DOCSLIB.ORG

MUSIC REPORT 04 the DIGITAL MARKET TAKES SHAPE in 2005 04 Digital Music Expands Worldwide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MUSIC REPORT 04 the DIGITAL MARKET TAKES SHAPE in 2005 04 Digital Music Expands Worldwide IFPI:06 DIGITAL MUSIC REPORT 04 THE DIGITAL MARKET TAKES SHAPE IN 2005 04 Digital music expands worldwide 07 GETTING MUSIC TO CONSUMERS IN MORE WAYS 07 Distribution channels diversify 07 Video boosts digital music 08 The record company investment 09 The marketing opportunity 09 Digital-only labels emerge 09 The new digital intermediaries 10 MOBILE MUSIC SHOWS ITS POTENTIAL 10 Mobile music spreads globally 11 From ringtones to ‘real music’ 11 Music drives 3G 12 The handset market 12 The future of mobile music 14 IN THE PIPELINE: LEGITIMATE P2P, DIGITAL RADIO & PODCASTING 14 Legitimate P2P 14 Digital Radio 14 Podcasting 15 MUSIC CONSUMPTION IS CHANGING 15 New IFPI research spotlights the consumer 15 Digital music versus the CD 15 The power of portability 16 CONFRONTING THE CHALLENGES 16 Internet piracy: the biggest obstacle 16 Digital stream ripping: the next big challenge 17 The call to ISPs 18 COURTS IMPROVE THE LANDSCAPE 18 Courts rule against illegal P2P 18 Shutting down ‘piracy havens’ 20 CONTAINING ILLEGAL FILE-SHARING 20 Deterrence: legal actions against file-sharers 20 Education 21 Is the fight against piracy working? 21 Changing attitudes 22 DRM & INTEROPERABILITY: THE KEYS TO FUTURE GROWTH 22 The challenge for DRM 22 Interoperability: a key priority 23 WHAT DIGITAL MUSIC OFFERS THE CONSUMER DIGITAL MUSIC REPORT 2006 PAGE 02 MUSIC – A KEY DRIVER OF THE DIGITAL ECONOMY A new wave of digital commerce, from mobile to broadband, is rolling out worldwide – and music is driving it. At the same time the industry is helping “Music is not only the most transform the experience of the music fan. In 2005 the number of legitimate music popular consumer product download sites reached 335, up from 50 two years ago. In just two years the volume in the industrialised world. of music made available online by record It is a key driver of the digital companies has increased more than six-fold to over two million songs. Digital music, no economy.” longer the preserve of a small core of large markets, is spreading internationally. And it Digital Rights Management (DRM) is a is a reflection of the potential growth in fundamental, yet sometimes misunderstood consumer demand that even today, less element of the digital music business. DRM than 5% of European internet users regularly is an essential tool for all industries trading in John Kennedy, Chairman & CEO, IFPI buy music online. intellectual property in the digital era – from music to movies, games and TV. It helps get Two years ago, few could have predicted This is a success story, but one that cannot music to consumers in new and flexible ways the extraordinary growth we have seen in be taken for granted. Key challenges confront and to recompense the many different rights the digital music business. Some 420 million the digital music industry at the start of 2006 owners involved. Technology companies single tracks were downloaded in 2005, up and even threaten to hold back its growth. need to support DRM, making their devices more than twenty times on two years ago. We are meeting these challenges. interoperable. Governments also have a And that excludes the entire business of key role to play by supporting DRM in music on mobile phones, a market which Above all, we must protect our product. In managing the delivery and protecting the is not far behind music downloads in value. an industry dependent on intellectual property, value of digital music. Together in 2005, these two new distribution licensing your product is worthless if you channels took record company revenues cannot also protect it. The music industry has We need cooperation from our partners too. from digital sales to an estimated now taken some 20,000 legal actions against Internet Service Providers are becoming the $US 1.1 billion globally, tripling in value illegal file-sharers in 17 countries, and these new retailers and distributors of the digital compared to 2004. And there will be actions will be stepped up in the next year. market.They are making revenues from further significant growth in 2006. The strategy will not eradicate the problem, digital music, but not taking enough but it is containing it. Consumer research in responsibility for protecting our copyrights. But, impressive as they are, these statistics this report shows that every second person This must change. They must take their share only hint at the real underlying value of the who cut back on illegally file-sharing has done of responsibility in stopping infringements of digital music revolution. Music is today so out of concern for the legal consequences. the copyrighted content. In the physical world, making an enormous contribution to the no respectable music store or distributor would development of the world’s digital economy. The same research raises other important stock pirated product on its shelves or allow For example, in 2005 consumers bought questions. No one underestimates the piracy to take place in a corner of its shop over 60 million portable digital music players challenge of persuading a young generation or warehouse. (worth an estimated $US 9 billion), paid over of music fans to pay for music that they have $US 75 billion in broadband subscriptions become used to acquiring for free. The digital music business is at a pivotal and purchased $US 50 billion worth of mobile moment at the start of 2006. Consumers data services. Nokia, the world’s largest The legitimate digital music business has for are increasingly turning to legitimate ways of mobile handset manufacturer, sold over years cried out for clearer legal ground rules. downloading music, the legal environment 40 million music-capable phones alone. On this front, 2005 saw a big leap forward. for our business is improving and record Four courts in three continents, from the US companies are licensing music prolifically The message is clear: a new wave of digital to Australia, delivered judgements against and diversely. commerce, from mobile to broadband, is unauthorised P2P services that will help rolling out across the world. It is generating transform the landscape in which the nascent The challenges ahead are clear, though. billions of dollars in revenues and creating digital business is growing. We need greater support in the fight against millions of jobs. And it is being driven, to a digital piracy; more recognition of the role of large extent, by music – by the people who Hearts and minds are critical in this process, DRM; more cooperation from ISPs; and more create music, who produce it and who too. In 2005 the music industry launched respect for the intellectual property on which invest in it. four separate global education campaigns, we and many other industries depend. The often sponsored by national governments. record industry now looks squarely at our The music industry is delivering on its pledge They are aimed at specific audiences that partners in the marketplace, as well as to to license music ubiquitously: as much music, shape attitudes to music on the internet – governments, to help achieve these aims. in as many ways, to as many consumers via parents, business leaders, legitimate as many formats and distribution channels as computer users and, last but not least, possible – as long as it is licensed and paid for. copyright offenders themselves. PAGE 03 THE DIGITAL MARKET TAKES SHAPE IN 2005 Option 1 Option 2 The legitimate digital music business has caught the imaginationOption 3 of Option 4 consumers,sales have increased steadily and new service launchesLegitimate service s icon options have accelerated. 2005 was a landmark year for digital music, The mobile phone became a DIGITAL MUSIC EXPANDS when online and mobile music distribution portable music device. Specially WORLDWIDE emerged as the industry’s fastest growing Option 1 designed musicOption 2 phones were released Option 1 Option 2 delivery channels. Digital sales in 2005 by the major handset makers as dozens The digital music business spread internationally accounted for approximately 6% of global Option 3 of 3G musicOption 4 services were launched, in 2005 led by the US, with Europe and Asia music sales based on the first six months Legitimmate akingservices icon optio mobilens downloads widely available showing strong growth. of the year. outside Asia. Single track downloads in theOption 3 US more Option 4 2005 witnessed key milestones in the The world’s first publicly available than doubled in 2005 to 353 million (Nielsen Mobile icon options development of the market: Option 1 legalOption 2peer-to-peer (P2P) service SoundScan), with a weekly sales average of Option 1 Option 2 iMesh launched in beta phase, with a 7 million tracks. Digital album downloads grew Digital is the fastest-growing full launch expected early in 2006. Many to 16 million, or 2.6% of the album market, up Option 3 Option 4 Option 3 Option 4 delivery channel for music. Mobileother icon options P2P providers are now looking to go from 1% in 2004. Option 1 Option 2 Record company revenues reached an Legitilegitimatemate services icon options following legal decisions against estimated $US 1.1 billion in 2005, three Grokster in the US and Kazaa in Australia. Another important development in the US Option 3 times the valueOption 4 in 2004 ($US 380 million), Meanwhile, the legal environment for digital was the launch of portable subscription Legitiwithmate service s theicon optio nssplit roughly 60:40 between online music improved very significantly in 2005, services such as Napster To Go, Rhapsody Option 1 Option 2 and mobile music. Digital sales have gone Option 1 with decisionsOption 2 against file-sharing services To Go and Yahoo Music Unlimited.Option 1 These Option 2 from practically zero to 6% of the recording Grokster (US) and Kazaa (Australia), as allow customers to listen to entire music industry’s global worldwide revenues well as similar judgements over Kuro service libraries directly on their portable Option 3 Option 4 Option 3 Option 4 Option 1 Option 2 within the last two years.
Load more

Recommended publications
  • What's the Download® Music Survival Guide
    WHAT’S THE DOWNLOAD® MUSIC SURVIVAL GUIDE Written by: The WTD Interactive Advisory Board Inspired by: Thousands of perspectives from two years of work Dedicated to: Anyone who loves music and wants it to survive *A special thank you to Honorary Board Members Chris Brown, Sway Calloway, Kelly Clarkson, Common, Earth Wind & Fire, Eric Garland, Shirley Halperin, JD Natasha, Mark McGrath, and Kanye West for sharing your time and your minds. Published Oct. 19, 2006 What’s The Download® Interactive Advisory Board: WHO WE ARE Based on research demonstrating the need for a serious examination of the issues facing the music industry in the wake of the rise of illegal downloading, in 2005 The Recording Academy® formed the What’s The Download Interactive Advisory Board (WTDIAB) as part of What’s The Download, a public education campaign created in 2004 that recognizes the lack of dialogue between the music industry and music fans. We are comprised of 12 young adults who were selected from hundreds of applicants by The Recording Academy through a process which consisted of an essay, video application and telephone interview. We come from all over the country, have diverse tastes in music and are joined by Honorary Board Members that include high-profile music creators and industry veterans. Since the launch of our Board at the 47th Annual GRAMMY® Awards, we have been dedicated to discussing issues and finding solutions to the current challenges in the music industry surrounding the digital delivery of music. We have spent the last two years researching these issues and gathering thousands of opinions on issues such as piracy, access to digital music, and file-sharing.
    [Show full text]
  • Digital Distribution
    HOW DIGITAL DISTRIBUTION AND EVALUATION IS IMPACTING PUBLIC SERVICE ADVERTISING Aggressive Promotion Yields Significant Results By Bill Goodwill & James Baumann It is no surprise to see that digital distribution of all media products is fast becoming the de facto standard for distribution of media content, particularly for shorter videos such as PSA messages. First let’s define the terms. Digital distribution (also called digital content delivery, online distribution, or electronic distribution), is the delivery of media content online, thus bypassing physical distribution methods, such as video tapes, CDs and DVDs. In additional to saving money on tapes and disks, digital distribution eliminates the need to print collateral materials such as storyboards, newsletters, bounce-back cards, etc. Finally, it provides the opportunity to preview messages online, and offers media high- quality files for download. The “Pull” Distribution Model In the pre-digital world, the media was spoiled because they had all the PSA messages they could ever use delivered right to their desktop, along with promotional materials explaining the importance of the campaigns. Today, the standard way for stations to get PSAs in the digital world is to go to a site created by the digital distribution company and download them from the “cloud.” Using a dashboard that has been created for PSAs, the media can preview the spots and download both the PSAs, as well as digital collateral materials such as storyboards, a newsletter and traffic instructions. This schematic shows the overall process flow for digital distribution. To provide more control over digital distribution, Goodwill Communications has its own digital distribution download site called PSA Digital™, and to see how we handle both TV and radio digital files, go to: http://www.goodwillcommunications.com/PSADigital.aspx.
    [Show full text]
  • My Friend P2p
    MY FRIEND P2P Music and Internet for the Modern Entrepreneur Lucas Pedersen Bachelor’s Thesis December 2010 Degree Program in Media Digital Sound and Commercial Music Tampereen ammattikorkeakoulu Tampere University of Applied Sciences 2 ABSTRACT Tampere University of Applied Sciences Degree Program in Media Digital Sound and Commercial Music PEDERSEN, LUCAS: My Friend p2p – Music and Internet for the Modern Entrepreneur Bachelor’s thesis 81 pages December 2010 _______________________________________________________________ The music industry is undergoing an extensive transformation due to the digital revolution. New technologies such as the PC, the internet, and the iPod are empowering the consumer and the musician while disrupting the recording industry models. The aim of my thesis was to acknowledge how spectacular these new technologies are, and what kind of business structure shifts we can expect to see in the near future. I start by presenting the underlying causes for the changes and go on to studying the main effects they have developed into. I then analyze the results of these changes from the perspective of a particular entrepreneur and offer a business idea in tune with the adjustments in supply and demand. Overwhelmed with accessibility caused by democratized tools of production and distribution, music consumers are reevaluating recorded music in relation to other music products. The recording industry is shrinking but the overall music industry is growing. The results strongly suggest that value does not disappear, it simply relocates. It is important that both musicians and industry professionals understand what their customers value and how to provide them with precisely that. _______________________________________________________________ Key Words: Music business, digital revolution, internet, piracy, marketing.
    [Show full text]
  • The Effects of Digital Music Distribution" (2012)
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-5-2012 The ffecE ts of Digital Music Distribution Rama A. Dechsakda [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp The er search paper was a study of how digital music distribution has affected the music industry by researching different views and aspects. I believe this topic was vital to research because it give us insight on were the music industry is headed in the future. Two main research questions proposed were; “How is digital music distribution affecting the music industry?” and “In what way does the piracy industry affect the digital music industry?” The methodology used for this research was performing case studies, researching prospective and retrospective data, and analyzing sales figures and graphs. Case studies were performed on one independent artist and two major artists whom changed the digital music industry in different ways. Another pair of case studies were performed on an independent label and a major label on how changes of the digital music industry effected their business model and how piracy effected those new business models as well. I analyzed sales figures and graphs of digital music sales and physical sales to show the differences in the formats. I researched prospective data on how consumers adjusted to the digital music advancements and how piracy industry has affected them. Last I concluded all the data found during this research to show that digital music distribution is growing and could possibly be the dominant format for obtaining music, and the battle with piracy will be an ongoing process that will be hard to end anytime soon.
    [Show full text]
  • Christopher Soghoian Student Fellow Berkman Center for Internet & Society Harvard University 23 Everett Street, Second Floor Cambridge MA 02138
    Comment of: Christopher Soghoian Student Fellow Berkman Center for Internet & Society Harvard University 23 Everett Street, Second Floor Cambridge MA 02138 Represented by: Phil Malone Director, Cyberlaw Clinic Arjun Mehra Clinical Student, Cyberlaw Clinic Harvard Law School Berkman Center for Internet & Society 23 Everett Street, Second Floor Cambridge MA 02138 Office of the General Counsel U.S. Copyright Office James Madison Memorial Building, Room LM-401 101 Independence Avenue, SE. Washington, DC 20559-6000 December 2, 2008 Re: RM 2008-8 -- Exemptions to Prohibition on Circumvention of Copyright Protection Systems for Defunct DRM and Copy Protection-Based Stores I. PROPOSED CLASS OF WORKS We respectfully request an exemption to DMCA §1201(a)(1)(A) for lawfully purchased sound recordings, audiovisual works, and software programs distributed commercially in digital format by online music and media stores and protected by technological measures that depend on the continued availability of authenticating servers, when such authenticating servers cease functioning because the store fails or for other reasons. We also request a separate exemption for the same class of works even prior to the failure of the servers for technologists and researchers studying and documenting how the authenticating servers that effectuate the technological measures function. The technological measures at issue include digital rights management (DRM) technologies and copy protection mechanisms encoded into purchased music, videos, and software, which are sold with a set of permissions and require authentication with remote servers in order to allow users to fully exercise those purchased rights, including the ability to access the works on other devices, or in some cases, to allow continued access to the works on the same device.
    [Show full text]
  • The Dynamics of Legal and Illegal Digital Music Distribution Christian Syvertsen
    Master thesis The dynamics of legal and illegal digital music distribution Christian Syvertsen 1 Preface This paper was written as a Master thesis in Informatics for Christian Syvertsen at the University of Oslo. The Master studies were started spring 2005, and the thesis is to be delivered November 2007. This Master thesis has been realized at the department of Information Systems at the Institute of Informatics at the University of Oslo, with great assistance and advice by supervisors Jennifer Blechar and Ole Hanseth. November 2007 University of Oslo, Department of Informatics Page 2 of 86 Master thesis The dynamics of legal and illegal digital music distribution Christian Syvertsen 2 Abstract In this thesis I give an overview and background of the current digital music landscape, analyse it through Actor Network Theory and see the complexity of the network as making it difficult to break down into less holistic parts. Every part of the network influences the other. As illegal downloads of illegally copyrighted music only increases, it seems apparent that the record industry have taken a wrong strategy. Copyright laws have been tightened, DRM systems have been applied and lawsuits have been made, but it seems that it has no decreasing effect on the illegal downloads. I believe what the record companies must to is to put more efforts into making a better legal music download service, that actually can offer a better product than the P2P networks, because then increasing numbers of users will prefer that legal alternative. But for something like this to be achieved, there is a long way to go.
    [Show full text]
  • The Music Industry in the Social Networking Era
    THE MUSIC INDUSTRY IN THE SOCIAL NETWORKING ERA By Xi Yue A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Telecommunication, Information Studies and Media 2011 Abstract THE MUSIC INDUSTRY IN THE SOCIAL NETWORKING ERA By Xi Yue Music has long been a pillar of profit in the entertainment industry, and an indispensable part in many people’s daily lives around the world. The emergence of digital music and Internet file sharing, spawned by rapid advancement in information and communication technologies (ICT), has had a huge impact on the industry. Music sales in the U.S., the largest national market in the world, were cut in half over the past decade. After a quick look back at the pre-digital music market, this thesis provides an overview of the music industry in the digital era. The thesis continues with an exploration of three motivating questions that look at social networking sites as a possible major outlet and platform for musical artists and labels. A case study of a new social networking music service is presented and, in conclusion, thoughts on a general strategy for the digital music industry are presented. Table of Contents List of Figures................................................................................................................................ iv List of Tables................................................................................................................................... v Introduction....................................................................................................................................
    [Show full text]
  • Review of the EU Copyright Framework
    Review of the EU copyright framework European Implementation Assessment Review of the EU copyright framework: The implementation, application and effects of the "InfoSoc" Directive (2001/29/EC) and of its related instruments European Implementation Assessment Study In October 2014, the Committee on Legal Affairs (JURI) requested from the European Parliament Research Service (EPRS) an Ex Post Impact Assessment on Directive 2001/29/EC on the harmonisation of certain aspects of copyright and related rights in the information society (InfoSoc). This EPRS publication was originally commissioned in the context of JURI's own- initiative implementation report, which was adopted in Plenary in July 2015, Rapporteur Julia Reda MEP. However, it is also relevant to the work of JURI Committees' Working Group on Intellectual Property Rights and Copyright (CWG), chaired by Jean Marie Cavada MEP. Furthermore, this request was made in the wider context of the Commission's review of the EU legislative framework on copyright, and the ensuing legislative proposals, which have been a long time in the planning and which are now expected for the 4th quarter of 2015. The objective of these proposals is to modernise the EU copyright framework, and in particular the InfoSoc Directive, in light of the digital transformation. Accordingly, in response to the JURI request, the Ex-Post Impact Assessment Unit of the European Parliament Research Service decided to produce a "European Implementation Assessment on the review of the EU copyright framework". Implementation reports of EP committees are now routinely accompanied by European Implementation Assessments, drawn up by the Ex-Post Impact Assessment Unit of the Directorate for Impact Assessment and European Added Value, within the European Parliament's Directorate-General for Parliamentary Research Services.
    [Show full text]
  • Apple / Shazam Merger Procedure Regulation (Ec)
    EUROPEAN COMMISSION DG Competition CASE M.8788 – APPLE / SHAZAM (Only the English text is authentic) MERGER PROCEDURE REGULATION (EC) 139/2004 Article 8(1) Regulation (EC) 139/2004 Date: 06/09/2018 This text is made available for information purposes only. A summary of this decision is published in all EU languages in the Official Journal of the European Union. Parts of this text have been edited to ensure that confidential information is not disclosed; those parts are enclosed in square brackets. EUROPEAN COMMISSION Brussels, 6.9.2018 C(2018) 5748 final COMMISSION DECISION of 6.9.2018 declaring a concentration to be compatible with the internal market and the EEA Agreement (Case M.8788 – Apple/Shazam) (Only the English version is authentic) TABLE OF CONTENTS 1. Introduction .................................................................................................................. 6 2. The Parties and the Transaction ................................................................................... 6 3. Jurisdiction of the Commission .................................................................................... 7 4. The procedure ............................................................................................................... 8 5. The investigation .......................................................................................................... 8 6. Overview of the digital music industry ........................................................................ 9 6.1. The digital music distribution value
    [Show full text]
  • Illegal File Sharing
    ILLEGAL FILE SHARING The sharing of copyright materials such as MUSIC or MOVIES either through P2P (peer-to-peer) file sharing or other means WITHOUT the permission of the copyright owner is ILLEGAL and can have very serious legal repercussions. Those found GUILTY of violating copyrights in this way have been fined ENORMOUS sums of money. Accordingly, the unauthorized distribution of copyrighted materials is PROHIBITED at Bellarmine University. The list of sites below is provided by Educause and some of the sites listed provide some or all content at no charge; they are funded by advertising or represent artists who want their material distributed for free, or for other reasons. Remember that just because content is free doesn't mean it's illegal. On the other hand, you may find websites offering to sell content which are not on the list below. Just because content is not free doesn't mean it's legal. Legal Alternatives for Downloading • ABC.com TV Shows • [adult swim] Video • Amazon MP3 Downloads • Amazon Instant Video • AOL Music • ARTISTdirect Network • AudioCandy • Audio Lunchbox • BearShare • Best Buy • BET Music • BET Shows • Blackberry World • Blip.fm • Blockbuster on Demand • Bravo TV • Buy.com • Cartoon Network Video • Zap2it • Catsmusic • CBS Video • CD Baby • Christian MP Free • CinemaNow • Clicker (formerly Modern Feed) • Comedy Central Video • Crackle • Criterion Online • The CW Video • Dimple Records • DirecTV Watch Online • Disney Videos • Dish Online • Download Fundraiser • DramaFever • The Electric Fetus • eMusic.com
    [Show full text]
  • Stream-Ripping: Its Role in the UK Music Piracy Landscape Three Years On
    Stream-ripping: Its role in the UK music piracy landscape three years on September 2020 PRS for Music Foreword Stream-ripping: its role in the UK music piracy landscape three years on builds on research we published with the Intellectual Property Office three years ago. The initial research, Stream-ripping: How it works and its role in the UK music piracy landscape, came at a time when little work had been done to understand the size of problem posed by stream-ripping. The previous report allowed us to map the landscape of online music piracy and to gain insight into the functioning and the business model of stream-ripping services. We found evidence to support our assumption that stream-ripping was on course to become the dominant mode of online infringement. This second wave of research shows that our expectation is now the reality: stream-ripping services account for more than 80% of the top 50 music specific piracy sites. We can see that the services are becoming more sophisticated, offering better quality downloads, evolving their revenue streams, and becoming more adept at operating beneath the radar, with many using the popular content delivery network Cloudflare to obfuscate the location of their servers. But what we can also see is that concerted efforts by the industry do work: a reduction of more than 50% of BitTorrent sites can be attributed to increased geo-blocking and enforcement efforts over the past three years. Since this research was conducted, the world has changed beyond what anyone could have imagined. Amidst the massive societal changes, the almost global lockdown caused by the COVID-19 pandemic has also accelerated the acculturation of digital services.
    [Show full text]
  • Informe Sobre La Música Digital De La IFPI 2013 Motor De Un Mundo Digital
    Informe sobre la música digital de la IFPI 2013 Motor de un mundo digital DE LAS 10 PERSONAS CON MÁS «ME GUSTa» EN FACEBOOK, 9 SON ARTISTAS. EN YOUTUBE, 9 DE LOS 10 VIDEOS MÁS VISTOS SON DE MÚSICA. DE LAS 10 PERSONAS MÁS SEGUIDAS EN TWItteR, 7 SON ARTISTAS. Deezer4artists-HD_V2.pdf 1 29/01/13 19:04 Deezer4Artists. Engage with your fans. Unleash your potential with an audience of 26 million users in 180+ countries. Get started now at [email protected] or scan 2 Índice Presentación 4-5 La música es un motor que impulsa la economía digital 22-23 g Plácido Domingo, presidente de la IFPI g El fomento de la participación en el entorno digital g Frances Moore, directora ejecutiva de la IFPI g Estímulo al uso de dispositivos g El fomento del sector de los espectáculos en vivo Una industria en camino a la recuperación: g La atracción de clientes y el aumento de las ganancias datos y cifras 6-10 Alcanzar presencia mundial: la promesa de los mercados Los más vendidos en el mundo 11-13 emergentes 24-27 g Los álbumes más vendidos g Brasil: un mercado preparado para despegar g Los sencillos más vendidos g Rusia: los obstáculos que dificultan el crecimiento se pueden superar g Fuertes ventas del repertorio local g India: a un paso de su récord histórico La música digital fomenta la innovación 14-17 g Un fuerte potencial de mercado en los Países Bajos g Los servicios de descargas reciben un empuje de la «nube» La colaboración de los intermediarios en Internet 28-30 g Los servicios por suscripción alcanzan la madurez g La publicidad: batalla contra una importante
    [Show full text]