Total (HKD) 311.3 339.4 433.7 488.1 519.9 Total % Change -8.3% -21.8% -11.1% -6.1% -5.5%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions

Recorded Music Sales Trend (US$ million)


3 5 6 6 7 7 8 57 50 42 35 32 9

Recorded Music Sales by Sector 2010 n 79% Physical n 21% Digital

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value) n 65% Subscriptions n 9% n 4% Ringback tones Mobile streams

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 2.3 2.7 3.4 4.4 4.7 Music Video 0.4 0.4 0.6 0.5 0.7 Other Physical 0.1 0.1 0.2

n 22% Other

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

63

IFPI Recording Industry in Numbers 2011

Asia

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Performance rights music licensing company Link

1,173.1 26 Hindi 3,400 8.3% Indian Rupee (INR) 45.94 PPL www.pplindia.org

Top Independent Labels (in alphabetical order) Aditya Music (India) Saregama India Super Cassettes Industries Times Music Tips Industries Ltd. Venus Records & Tapes Ltd.
Source: IMI

India
World Ranking
Physical Digital Performance rights Total market 22 9 7 14 2010 2009 2008 2007 2006 81.0 9.0 752.0 18.9 12 40 21 21 96 26 17 42 54

Recorded Music Sales (US$ million, trade value)


Physical 64.8 68.2 85.4 92.9 102.3 Digital 54.1 42.1 27.5 20.8 9.7 Performance Rights 40.1 26.2 20.8 12.2 Total (US$) 159.0 136.5 133.8 126.0 112.0 Total (INR) 7,308.4 6,271.5 6,147.1 5,786.5 5,146.8 Total % Change 16.5% 2.0% 6.2% 12.4% 4.6%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 41% Physical n 34% Digital n 25% Performance rights
102 93

85

68

65

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value) n 75% Ringback tones n 11% Streams n 8% n 6% Mobile single track Other
2010 2009 2008 2007 2006

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 35.5 33.4 36.0 37.2 42.5 Music Video 0.3 0.3 0.2 0.1 Other Physical 4.0 24.4 38.5 46.7 56.4

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

64

IFPI Recording Industry in Numbers 2011

Asia

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate

243.0 28 Bahasa Indonesia 4,300 6.0% Indonesian Rupiah (IDR) 9,123.13

Top Independent Labels (in alphabetical order) Aquarius Musikindo Musica Studio's Trinity Optima Production
Source: ASIRI

Indonesia
World Ranking
Physical Digital Performance rights Total market 33 18 52 31 2010 2009 2008 2007 2006 30.0 1.8 180.0 7.7

Recorded Music Sales (US$ million, trade value)


Physical 22.0 26.9 25.8 34.3 43.0 Digital 30.1 31.6 29.6 23.9 28.1 Performance Rights Total (US$) 52.1 58.5 55.5 58.2 71.1 Total (IDR) 474,656.2 534,080.7 505,900.5 530,701.6 648,412.0 Total % Change -11.1% 5.6% -4.7% -18.2% 33.2%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 58% Digital n 42% Physical

26 24 30 32 30

43

34

26

27

22

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value)

n Digital

Recorded Music Sales Volume (million units) n 89% Ringback tones n 11% Other
2010 2009 2008 2007 2006 CD 6.3 7.6 5.8 5.0 4.3 Physical Music Video 3.1 3.0 3.4 2.7 2.6 Other Physical 2.0 3.3 3.5 11.7 16.8

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

65

IFPI Recording Industry in Numbers 2011

Asia

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link

126.8 45 Japanese 32,400 3.0% Japanese Yen (JPY) 87.83 RIAJ www.riaj.or.jp RIAJ www.riaj.or.jp

Top Independent Labels (in alphabetical order) Avex Marketing Inc. Being Inc. Nippon Columbia Co. Ltd. Dreamusic Inc. Forlife Music Entertainment Inc. Pony Canyon Inc. Teichiku Entertainment Inc. Tokuma Japan Communications Co. Ltd. VAP Inc. Victor Entertainment Inc.

Geneon Universal Yamaha Music Entertainment Japan, LLC Communications Co. King Record Co. Ltd. Nippon Crown Co. Ltd.
Source: RIAJ

Japan
World Ranking
Physical Digital Performance rights Total market 1 2 2 2

Performance rights music licensing company Link

Yoshimoto R and C Co. Ltd.

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 99.1 33.5 117.1 13.5 14.7 2885.2 3,188.0 3,788.2 3,944.5 4,200.4 Digital 979.0 1035.9 966.9 771.0 517.5 Performance Rights 94.3 92.7 85.6 82.7 81.8 Total (US$) 3,958.5 4,316.6 4,840.7 4,798.2 4,799.8 Total (JPY) 347,680.8 379,124.7 425,159.5 421,426.7 421,562.7 Total % Change -8.3% -10.8% 0.9% 0.0% 1.2%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users Portable player users

Recorded Music Sales Trend (US$ million)


82 518 83 771 86 93 967 1,036 94

Recorded Music Sales by Sector 2010 n 73% Physical n 25% Digital n 2% Performance rights
4,200 3,945 3,788

979

3,188

2,885

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Digital Sales by Format 2010 (value) n 55% Mobile single track n 15% Mastertones n 12% Ringback tones n 7% Online single track

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 114.5 125.0 165.4 176.5 197.5 Music Video 17.5 19.0 17.1 17.3 18.9 Other Physical 44.9 45.2 49.8 59.8 65.8 Single Tracks 182.5 185.4 187.4 Digital Digital Albums 2.9 2.6 2.2 -

n 11% Other

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only.

66

IFPI Recording Industry in Numbers 2011

Asia

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Performance rights music licensing company

28.3 27 Bahasa Malaysia 14,700 7.1% Malaysian Ringgit (MYR) 3.23 PPM www.ppm.org.my

Top Independent Labels (in alphabetical order) Hui Hvang Enterprise Sdn Bhd Hup Hup Sdn Bhd Insictech Musicland Sdn Bhd Inteam Records Sdn Bhd Interglobal Music (M) Sdn Bhd New Southern Records Sdn Bhd Rock Records (M) Sdn Bhd Starmedia Entertainment Sdn Bhd Suria Records Sdn Bhd Tropic Jaya Entertainment Sdn Bhd
Source: RIM

Malaysia
World Ranking
Physical Digital Performance rights Total market 36 26 25 35

Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 16.9 1.8 30.4 17.8 22.2 17.5 19.1 23.7 Digital 13.1 9.3 7.5 4.9 5.0 Performance Rights 6.0 5.2 4.5 4.0 4.0 Total (US$) 36.9 36.7 29.5 28.1 32.6 Total (MYR) 119.3 118.5 95.4 90.7 105.5 Total % Change 0.7% 24.2% 5.2% -14.0% 6.2%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 48% Physical n 36% Digital n 16% Performance rights

4 5 4 5 5 8

5 9

6 13

24

19

17

22

18

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value)

n Digital

n Performance Rights

Recorded Music Sales Volume (million units) n 82% Ringback tones n 5% Mobile single track
CD 2010 2009 2008 2007 2006 2.1 2.5 1.8 2.1 2.2 Physical Music Video 0.6 0.6 0.5 0.5 0.5 Other Physical 0.1 0.1 0.2 0.6

n 13% Other

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

67

IFPI Recording Industry in Numbers 2011

Asia

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Performance rights music licensing company Link

99.9 28 Filipino, English 3,500 6.7% Philippine Peso (PHP) 45.24 PMPPSI/MVP mvp.net.ph

Top Independent Labels (in alphabetical order) Able Music International, Inc. Alpha Music Corporation Dyna Music Entertainment Corporation Galaxy Records GMA Records Ivory Music & Video Piper Paper Records/Polyeast Records Praise, Inc. Star Recording, Inc. Universal Records Vicor Music Corporation Viva Records Corporation
Source: PARI

Philippines
World Ranking
Physical Digital Performance rights Total market 40 39 52 42 2010 2009 2008 2007 2006 29.7 1.8 78.0 1

Recorded Music Sales (US$ million, trade value)


Physical 12.5 15.3 13.2 15.0 19.0 Digital 4.1 3.2 2.3 1.0 0.8 Performance Rights Total (US$) 16.5 18.5 15.5 16.0 19.8 Total (PHP) 747.8 838.3 702.0 724.2 896.5 Total % Change -10.8% 19.4% -3.1% -19.2% -14.7%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions

Recorded Music Sales Trend (US$ million)

3 1 2

Recorded Music Sales by Sector 2010 n 76% Physical n 24% Digital


19 15 13 15 13

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Digital Sales by Format 2010 (value) n 48% Ringback tones n 20% Mastertones n 20% Mobile single track n 7% n 5% Online single track Other

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 2.1 2.5 2.6 3.0 3.9 Music Video 0.3 0.4 0.5 0.4 0.5 Other Physical 0.2 0.2 0.2 0.1 0.3

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

68

IFPI Recording Industry in Numbers 2011

Asia

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Performance rights music licensing company Link

4.7 40 English 62,200 14.6% Singapore Dollar (SGD) 1.36 RIPS www.rips.com.sg

Top Independent Labels (in alphabetical order) EQ Music Pte. Ltd. HIM International Music Pte. Ltd. Life Records Industries Pte. Ltd. Ocean Buttery Music Pte. Ltd. Rock Records (S) Ltd.
Source: RIAS

Singapore
World Ranking
Physical Digital Performance rights Total market 39 31 39 38 2010 2009 2008 2007 2006 3.7 1.0 7.0 0.6

Recorded Music Sales (US$ million, trade value)


Physical 14.5 17.3 21.4 27.3 31.0 Digital 7.1 3.3 1.5 1.0 1.2 Performance Rights 1.6 1.5 1.5 0.6 2.5 Total (US$) 23.2 22.1 24.3 28.9 34.6 Total (SGD) 31.6 30.0 33.0 39.3 47.1 Total % Change 5.2% -9.1% -16.0% -16.5% -14.8%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users

Recorded Music Sales Trend (US$ million)


1 3 1 1 2 2 2 2 3 27 21 17 15 7

Recorded Music Sales by Sector 2010 n 63% Physical n 31% Digital n 6% Performance rights
31

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value) n 33% Subscriptions n 11% Ringback tones n 56% Other
2010 2009 2008 2007 2006

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 1.3 1.6 1.9 2.4 2.7 Music Video 0.1 0.1 0.1 0.1 0.2 Other Physical 0.1 -

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

69

IFPI Recording Industry in Numbers 2011

Asia

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate

48.6 38 Korean 30,200 6.1% South Korean Won (KRW) 1,159.87

Top Independent Labels (in alphabetical order) Big Hit Entertainment Core Contents Media DSP Media JYP Entertainment KT Music Loen Entertainment Mnet Media Neowiz Internet Corp. Playcube Entertainment SM Entertainment YG Entertainment
Source: IFPI Asian Regional Ofce

South Korea
World Ranking
Physical Digital Performance rights Total market 18 8 52 12 2010 2009 2008 2007 2006 39.4 16.8 50.7 6.5

Recorded Music Sales (US$ million, trade value)


Physical 80.7 71.1 75.0 45.1 55.5 Digital 97.7 88.6 69.7 70.1 70.3 Performance Rights Total (US$) 178.4 159.7 144.7 115.2 125.9 Total (KRW) 206,595.1 185,232.2 167,852.7 133,667.6 145,970.5 Total % Change 11.5% 10.4% 25.6% -8.4% 84.1%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 55% Digital n 45% Physical


70 70 75 71 70 89

98

56

80

45

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value) n 50% Online single track n 22% Subscriptions n 9% n 7% n 7% n 5% Mastertones Ringback tones Streams Other

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 9.5 8.8 9.6 6.3 7.9 Music Video 0.2 0.2 0.1 0.1 Other Physical 0.1 0.1 0.1 0.1 0.3

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

70

IFPI Recording Industry in Numbers 2011

Asia

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Performance rights music licensing company

23.0 37 Mandarin Chinese, Taiwanese (Min) 35,100 8.3% Taiwan Dollar (TWD) 31.55 ARCO/AMCO www.arco.org.tw

Top Independent Labels (in alphabetical order) Avex Forward Music Co. Ltd. JVR Music International Ltd. HIM International Music Incorporated Linfair Records Limited Rock Records (Taiwan) Co. Ltd.
Source: RIT

Taiwan
World Ranking
Physical Digital Performance rights Total market 25 29 38 29

Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 16.1 4.9 27.0 2.7 5 8 1 9 2 8 2 9 51.2 51.3 49.6 62.1 67.0 Digital 8.5 8.2 8.8 8.1 4.8 Performance Rights 2.0 1.7 1.3 Total (USD) 61.6 61.3 59.7 70.2 71.8 Total (TWD) 1,945.3 1,932.9 1,884.4 2,214.9 2,265.1 Total % Change 0.6% 2.6% -14.9% -2.2% -29.4%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 83% Physical n 14% Digital n 3% Performance rights
2006 2007 2008 2009 2010 67 62 51

50

51

n Physical

n Digital

n Performance Rights

Digital Sales by Format 2010 (value) n 59% Subscriptions n 29% Ringback tones n 7% n 5% Mobile single track Other

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 4.0 3.9 4.1 5.4 5.7 Music Video 0.5 0.6 0.4 0.3 0.4 Other Physical 0.3 0.3 0.3 0.4 0.6

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

71

IFPI Recording Industry in Numbers 2011

Asia

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Performance rights music licensing company

67.1 34 Thai 8,700 7.6% Thai Baht (THB) 31.95 MPC music Co Ltd www.mpcmusic.co.th

Top Independent Labels (in alphabetical order) GMM Grammy Public Co. Ltd. Nopporn Silver Gold Co. Ltd. Platinum Marketing and Distribution Co. Ltd. RS. Promotion Public Co. Ltd. Sure-Audio Co. Ltd.
Source: TECA

Thailand
World Ranking
Physical Digital Performance rights Total market 32 11 46 25

Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 17.5 2.1 65.3 1 17 16 26 38 41 62 50 0.3 0.4 0.4 27.9 36.6 44.8 50.1 62.0 Digital 40.6 37.6 26.0 15.5 17.4 Performance Rights 0.4 0.4 0.3 0.6 Total (US$) 68.9 71.7 71.1 66.3 79.4 Total (THB) 2,201.6 2,383.1 2,270.1 2,117.5 2,537.2 Total % Change -7.6% 5.0% 7.2% -16.5% -18.6%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 59% Digital n 40% Physical n 1% Performance rights

45

37

28

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value) n 54% Ringback tones n 15% Mobile single track n 10% Mastertones n 8% n 5% n 8% Online single track Other mobile Other
2010 2009 2008 2007 2006

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 3.6 4.6 6.1 6.2 7.8 Music Video 4.9 6.8 7.2 8.1 7.4 Other Physical 1.1 3.5

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

72

IFPI Recording Industry in Numbers 2011

Australasia

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link

21.5 38 English 41,300 3.3% Australian Dollar (AUD) 1.09 ARIA www.aria.com.au PPCA www.ppca.com.au

Top Independent Labels (in alphabetical order) ABC Music Dew Process Hillsong Liberation Ministry Of Sound
Source: ARIA

Australia
World Ranking
Physical Digital Performance rights Total market 6 7 11 7

Performance rights music licensing company Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 17.0 5.2 26.7 2.0 267.0 350.6 358.1 407.0 466.1 Digital 106.6 80.8 56.3 36.3 26.2 Performance Rights 19.0 16.7 15.4 12.4 11.9 Total (US$) 392.7 448.1 429.7 455.7 504.2 Total (AUD) 428.0 488.4 468.4 496.7 549.6 Total % Change -12.4% 4.3% -5.7% -9.6% -3.2%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users

Recorded Music Sales Trend (US$ million)


26 12 36 12 15 56 17 19 81 107 466 407

Recorded Music Sales by Sector 2010 n 68% Physical n 27% Digital n 5% Performance rights

358

351 267

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value) n 47% Online single track n 30% Digital album n 7% n 5% n 2% n 9% Mobile single track Mastertones Subscriptions Other
2010 2009 2008 2007 2006

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 24.5 29.4 30.2 33.8 38.1 Music Video 2.6 4.0 3.9 4.5 4.1 Other Physical 0.1 0.6 1.5 2.6 4.6 Single Tracks 48.9 34.3 22.0 16.3 10.3 Digital Digital Albums 3.7 2.5 3.2 0.9 0.5

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only.

Top Selling Albums, 2010


Artist 1 2 3 4 5 6 7 8 9 10 Source: ARIA P!nk Susan Boyle Eminem Bon Jovi Greatest Hits Susan Boyle Lady Gaga Angus & Julia Stone Mumford & Sons Michael Buble Katy Perry Title Greatest Hits... So Far I Dreamed A Dream Recovery Bon Jovi The Gift The Fame Monster Down The Way Sigh No More Crazy Love Teenage Dream Company Sony Music Sony Music Universal Music Universal Music Sony Music Universal Music EMI Music Universal Music Warner Music EMI Music

73

IFPI Recording Industry in Numbers 2011

Australasia

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link Performance rights music licensing company Link

4.3 37 English, Maori 28,000 2.1% New Zealand Dollar (NZD) 1.39 Media Sauce/RIANZ www.nztop40.com PPNZ www.rianz.org.nz

Top Independent Labels (in alphabetical order) Border Music Ltd. Liberation Music NZ Ltd. Ode Record Company Ltd. Regency Shock Ltd. Rhythmethod Ltd. Triton Music Ltd.
Source: RIANZ

New Zealand
World Ranking
Physical Digital Performance rights Total market 30 30 36 32

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 3.6 1.0 4.8 0.4 36.4 50.5 53.1 59.0 67.3 Digital 8.3 6.4 5.3 4.4 3.1 Performance Rights 2.3 2.6 2.4 2.0 1.6 Total (US$) 47.0 59.5 60.8 65.4 72.0 Total (NZD) 65.4 82.7 84.5 90.9 100.0 Total % Change -21.0% -2.1% -7.0% -9.1% -10.8%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users

Recorded Music Sales Trend (US$ million)


3 2 4 2 5 2 3 6 2 8 67 59 53 51 36

Recorded Music Sales by Sector 2010 n 77% Physical n 18% Digital n 5% Performance rights

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value) n 45% Online single track n 32% Digital album n 11% Mobile single track n 12% Other
2010 2009 2008 2007 2006

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 3.6 4.6 4.8 4.8 6.0 Music Video 0.4 0.6 0.8 0.6 0.6 Other Physical 0.1 0.3 0.4

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. 2009 digital volumes not available.

74

IFPI Recording Industry in Numbers 2011

Latin America & Caribbean

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link Performance rights music licensing company Link

41.3 30 Spanish 14,700 7.5% Argentine Peso (ARS) 3.92 CAPIF www.capif.org.ar CAPIF www.capif.org.ar

Top Independent Labels (in alphabetical order) Distribuidora Belgrano Norte EPSA Music Leader Music Music Brokers Pop Art
Source: CAPIF

Argentina
World Ranking
Physical Digital Performance rights Total market 28 32 20 30

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 26.6 4.0 46.5 2.5 1 3 2 4 2 5 6 4 8 7 40.0 40.4 44.2 45.6 42.9 Digital 6.7 3.6 2.3 1.5 0.9 Performance Rights 7.8 6.3 4.8 3.8 3.0 Total (US$) 54.1 50.7 51.3 51.0 46.8 Total (ARS) 212.1 197.2 200.9 199.9 183.6 Total % Change 7.6% -1.9% 0.5% 8.9% 16.8%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphones users

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 73% Physical n 15% Performance rights n 12% Digital
43 46

44

40

40

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value) n 51% Mobile single track n 17% Mastertones n 8% n 6% n 6% Subscriptions Mobile music video Ad-supported and other licensing
2010 2009 2008 2007 2006

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 10.3 10.7 12.6 15.0 14.4 Music Video 1.0 1.3 1.4 1.3 1.0 Other Physical 0.1 0.1 0.1 0.3

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

n 12% Other

75

IFPI Recording Industry in Numbers 2011

Latin America & Caribbean

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link Performance rights music licensing company Link

201.1 29 Portuguese 10,900 7.5% Brazilian Real (BRL) 1.77 ABPD www.abpd.org.br ABRAMUS www.abramus.org.br

Top Independent Labels (in alphabetical order) Atrao Fonogrca Biscoito Fino CID Entertainment Deck Disk Indie Records Radar Records MK Music Som Livre
Source: ABPD

Brazil
World Ranking
Physical Digital Performance rights Total market 10 12 12 10

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 75.9 14.5 184.0 8.0 6 11 17 12 14 31 267 194 186 187 173 14 30 18 38 172.5 186.9 186.1 183.9 267.3 Digital 38.1 30.2 30.5 16.8 6.3 Performance Rights 18 14.2 13.6 12.1 11.3 Total (US$) 228.5 231.3 230.2 212.8 284.9 Total (BRL) 404.5 409.4 407.5 376.6 504.2 Total % Change -1.2% 0.5% 8.2% -25.3% -23.8%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 76% Physical n 17% Digital n 7% Performance rights

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value) n 60% Subscriptions n 14% Mobile single track n 10% Ad-supported and other licensing n 5% Mastertones n 11% Other

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 20.7 22.8 25.4 26.6 33.0 Music Video 7.3 6.0 5.8 5.7 6.0 Other Physical -

Note: Music video includes DVD and VHS.

Top Selling Albums, 2010


Artist 1 2 3 4 5 6 7 8 9 10 Source: ABPD Luan Santana Justin Bieber Lady Gaga Zez Di Camargo & Luciano Padre Fbio De Melo Padre Reginaldo Manzotti Padre Fbio De Melo Beyonc Bruno & Marrone Various Artists Title Luan Santana Ao Vivo My Worlds The Fame Double Face Iluminar Ao Vivo Sinais Do Sagrado Iluminar I am... Sasha Fierce De Volta Aos Bares Erguei As Mos! Company Som Livre Universal Music Universal Music Sony Music Som Livre Som Livre Som Livre Sony Music Sony Music Sony Music

76

IFPI Recording Industry in Numbers 2011

Latin America & Caribbean

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Performance rights music licensing company (Barbados) Performance rights music licensing company (Costa Rica)

41.1 27 Spanish, English 10,757 2.51% US Dollar (USD) 1.0 COSCAP FONOTICA

Performance rights music licensing company (Dominican Republic) Performance rights music licensing company (El Salvador) Performance rights music licensing company (Guatemala) Performance rights music licensing company (Jamaica) Performance rights music licensing company (Panama)

SODINPRO

ASAP AGINPRO JAMMS PRODUCE

Central America/ Caribbean


World Ranking
Physical Digital Performance rights Total market 47 38 44 46

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 10.9 44.5 4.2 4.9 8.9 10.1 10.3 Digital 4.2 3.3 0.9 0.9 0.1 Performance Rights 0.4 0.4 0.2 0.1 Total (US$) 8.8 8.7 10.0 11.0 10.5 Total (USD) 8,801.5 8,690.8 9,955.7 11,045.2 10,500.8 Total % Change -2.2% -10.0% -8.5% 4.5% -13.5%

Digital Indicators (millions)


Internet users Mobile subscriptions

Recorded Music Sales Trend (US$ million)


0.1 0.2 1 1 3 10 10 9 5 4 4 0.4 0.4 8

Recorded Music Sales by Sector 2010 n 48% Digital n 47% Physical n 5% Performance rights

2006 2007 2008 2009 2010

Digital Sales by Format 2010 (value) n 83% Ringback tones n 6% n 6% n 5% Mobile single track Mobile music video Other

n Physical

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 0.8 0.5 0.9 1.1 1.1 Music Video 0.1 0.1 0.1 Other Physical 0.1 0.1 0.1

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

77

IFPI Recording Industry in Numbers 2011

Latin America & Caribbean

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Performance rights music licensing company

16.7 32 Spanish 15,500 5.3% Chilean Peso (CLP) 519.31 PROFOVI www.profovi.cl

Top Independent Labels (in alphabetical order) Alerce Producciones Discos CNR Feria Music JCM Discogrca Leader Music Msica & Marketing Producciones BBC Records Star Sound
Source: IFPI Chile

Chile
World Ranking
Physical Digital Performance rights Total market 42 36 37 41

Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 8.4 1.5 16.4 0.9 1 2 9.3 9.4 12.8 20.7 22.5 Digital 5.3 4.5 4.0 2.6 1.0 Performance Rights 3.7 2.0 1.7 1.5 1.7 Total (US$) 18.3 15.8 18.5 24.8 25.1 Total (CLP) 8,651.6 8,221.6 9,611.7 12,867.0 13,055.6 Total % Change 5.2% -14.5% -25.3% -1.4% -3.4%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users

Recorded Music Sales Trend (US$ million)


2

2 2 4 4 5 13 5

Recorded Music Sales by Sector 2010 n 56% Physical n 32% Digital n 12% Performance rights
22 21

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Digital Sales by Format 2010 (value) n 33% Mastertones n 29% Online single track n 20% Digital album n 13% Mobile single track n 5% Other

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 2.3 0.9 1.3 3.5 3.9 Music Video 0.1 0.1 0.1 0.8 0.4 Other Physical 0.7

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

78

IFPI Recording Industry in Numbers 2011

Latin America & Caribbean

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Performance rights music licensing company Link

44.2 28 Spanish 9,800 4.4% Colombian Peso (COP) 1,921.35 ACINPRO


www.acinpro.org.co

Top Independent Labels (in alphabetical order) Codiscos Colmusica Discos Dago Discos Fuentes FM Discos Y Cintas Origin
Source: ACINPRO

Colombia
World Ranking
Physical Digital Performance rights Total market 41 33 34 40 2010 2009 2008 2007 2006 21.5 2.7 41.4

Recorded Music Sales (US$ million, trade value)


Physical 11.2 15.9 21.8 22.8 31.2 Digital 6.4 5.2 6.5 3.9 1.6 Performance Rights 2.8 2.7 2.2 2.0 1.9 Total (US$) 20.4 23.8 30.6 28.7 34.7 Total (COP) 39,093.6 45,785.7 58,699.3 55,216.8 66,587.7 Total % Change -14.6% -22.0% 6.3% -17.1% 2.2%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions

Recorded Music Sales Trend (US$ million)


2 2 2 2 3 7 5 23 22 16 6 11 3

Recorded Music Sales by Sector 2010 n 55% Physical n 32% Digital n 13% Performance rights
31

13 4

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value) n 20% Ringback tones n 14% Mastertones n 9% n 5% Mobile single track Online single track

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 1.8 2.3 4.0 3.7 5.4 Music Video 0.2 0.2 0.4 0.4 0.7 Other Physical 0.1 0.1

n 52% Other

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

79

IFPI Recording Industry in Numbers 2011

Latin America & Caribbean

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Performance rights music licensing company

14.8 25 Spanish 7,800 2.4% Ecuador Sucre (Ecs) 25,587.00 SOPROFON www.soprofon.ec

Top Independent Labels (in alphabetical order) Croatia Records Hit Records Scardona
Source: IFPI Croatia (HDU)

Ecuador
World Ranking
Physical Digital Performance rights Total market 51 43 51 53

Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 2.4 13.6 1.0 1.2 1.6 2.0 2.4 Digital 0.5 0.4 Performance Rights 0.1 Total (US$) 1.6 1.7 1.6 2.0 2.4 Total (USD) 1,618.2 1,652.8 1,566.7 2,034.2 2,372.4 Total % Change -2.1% 5.5% -23.0% -14.3% -22.3%

Digital Indicators (millions)


Internet users Mobile subscriptions

Note: Figures reported in USD

Recorded Music Sales Trend (US$ million) Recorded Music Sales by Sector 2010 n 59% Physical n 32% Digital n 9% Performance rights
2 2 2 0.4 0.5

Digital Sales by Format 2010 (value) n 45% Mobile single track n 44% Mastertones n 11% Other

2006 2007 2008 2009 2010

n Physical

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 0.1 0.2 0.2 0.3 0.4 Music Video Other Physical -

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

80

IFPI Recording Industry in Numbers 2011

Latin America & Caribbean

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Chart compiler Link Performance rights music licensing company Link

112.5 27 Spanish 13,800 5.0% Mexican Peso (MXN) 12.65 IPSOS


www.amprofon.com.mx

Top Independent Labels (in alphabetical order) Compaa Fonogrca Internacional Discos Ciudad Discos Denver Discos Musart/Balbao Records Mexican Records Multimusic Producciones Fonogrcas Jasper
Source: AMPROFON

Mexico
World Ranking
Physical Digital Performance rights Total market 15 19 40 17

SOMEXFON www.somexfon.com

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 30.6 10.8 75.3 3.2 99.5 109.1 114.5 151.0 196.0 Digital 29.4 19.0 14.0 13.2 7.3 Performance Rights 1.5 1.1 0.4 0.5 0.1 Total (US$) 130.4 129.2 129.0 164.8 203.4 Total (MXN) 1,649.7 1,634.4 1,631.7 2,084.6 2,573.6 Total % Change 0.9% 0.2% -21.7% -19.0% -10.3%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users

Recorded Music Sales Trend (US$ million)


7 0.1 1

Recorded Music Sales by Sector 2010 n 76% Physical n 23% Digital n 1% Performance rights
196

13

0.4 14

1 19

2 29

151 115 109 100

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value) n 25% Mobile single track n 21% Online single track n 11% Online album n 11% Subscriptions n 9% n 5% n 3% Streams Mastertones Ad-supported and other licensing
2010 2009 2008 2007 2006

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 19.8 22.1 22.4 30.5 38.6 Music Video 1.2 1.6 1.4 1.8 1.4 Other Physical 0.1 0.2 Single Tracks 11.0 Digital Digital Albums 0.8 -

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other. Single tracks refer to online single track sales only.

n 15% Other

81

IFPI Recording Industry in Numbers 2011

Latin America & Caribbean

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate

29.9 26 Spanish, Quechua 8,600 7.8% Peruvian Nuevo Sol (PEN) 2.87

Peru
World Ranking
Physical Digital Performance rights Total market 50 47 33 49 2010 2009 2008 2007 2006 7.7 27.1

Recorded Music Sales (US$ million, trade value)


Physical 1.5 1.5 1.6 1.8 1.9 Digital 0.3 0.5 Performance Rights 2.8 1.9 1.1 0.6 0.5 Total (US$) 4.6 3.8 2.7 2.4 2.5 Total (USD) 4.6 3.9 2.8 2.4 2.5 Total % Change 17.9% 39.3% 16.7% -4% -10.3%

Digital Indicators (millions)


Internet users Mobile subscriptions

Recorded Music Sales Trend (US$ million)


3

Recorded Music Sales by Sector 2010 n 61% Performance rights n 32% Physical n 7% Digital
2 2 2 1 1 1

0.3 2

2006 2007 2008 2009 2010

Digital Sales by Format 2010 (value) n 56% Mastertones n 27% Mobile single track n 14% Ringback tones n 3% Other

n Physical

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 2010 2009 2008 2007 2006 0.2 0.1 0.2 0.1 0.3 Music Video Other Physical -

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

82

IFPI Recording Industry in Numbers 2011

Latin America & Caribbean

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Performance rights music licensing company

3.5 34 Spanish, Portunol, or Brazilero 13,600 7.1% Uruguayan Peso (UYU) 20.44 CUD
www.cudisco.org

Top Independent Labels (in alphabetical order) Ayu Tacuab Bizarro Koala Montevideo Music Group Sondor Zapatito
Source: CUD

Uruguay
World Ranking
Physical Digital Performance rights Total market 48 48 42 51

Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 1.1 3.5 2.6 3.3 3.1 3.2 3.1 Digital 0.3 0.4 Performance Rights 0.9 0.9 0.7 0.6 0.4 Total (US$) 3.8 4.5 3.8 3.8 3.4 Total (UYU) 79.7 93.5 77.0 76.9 69.8 Total % Change -14.8% 21.5% 0.1% 10.1% 17.8%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 68% Physical n 24% Performance rights n 8% Digital
0.4

1 135 1 1 0.4

1 0.3

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value) n 47% Mastertones n 29% Mobile single track n 19% Ringback tones n 5% Other
2010 2009 2008 2007 2006

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 0.4 0.5 0.5 0.5 0.5 Music Video 0.3 0.1 0.1 Other Physical 0.1 0.1 -

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

83

IFPI Recording Industry in Numbers 2011

Latin America & Caribbean

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Performance rights music licensing company

27.2 26 Spanish 12,600 -2.8% Venezuelan Bilivar Fuerte (VEF) 4.21 AVINPRO
www.avinpro.com

Top Independent Labels (in alphabetical order) Asociacin Civil HTPG Discogrca Taguapica Luna Creciente Records Magia Caribea Records Producciones Lara Records
Source: AVINPRO

Venezuela
World Ranking
Physical Digital Performance rights Total market 43 45 41 43

Link

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 8.8 1.4 27.1 1 1 1 1 1 8.9 10.8 9.3 7.9 6.5 Digital 0.5 0.7 0.5 0.4 Performance Rights 1.4 0.6 0.4 0.2 Total (US$) 10.8 12.1 9.8 8.7 6.7 Total (VEF) 45,436.6 50,971.1 41,272.9 36,526.5 28,498.8 Total % Change -10.9% 23.5% 13.0% 28.2% 21.8%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions

Recorded Music Sales Trend (US$ million)

Recorded Music Sales by Sector 2010 n 83% Physical n 12% Performance rights n 5% Digital
0.2

0.4

0.4

11 9

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value) n 61% Mobile single track n 15% Mastertones n 15% Mobile music video n 4% n 5% Ringback tones Other
2010 2009 2008 2007 2006

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 1.0 0.5 1.0 1.4 1.7 Music Video 0.1 0.1 0.1 Other Physical 0.1 0.1 -

ote: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

84

IFPI Recording Industry in Numbers 2011

Africa

Population (millions) Median age (years) Language GDP per capita (US$) GDP % change Currency Exchange rate Performance rights music licensing company Link

49.1 25 English 10,700 3.0% South African Rand (ZAR) 7.34 RISA www.risa.org.za

Top Independent Labels (in alphabetical order) Bula Music Cool Spot Sarepta Select Sheer Sound/Music/Iris
Source: RISA

South Africa
World Ranking
Physical Digital Performance rights Total market 14 34 35 18

Recorded Music Sales (US$ million, trade value)


Physical 2010 2009 2008 2007 2006 5.3 2.0 46.4 4.6 2 114.5 125.6 129.2 142.3 139.9 Digital 6.4 4.8 3.8 3.1 2.2 Performance Rights 2.5 2.8 1.9 Total (US$) 123.4 133.1 135.0 145.4 142.1 Total (ZAR) 906.2 977.3 990.9 1067.5 1043.1 Total % Change -7.3% -1.4% -7.2% 2.3% 3.3%

Digital Indicators (millions)


Internet users Broadband households Mobile subscriptions Smartphone users

Recorded Music Sales Trend (US$ million)


3 4 2 5 3

Recorded Music Sales by Sector 2010 n 93% Physical n 5% n 2% Digital Performance rights
140 142

129

126

115

2006 2007 2008 2009 2010

n Physical Digital Sales by Format 2010 (value) n 28% Subscriptions n 13% Mastertones n 13% Ringback tones n 9% Mobile single track
2010 2009 2008 2007 2006

n Digital

n Performance Rights

Recorded Music Sales Volume (million units)


Physical CD 16.0 17.1 18.7 19.5 18.7 Music Video 2.1 2.0 2.3 2.2 Other Physical 1.0 1.2 2.1 5.0 3.4

n 37% Other

Note: Music video includes DVD and VHS. Other physical includes singles, vinyl, cassette and other.

85

IFPI Recording Industry in Numbers 2011

Local Music Association Contacts

Appendix Index

Photo credit: Kati Molin

Photo credit: Jaimie Duplass

87 Recorded Music Retail Sales 2009- 2010 88 Local Music Industry Association Contacts 90 International Certication Award Levels 92 S  ales Taxes on Sound Recordings & Exchange Rates

94 World Ranking 2010 95 Repertoire Origin 2010 Physical 96 Recorded Music Volume Trend

86

IFPI Recording Industry in Numbers 2011

Recorded Music Volume Trend

Recorded Music Volume Trend (gures in millions)


Full-Length Formats
LPs 2010 2009 2008 2007 2006 2005 2004 2003 2002 2001 2000 1999 1998 1997 1996 1995 1994 1993 1992 1991 1990 1989 1988 1987 1986 1985 1984 1983 1982 1981 1980 1979 1978 1977 1976 1975 1974 1973 Source: IFPI
Notes n Other includes SACD and DVD-A and other. n Singles include physical singles and online single tracks. Mobile singles not included.

MCs 34 56 82 115 181 304 418 481 599 659 769 833 954 1,188 1,200 1,354 1,382 1,476 1,493 1,447 1,540 1,390 1,150 970 950 800 660 570 510 474 470 428 374 289 236 209 185

CDs 1,074 1,333 1,552 1,764 1,939 2,038 2,027 2,176 2,298 2,441 2,399 2,363 2,215 2,162 1,983 1,784 1,419 1,185 998 777 600 400 260 140 61 20 6 -

Music Video 93 89 110 120 149 150 154 110 78 12 16 -

Other 2 2 4 3 10 13 5 1 1 1 1 -

Digital albums 125 95 63 39 18 6 -

Total Units 2010 1,332 1,580 1,817 2,043 2,300 2,517 2,611 2,775 2,986 3,124 3,199 3,218 3,186 3,372 3,216 3,188 2,909 2,836 2,782 2,564 2,590 2,300 2,000 1,800 1,741 1,620 1,516 1,470 1,650 1,352 1,365 1,370 1,272 1,032 910 864 802 2009 2008 2007 2006 2005 2004 2003 2002 2001 2000 1999 1998 1997 1996 1995 1994 1993 1992 1991 1990 1989 1988 1987 1986 1985 1984 1983 1982 1981 1980 1979 1978 1977 1976 1975 1974 1973

Singles 1,636 1,445 1,150 847 576 346 233 265 318 370 439 458 516 466 432 390 410 352 334 344 357 370 390 490 650 750 800 680 550 526 624 600 545 516 483 515 530

6 5 6 3 4 7 6 8 10 12 14 22 17 21 33 49 109 175 292 339 450 510 590 690 730 800 850 900 1,140 878 896 942 898 743 674 655 617

87

IFPI Recording Industry in Numbers 2011

Local Music Industry Association Contacts

Local Music Industry Association Contacts


Correct as at March 2011. For the latest information please see www.ifpi.org

North America
Canada Canadian Recording Industry Association (CRIA) 85 Mowat Avenue Toronto ON M6K 3E3 Tel: +1 (416) 967 7272 Fax: +1 (416) 967 9415 info@cria.ca www.cria.ca USA Recording Industry Association of America Inc. (RIAA) 1025 F. Street, NW 10th Floor Washington, D.C. 20004 Tel: +1 202 775 0101 Fax: +1 202 775 7253 www.riaa.com

Czech Republic IFPI Czech Republic Na Kozacce 7 CZ-120 00 Prague 2 Tel: +420 2 2150 7624 ifpicr@ifpicr.cz www.ifpicr.cz Denmark IFPI Denmark c/o: Johan Schluter Advokatrma Hjbro Plads 10 DK-1200 Kobenhavn K Tel: +45 32 71 20 80 Fax: +45 32 71 21 00 info@ifpi.dk www.musik.org / www.ifpi.dk Finland The Finnish Group of IFPI Yrjonkatu 3B 00120 Helsinki Tel: +358 (9) 6803 4050 Fax: +358 (9) 6803 4055 ifpi@ifpi. www.ifpi. France Address as at June 2011 onwards Syndicat National de lEdition Phonographique (SNEP) 14 boulevard du Gnral Leclerc 92527 Neuilly sur Seine cedex Tel: +33 (1) 4413 6666 Fax: +33 (1) 5376 0733 contactsnep@wanadoo.fr www.disqueenfrance.com Germany Bundesverband Musikindustrie e.V. Reinhardtstrae 29 D-10117 Berlin Tel: +49 30 590 0380 Fax: +49 30 590 03838 info@musikindustrie.de www.musikindustrie.de Greece Association of Greek Producers of Phonograms 65 Aristotelous Street Halandri 15232 Tel: +30 2 10 685 1739 Fax: +30 2 10 68 01 660 info@ifpi.gr www.ifpi.gr Hungary Magyar Hanglemezkiadk Szvetsge (MAHASZ) Harcos tr 5 Budapest, 1113 Tel: +36 (1) 391 4200 Fax: +36 (1) 200 2679 info@mahasz.hu www.mahasz.hu

IFPI Iceland Eidistorgi 17 170 Seltjarnarnes Iceland Tel: +354 561 8065 Fax: +354 561 8065 sfh@islandia.is Ireland Irish Recorded Music Association (IRMA) IRMA House 1 Corrig Avenue Dun Laoghaire Co.Dublin Tel: +353 (1) 280 6571 Fax: +353 (1) 280 6579 irma_info@irma.ie www.irma.ie IFPI Israel 10 Habonim Street Ramat Gan 52462 Tel:+972 (3) 613 0715 / 0716 Fax: +972 (3) 575 6747 www.ifpi.co.il Italy Federazione Industria Musicale Italiana (FIMI) Galleria del Corso 4 20122 Milano Tel: +390 (2) 795 879 Fax: +390 (2) 799 673 info@mi.it www.mi.it Netherlands NVPI, branchevereniging van de entertainmentindustrie Albertus Perkstraat 36 1217 NT Hilversum Tel: +31 (35) 625 4411 Fax: +31 (35) 625 4410 info@nvpi.nl www.nvpi.nl Norway IFPI Norway Kr Augustsgt 10 0164 Oslo Tel: +47 (22) 99 31 00 Fax: +47 (22) 99 31 01 ifpi.sekretariat@ifpi.no www.ifpi.no Poland Zwiazek Producentow Audio Video (ZPAV) 12/2 Kruczkowskiego Street 00-380 Warsaw Tel: +48 (22) 625 69 66 Fax: +48 (22) 625 16 61 biuro@zpav.pl www.zpav.pl

Portugal Associao Fonogrca Portuguesa (AFP) Av. Sidnio Pais 20 R/C DT 1050-215 Lisbon Tel: +351 (21) 3 156 655 Fax: +351 21 3 156 683 geral@afp.org.pt www.afp.org.pt Russia Please contact the IFPI European Regional ofce Spain Productores de Musica de Espaa (Promusicae) Edicio Iberia Mart II Calle Orense, 34- 8 28020 Madrid Tel: +34 (91) 417 04 70 Fax: +34 (91) 556 92 72 promusicae@promusicae.es www.promusicae.es Sweden IFPI Svenska Gruppen (IFPI Sweden) Tegnrgatan 34 113 59 Stockholm Tel: +46 (8) 735 9750 Fax: +46 (8) 273 745 info@ifpi.se www.ifpi.se Switzerland Schweizer Landesgruppe der IFPI (IFPI Switzerland) Kraftstrasse 30 8044 Zurich Tel: +41 (43) 343 93 30 Fax: +41 (43) 343 93 40 info@ifpi.ch www.ifpi.ch Turkey IFPI Trkiye Milli Grubu (M-YAP) Turnasibasi Cad. Kuloglu Mah No 16 80070 Beyoglu Istanbul Tel: +90 (212) 292 46 13 /14/15/16 Fax: +90 (212) 292 46 17 disiliskiler@mu-yap.org www.mu-yap.org United Kingdom British Phonographic Industry (BPI) Riverside Building, County Hall Westminster Bridge Road London SE1 7JA Tel: +44 (0)20 7803 1300 Fax: +44 (0)20 7803 1310 www.bpi.co.uk

Europe
Austria IFPI Austria Verband der sterreichischen Musikwirtschaft Seilersttte 18-20 / Mezzanin A-1010 Vienna Tel: +43 (1) 535 6035 Fax: +43 (1) 535 5191 ofce@ifpi.at www.ifpi.at Belgium Belgian Entertainment Association (BEA) Place de lAlma 3 Bte 2 1200 Brussels Tel: +32 2 779 4174 Fax: +32 (2) 779 1669 bea@belgianentertainment.be www.belgianentertainment.be Bulgaria Bulgarian Association of Music Producers (BAMP) 77 Tsar Asen Str. 1463 Soa Tel: +359 2 963 2757 Fax: +359 2 866 0104 ofce@bamp-bg.org www.bamp-bg.org Croatia Croatian Phonographic Association IFPI Croatia (HDU) Brozova 8 A 10000 Zagreb Tel: +385 1 3668 194 /5 Fax: +385 1 3668 072 hdu@hdu.hr www.hdu.hr

88

IFPI Recording Industry in Numbers 2011

Local Music Industry Association Contacts

Asia
China Please contact the IFPI Asia Regional ofce Hong Kong (1) Hong Kong Recording Industry Alliance (HKRIA) 22/F Shanghai Industrial Investment Building 48-62 Hennessy Road Wanchai Hong Kong SAR China Tel: (+852) 2520 7000 Fax: (+852) 2882 6897 general@hkria.com www.hkria.com Hong Kong (2) IFPI (Hong Kong Group) Ltd. Unit 18A Tower A Billion Centre No. 1 Wang Kwong Road, Kowloon Bay, Kowloon Tel: (+852) 2861 4318 Fax: (+852) 2866 6859 enquiry@ifpihk.org www.ifpihk.org India The Indian Music Industry (IMI) Crescent Towers, 7th Floor, B-68, Veera Estate, Off New Link Road, Andheri (W), Mumbai 400 053 Tel : 91 22 26736301/02/03 Fax : 91 22 26736304 www.indianmi.org Indonesia Please contact the IFPI Asia Regional ofce Japan Recording Industry Association of Japan (RIAJ) 11F, Kita-Aoyama Yoshikawa Bldg 2-12-16 Kita-Aoyama Minato-ku Tokyo 107-0061 Tel: +81 (3) 6406 0510 Fax: +81 (3) 6406 0520 info@riaj.or.jp www.riaj.or.jp Malaysia Recording Industry Association of Malaysia (RIM) No. L-8-2, 8th Floor, Block L No.2, Jalan Solaris Solaris MontKiara 50480 Kuala Lumpur Tel: +603 6207 2800 Fax: +603 6207 2900 info@rim.org.my www.rim.org.my

Philippines Please contact the IFPI Asia Regional ofce Singapore Recording Industry Association Singapore (RIAS) 4 Leng Kee Road #03-07 SiS Building Singapore 159088 Tel: +65 6220 4166 Fax: +65 6220 9452 info@rias.org.sg www.rias.org.sg South Korea Please contact the IFPI Asia Regional ofce Taiwan Recording Industry Foundation in Taiwan 4F, No.85, Sec. 4, Bade Road Sungshan Chiu 105 Taipei Tel: +886 (2) 2718 8818 Fax: +886 (2) 2528 1998 info@rit.org.tw www.rit.org.tw Thailand Thai Entertainment Content Trade Association (TECA) 23/17-18 Soi Soonvijai, Rama 9 Road Bangkapi Sub-District Huay-Kwang District 10320 Bangkok Tel: +662 203 1002/3 Fax: +662 203 1010 ifpithai@teca.co.th www.teca.co.th

Latin America & Caribbean


Argentina Cmara Argentina de Productores de Fonogramas y Videogramas (CAPIF) Lavalle 534, 4to Piso C1047AAL Capital Federal Buenos Aires Tel: +54 11 4326 6464 Fax: +54 11 4326 7830 capif@capif.org.ar www.capif.org.ar Brazil Associao Brasileira de Produtores de Disco (ABPD) Av. das Amricas, 500 Bloco 11 Sala 204 Barra da Tijuca Rio de Janeiro RJ CEP 22640-100 Tel: +55 21 3511 9908 Fax: +55 21 3511 9907 abpd@abpd.org.br www.abpd.org.br Central America/Caribbean Please contact the IFPI Latin America ofce Chile IFPI Chile, AG Av Antonio Varas No 2043 Providencia Santiago Tel: +56 2 379 3890 Fax: +56 2 434 0015 www.ifpichile.cl Colombia APDIF Colombia Carrera 14, No. 94 A 10 Ocina 42 Edicio Chico 94 A Bogota D.C. Tel: +57 (1) 812 8662 www.apdifcolombia.com Ecuador Please contact the IFPI Latin America ofce Mexico Asociacion Mexicana de Productores de Fonogramas y Videogramas A.C.(Amprofon) Lafontaine 42 Col. Polanco Chapultepec C.P.11560 Mexico D.F. Tel: +52 5 55281 6035/38 Fax: +52 5 55280 9079 amprofon@amprofon.com.mx www.amprofon.com.mx

Peru Please contact the IFPI Latin America ofce Uruguay Please contact the IFPI Latin America ofce Venezuela Asociacion de Productores Fonogracos de Venezuela (APROFON VENEZUELA) Av. Principal de los Cortijos de Lourdes Piso 3 Edicio Los Hermanos Caracas Tel: +58 212 238 0044 aprofonvenezuela@cantv.net

Africa
South Africa The Recording Industry of South Africa (RISA) P O Box 367 Randburg 2194 Tel: +27 11 886 1342 Fax: +27 11 886 4169 david@risa.org.za www.risa.org.za

Regional Ofces
IFPI London (IFPI head ofce) 10 Piccadilly London W1J 0DD UK Tel: +44 (0)20 7878 7900 Fax: +44 (0)20 7878 7950 info@ifpi.org www.ifpi.org IFPI European Ofce Square de Mees 40 1000 Brussels Belgium Tel: +32 (0)2 511 9208 Fax: +32 (0)2 502 3077 Email: euroinfo@ifpi.org IFPI Latin America Ofce 10451 NW 117th Avenue Suite 105 Miami Florida 33178 USA Tel: +1 305 567 0861 Fax: +1 305 567 0871 IFPI Asia Ofce 22/F Shanghai Industrial Investment Building 48-62 Hennessy Road Wanchai Hong Kong Tel: +852 2 866 6862 Fax: +852 2865 6326 asia@ifpi.org

Australasia
Australia Australian Recording Industry Association (ARIA) Level 4 19 Harris Street Pyrmont 2009 NSW Tel: +61 2 8569 1144 Fax: +61 2 8569 1181 aria.mail@aria.com.au www.aria.com.au New Zealand Recording Industry Association of New Zealand (RIANZ) Private Bag 78 850 Grey Lynn Auckland Tel: +64 09 360 5085 Fax: +64 09 360 5086 music@rianz.org.nz www.rianz.org.nz

89

IFPI Recording Industry in Numbers 2011

International Certication Award Levels

International Certication Award Levels


Correct as at May 2010. For the latest information please see www.ifpi.org

Albums
Domestic Repertoire Silver North America Gold Platinum Diamond Silver International Repertoire Gold Platinum Diamond

Canada USA
Europe

3,500 60,000

40,000 500,000 10,000 10,000 15,000 7,000 6,000 15,000 10,000 50,000 100,000 6,000 5,000 5,000 7,500 30,000 5,000 25,000 15,000 15,000 10,000 50,000 3,000 5,000 30,000 20,000 15,000 100,000 100,000 50,000 20,000 100,000 35,000 100,000 7,500 10,000 5,000 5,000 15,000 10,000 35,000 7,500 20,000 40,000 7,500 10,000 3,000 30,000 5,000 3,000 2,000 5,000 20,000 10,000 20,000

80,000 1,000,000 20,000 20,000 30,000 15,000 12,000 30,000 20,000 100,000 200,000 12,000 10,000 10,000 15,000 60,000 9,000 50,000 30,000 30,000 20,000 100,000 6,000 10,000 60,000 40,000 30,000 200,000 300,000 100,000 40,000 200,000 75,000 250,000 15,000 20,000 10,000 10,000 30,000 20,000 70,000 15,000 40,000 80,000 15,000 20,000 6,000 60,000 10,000 6,000 4,000 10,000 40,000 20,000 40,000

800,000 10,000,000 30,000 600,000 300,000 150,000 300,000 300,000 500,000 1,000,000 200,000 250,000 300,000 300,000

s s s s

s s s 15,000 10,000 s 3,000 s s s s 3,000 3,000 s s s s s s 10,000 s 10,000 1,000 s s s s s 25,000 10,000 4,000 10,000 s s 7,500 s s 5,000 5,000 s s s 20,000 s 5,000 s s s s s s s 3,000 1,000

s s s 30,000 20,000 s 6,000 s s s s 6,000 6,000 s s s s s s 20,000 s 20,000 2,000 s s s s s 50,000 20,000 6,000 15,000 s s 15,000 s s 10,000 10,000 s s s 40,000 s 10,000 s s s s s s s 6,000 2,000

s s s s s 100,000 60,000 100,000 160,000 s s s

Austria Belgium Bulgaria Croatia Czech Republic Denmark Finland France Germany Greece Hungary Iceland Ireland Italy Latvia Netherlands Norway Poland Portugal Russia Slovakia Slovenia Spain Sweden Switzerland Turkey UK Ukraine
Asia*

China India Indonesia Japan Malaysia Philippines Singapore South Korea Taiwan Thailand
Australasia

Australia New Zealand


Latin America

Argentina Brazil Chile Colombia Ecuador Mexico Paraguay Peru Uruguay Venezuela
Africa

South Africa
Middle East

Gulf States (GCC) Lebanon

Notes n s indicates same levels for both domestic and international repertoire n Australia, Finland ,Germany, Norway, Poland, Sweden, UK & USA: Digital album sales can be included for certication n Asia for some Asian territories combinations of digital sales can count towards the award level. For further information about the Asia levels please contact asia@ifpi.org or the national group. n For details of award levels in Hong Kong please contact asia@ifpi.org n Argentina has separate levels for digital albums 10,000 for Gold and 20,000 for Platinum (both domestic & international) n Belgium: Domestic repertoire is divided into non-Dutch/French repertoire and French/Dutch repertoire and award levels vary;

n Different levels for classical and jazz repertoire. Please contact BEA for further information n China: For regional repertoire levels are 75,000 for Gold & 150,000 for Platinum n Germany: for jazz repertoire levels are 10,000 for Gold and 20,000 for Platinum n Hungary: Classical/Jazz/World Music/Proze levels are 1500/3000 (regardless of origin) n Italy: also has a multi-platinum level (120,000 units). Same levels as above apply to compilation albums n Mexico: levels stated above are effective for releases from July 2009 onwards n Middle East: Domestic repertoire = Arab repertoire. GCC includes Bahrain, Kuwait, Oman, Qatar, Saudi Arabia & UAE n Netherlands: For classical, jazz and world repertoire the respective levels are 10,000/20,000 for Gold/Platinum. n USA: Levels for Latin repertoire = 50,000 for Gold & 100,000 for Platinum

90

IFPI Recording Industry in Numbers 2011

International Certication Award Levels

Music Videos (thousands)


Gold North America Platinum Diamond

Singles (thousands)
Gold North America Platinum Diamond

Canada USA
Europe

5,000 50,000 5,000 25,000 3,000 7,500 5,000 7,500 25,000 3,000 2,000 5,000 2,000 5,000 30,000 5,000 5,000 4,000 25,000 500 10,000 10,000 25,000 100,000 7,500 2,500 7,500 25,000 2,500 5,000 10,000 1,000

10,000 100,000 10,000 50,000 6,000 15,000 10,000 15,000 50,000 6,000 4,000 10,000 4,000 8,000 60,000 10,000 10,000 8,000 50,000 1,000 25,000 20,000 50,000 250,000 15,000 5,000 15,000 50,000 5,000 10,000 20,000 2,000

100,000 60,000 1,000,000 75,000 250,000

Canada USA
Europe

5,000 500,000 15,000 10,000 15,000 5,000 150,000 150,000 3,000 1,500 7,500 3,000 10,000 5,000 10,000 20,000 10,000 15,000 400,000 100,000 5,000 5,000 50,000 35,000 5,000 10,000

10,000 1,000,000 30,000 20,000 1,000 30,000 10,000 250,000 300,000 6,000 3,000 15,000 6,000 20,000 10,000 20,000 40,000 20,000 30,000 600,000 250,000 10,000 10,000 100,000 70,000 10,000 25,000

100,000 2,000 400,000 1,000,000

Austria Belgium Czech Republic Denmark Finland France Germany Greece Hungary Iceland Ireland Latvia Netherlands Norway Poland Portugal Russia Slovakia Spain Sweden UK
Asia

Austria Belgium Czech Republic Denmark Finland France Germany Greece Hungary Ireland Lithuania Netherlands Norway Portugal Spain Sweden Switzerland UK
Asia

Japan Singapore Taiwan Thailand


Australasia

Japan
Australasia

Australia New Zealand


Latin America

Australia New Zealand


Africa

Argentina Brazil Chile Colombia Mexico Uruguay

South Africa

Notes n Brazil: Figures shown are for domestic repertoire. For international repertoire Gold, Platinum and Diamond are15,000, 30,000 & 125,000 respectively

Notes n Belgium: Figures in table indicate domestic repertoire. Levels for international repertoire are Gold 15,000 and Platinum 30,000 n Thailand: Figures in table indicate domestic repertoire. Levels for international repertoire are Gold 20,000 and Platinum 40,000 n Denmark, Finland, Germany, Ireland, Italy, Norway, Sweden, UK & Australia : digital single sales can be included for certication

Digital Download Singles (thousands)


Gold Platinum Diamond

Master Ringtones (thousands)


Gold Platinum Diamond

Argentina Brazil Canada Denmark Egypt Italy Japan Mexico Spain USA

10,000 50,000 40,000 15,000 20,000 15,000 100,000 40,000 20,000 500,000

20,000 100,000 80,000 30,000 40,000 30,000 250,000 80,000 40,000 1,000,000

500,000 800,000 60,000 1,000,000* 400,000

Brazil Canada Egypt Japan* Mexico Spain USA

50,000 20,000 20,000 40,000 20,000 500,000

100,000 40,000 40,000 80,000 40,000 1,000,000

500,000 400,000 1,000,000 400,000

Notes n Brazil: gures refer to domestic repertoire. For international repertoire the levels are 30,000/60,000/250,000 respectively for Gold/Platinum/Diamond n Japan: Awards start at 500,000 called Double Platinum

Notes n Brazil: Figures refer to domestic repertoire. For international repertoire the levels are 30,000 / 60,000 / 250,000 respectively for Gold/Platinum/Diamond n Denmark: gure can include physical singles certied together * called Million Award

91

IFPI Recording Industry in Numbers 2011

Sales Taxes & Exchange Rates

Sales Taxes On Sound Recordings & Exchange Rates


Correct as at March 2011

North America Canada Jamaica USA Europe Austria Belgium Bulgaria Croatia Cyprus Czech Republic Denmark Estonia Finland France Germany Greece Hungary Iceland Ireland Italy Latvia Lithuania Netherlands Norway Poland Portugal Romania Russia Slovakia Slovenia Spain Sweden Switzerland Turkey UK Ukraine 20% 21% 20% 23% 15% 20% 25% 20% 22% 19.6% 19% 23% 25% 7% 21% 20% 21% 21% 19% 25% 23% 23% 19% 18% 19% 20% 18% 25% 7.6% 18% 20% 20% 5% 16.5% 0% 10.25%

Asia China Hong Kong India Indonesia Japan Malaysia Pakistan Philippines Singapore South Korea Taiwan Thailand Latin America Argentina Brazil Chile Colombia Ecuador Mexico Paraguay Peru Uruguay Venezuela Australasia Australia New Zealand Africa South Africa Zimbabwe
Notes n Canada: sales tax varies by province. n USA: sales tax varies by state. n Israel: 2.5% for MCs and 5% for CDs applicable to non-EU territories and USA.

17% 4% 10.3% 10% 5% 10% 15% 12% 7% 10% 5% 7%

21% 15% 18% 19% 16% 12% 16% 10% 19% 12%

10% 15%

14% 15%

92

IFPI Recording Industry in Numbers 2011

Sales Taxes & Exchange Rates

US$ Exchange Rate 2010 Country

Argentina Australia Austria Belgium Brazil Bulgaria Canada Central America Chile China Colombia Croatia Czech Republic Denmark Ecuador Finland France Germany Greece Hong Kong Hungary Iceland India Indonesia Ireland Italy Japan Malaysia Mexico Netherlands New Zealand Norway Peru Philippines Poland Portugal Russia Singapore Slovakia South Africa South Korea Spain Sweden Switzerland Taiwan Thailand Turkey UK Ukraine Uruguay
USA Venezuela

3.92 1.09 0.75 0.75 1.77 1.48 1.03 1.00 519.31 6.78 1921.35 5.51 19.12 5.62 1.00 0.75 0.75 0.75 0.75 7.77 208.25 124.86 45.94 9123.13 0.75 0.75 87.83 3.23 12.65 0.75 1.39 6.05 1.00 45.24 3.02 0.75 30.43 1.36 0.75 7.34 1159.87 0.75 7.21 1.04 31.55 31.95 1.51 0.65 8.05 20.44
1.00 4.21

Source: Oanda

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IFPI Recording Industry in Numbers 2011

World Ranking 2010

World Ranking 2010


World Ranking 2009 (% of global trade revenues) Country Japan USA Germany UK France Australia Canada Netherlands Italy Brazil Switzerland Spain Belgium South Africa Mexico Austria Sweden South Korea Poland Norway Russia India Denmark Turkey Taiwan Finland Ireland Argentina Portugal New Zealand Hong Kong Thailand Indonesia Czech Republic Greece Malaysia Hungary China Singapore Philippines Colombia Chile Venezuela Croatia Slovakia Central America / Caribbean Uruguay Bulgaria Peru Ecuador Source: IFPI Physical rank 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 % of global 28% 20% 11% 9% 6% 3% 3% 2% 2% 2% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% Country USA Japan UK Germany France Canada Australia South Korea India China Thailand Italy Spain Sweden Brazil Denmark Russia Norway Indonesia Mexico Netherlands Switzerland Austria Belgium Ireland Malaysia Finland Hong Kong Singapore Taiwan New Zealand Greece Turkey Argentina Chile Colombia South Africa Philippines Central America / Caribbean Portugal Poland Czech Republic Bulgaria Hungary Ecuador Venezuela Peru Uruguay Slovakia Croatia Source: IFPI Digital rank 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 % of global 44% 21% 8% 4% 3% 2% 2% 2% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% Country UK Japan Germany USA France Netherlands India Spain Italy Canada Australia Belgium Brazil Sweden Austria Denmark Norway Finland Switzerland Argentina Czech Republic Poland Malaysia Hungary Greece Portugal Croatia Slovakia Turkey Colombia Peru New Zealand South Africa Singapore Taiwan Chile Mexico Venezuela Hong Kong Uruguay Bulgaria Central America / Caribbean Thailand Ecuador Source: IFPI Perf. rights rank 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 % of global 13% 11% 11% 11% 9% 7% 5% 3% 3% 2% 2% 2% 2% 2% 2% 2% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1%

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IFPI Recording Industry in Numbers 2011

Repertoire Origin 2010

Repertoire Origin 2010 Physical


World Ranking 2009 (% of global trade revenues) Country USA Japan Germany UK France Canada Australia Netherlands Italy Brazil Spain South Korea Switzerland India Belgium Sweden Mexico South Africa Austria Norway Denmark Russia Poland Finland Thailand Ireland China Turkey Taiwan Argentina Indonesia New Zealand Portugal Hong Kong Malaysia Greece Czech Republic Singapore Hungary Colombia Chile Philippines Venezuela Croatia Slovakia Central America Peru Uruguay Bulgaria Ecuador Source: IFPI Total market 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 % of global 26% 25% 9% 9% 5% 3% 3% 2% 2% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% 1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% <1% Argentina Australia Brazil Bulgaria Canada Central America Chile China Czech Republic Denmark Ecuador Finland France Germany Hong Kong Hungary India Indonesia Italy Japan Malaysia Mexico New Zealand Norway Peru Philippines Poland Portugal Singapore Slovakia South Africa South Korea Spain Sweden Switzerland Taiwan Thailand UK Uruguay USA Venezuela Source: IFPI
Note Regional Repertoire included in the International Repertoire.

Repertoire Origin 2009 Physical product only


Domestic 35% 25% 59% 4% 27% 1% 17% 30% 51% 57% 1% 51% 60% 32% 25% 38% 74% 65% 52% 81% 20% 43% 11% 46% 9% 29% 23% 35% 1% 50% 45% 72% 37% 49% 15% 36% 64% 38% 52% 93% 0% International 61% 59% 38% 84% 73% 80% 75% 53% 40% 40% 95% 33% 32% 51% 46% 62% 5% 35% 41% 19% 58% 48% 89% 51% 86% 45% 48% 38% 78% 42% 55% 15% 42% 51% 65% 44% 36% 40% 46% 5% 99% Classical 4% 3% 2% 3% 4% 2% 17% 5% 3% 1% 4% 8% 8% 15% 7% 1% 2% 3% 6% 1% 9% 5% 3% 10% 7% 5% 13% 4% 1% 2% 1% Compilations 13% 0% 9% 15% 7% 4% 3% 12% 10% 13% 21% 21% 7% 8% 25% 20% 27% 17% 5% 3% 14% 14% 7% 18% 0%

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IFPI Recording Industry in Numbers 2011

Retail Sales 2009-2010

Recorded Music Retail Sales 20092010


Recorded Music Retail Sales 2008-2009 (US$ million)
Physical market Digital market Total market

2008
North America

2009 343.2 3,635.2 184.1 187.6 2.4 11.0 31.9 95.9 79.5 1,010.5 1,713.6 74.1 24.9 7.5 77.9 275.4 270.2 131.4 124.4 43.8 126.2 9.6 183.2 136.8 166.1 73.0 1,388.1 23.2 37.8 91.0 29.2 4,096.9 23.9 15.6 18.0 116.9 56.3 39.2

2008 159.0 3,152.0 23.4 19.7 1.3 0.2 2.0 41.0 8.5 208.9 217.0 10.1 1.7 0.1 19.0 50.3 24.1 25.4 6.9 48.0 0.8 52.5 29.9 35.5 432.6 138.9 18.9 115.9 87.3 1,320.3 25.6 8.0 7.8 216.3 20.2 102.2

2009 207.3 3,689.1 32.3 24.0 1.0 0.3 2.2 56.2 18.1 269.5 312.6 9.2 1.1 24.6 60.6 37.8 49.3 5.0 7.0 60.0 0.5 62.2 67.9 46.5 10.2 614.3 115.3 19.1 146.8 82.7 1,246.3 34.7 10.8 12.1 244.7 20.9 110.7

2008 603.5 7,714.0 240.1 214.5 5.7 13.6 46.6 162.0 102.9 1,321.1 2,084.9 113.0 32.0 8.0 103.2 332.3 351.1 191.9 127.3 75.1 242.2 8.8 308.6 202.1 237.1 83.3 2,136.5 167.9 61.5 211.3 123.1 5,844.6 55.4 27.1 29.1 319.2 76.7 156.0

2009 550.5 7,324.3 216.4 211.6 3.4 11.3 34.1 152.1 97.6 1,280.0 2,026.2 83.3 26.0 7.5 102.5 336.0 308.0 180.7 129.4 50.8 186.2 10.1 245.4 204.7 212.6 83.2 2,002.4 138.5 56.9 237.8 111.9 5,343.2 58.6 26.4 30.1 361.6 77.2 149.9

Canada USA
Europe

444.5 4,562.0 216.7 194.8 4.4 13.4 44.6 121.0 94.4 1,112.2 1,867.9 102.9 30.3 7.9 84.2 282.0 327.0 166.5 127.3 68.2 194.2 8.0 256.1 172.2 201.6 83.3 1,703.9 29.0 42.6 95.4 35.8 4,524.3 29.8 19.1 21.3 102.9 56.5 53.8

Austria Belgium Bulgaria Croatia Czech Republic Denmark Finland France Germany Greece Hungary Iceland Ireland Italy Netherlands Norway Poland Portugal Russia Slovakia Spain Sweden Switzerland Turkey UK
Asia

China Hong Kong India Indonesia Japan Malaysia Philippines Singapore South Korea Taiwan Thailand
Latin America & Caribbean

Argentina Brazil Central America Chile Colombia Ecuador Mexico Peru Uruguay Venezuela
Australasia

85.1 280.4 8.1 15.0 34.2 2.0 171.3 2.3 8.4 16.6 535.7 79.6 187.2
18,927.9

82.7 258.7 6.8 13.8 22.7 1.5 157.9 2.2 5.3 13.3 408.0 57.4 171.8
16,157.6

7.3 55.2 7.3 9.0 10.9 0.8 33.7 1.0 0.8 1.4 128.3 10.6 9.3
6,906.7

14.8 72.8 10.0 10.9 14.9 1.2 57.8 0.8 0.7 1.2 195.2 15.2 12.0
8,120.4

92.4 335.6 15.4 24.0 45.1 2.8 205.0 3.3 9.2 18.0 664.0 90.2 196.5
25,834.6

97.5 331.5 16.8 24.7 37.6 2.7 215.7 3.0 6.0 14.5 603.2 72.6 183.8
24,278.0

Australia New Zealand


Africa

South Africa
Global Source: IFPI estimates.

Note US physical retail revenues are suggested list prices.

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