4. Analyse Du Modèle D'affaires De Warner Music

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4. Analyse Du Modèle D'affaires De Warner Music Auteur: Boucinha Pereira, Paula Alexandra, 2011. Extrait du mémoire: «Modèles d'affaires pour créer de la valeur dans l'industrie du disque : les cas des majors versus les maisons de disques québécoises» Université du Québec à Montréal, 2011. 129 CHAPITRE V ÉTUDES DE CAS « A competitive world offers two possibilities. You can lose. Or, if you want to win, you can change ». L. C. Thurow Dans ce chapitre, nous allons passer aux études de cas : tout d’abord, nous analyserons Warner Music Group (5.1), suivi d’Universal Music Group (5.2), pour finir avec les maisons de disques québécoises interviewées (5.3). Les trois études de cas sont divisées comme suit : après une brève introduction, nous présenterons les écosystèmes d’affaires (selon Moore, 1996), suivi de l’analyse des modèles d’affaires (selon les composantes décrites par Shafer et al., 2004). Nous finirons ce chapitre par une brève conclusion (5.4). 5.1 Étude de cas 1: WARNER MUSIC GROUP 5.1.1 Introduction Tout a commencé en 1928 avec la création de la compagnie Music Publishers Holding par Jack Warner, président de Warner Bros. Pictures. La mission de la compagnie était d’acquérir les droits d’exploitation d’oeuvres musicales à bas prix pour les films du studio Warner. Au vu du succès de la compagnie, Warner Bros. a fondé le Warner Bros. Records en Auteur: Boucinha Pereira, Paula Alexandra, 2011. Extrait du mémoire: «Modèles d'affaires pour créer de la valeur dans l'industrie du disque : les cas des majors versus les maisons de disques québécoises» Université du Québec à Montréal, 2011. 130 1958, afin d’élargir sa présence dans l’industrie, et de distribuer les bandes sonores des films de la compagnie (Warner Music Group, 2010b). Après plusieurs activités de fusions et acquisitions, le Groupe a étendu ses affaires à travers l’Europe, l’Amérique du Sud et l’Asie. En 2004, Warner Music Group (WMG) a été officiellement acquis par le consortium d’Edgar Bronfman, célèbre homme d’affaires canadien. Un an plus tard, Warner Music a fait son entrée en bourse, au New York Stock Exchange, sous l’appellation « WMG ». Au cours de la dernière décennie, le Groupe a diversifié ses partenariats le long de sa chaîne de valeur afin de faire face à la crise du disque. « Asylum, Cordless, East West, Elektra, Nonesuch, Reprise, Rhino, Roadrunner, Rykodisc, Sire, Warner Bros., Warner Music Nashville (et) Word » ne sont que quelques labels du Groupe, qui est aujourd’hui présent dans plus de 50 pays différents. La compagnie emploie plus de 65 000 auteurs-compositeurs et offre plus d’un million de chansons dans son catalogue qu’elle exploite à travers sa division d’édition musicale. En 2008, Atlantic Records - l’une des plus importantes divisions du Groupe - a été le premier label aux États-Unis à réaliser plus de 50% de ses ventes à travers ses activités en ligne, selon le New York Times. En 2009, le magazine Fast Company a classé le Groupe parmi les 50 compagnies les plus innovantes au monde. (WMG, 2010a). 5.1.2 Présentation de l’écosystème de Warner « With the collapse of traditional industries, the only sensible way to compete is by being better than your rivals at molding new ecosystems, not just products. In fact, once you get the hang of ecosystem creation you can never again be pigeonholed in an “industry”. As Bill Joy of Sun Microsystems said so aptly, “The goal is not to win at someone else’s game, but rather to change the game to one that you can win”. Translated for our purposes, the goal is not to become an industry leader, but to be a destroyer of old industries and a creator of new ones ». Moore, 1996 Auteur: Boucinha Pereira, Paula Alexandra, 2011. Extrait du mémoire: «Modèles d'affaires pour créer de la valeur dans l'industrie du disque : les cas des majors versus les maisons de disques québécoises» Université du Québec à Montréal, 2011. 131 Au cours de la dernière décennie, Warner Music a multiplié les partenariats stratégiques le long de sa chaîne de valeur, afin de s’imposer dans la nouvelle économie. Différents fournisseurs sont devenus des partenaires d’affaires, et plusieurs concurrents directs sont devenus des alliés stratégiques, comme nous allons le voir. La figure 5.1 ci-dessous illustre l’écosystème d’affaires de Warner Music. FOURNISSEURS CLIENTS Cinram, Outrigger Media, CONSOMMATEUR FINAL; AUTRES Scripps Networks Myxer, DÉTAILLANTS: WAL-MART, BEST CLIENTS DE MES ORGANISATIONS FOURNISSEURS DE Melodeo Access ChinaMedia BUY, ITUNES, AMAZON, ETC.; CLIENTS Solutions, etc. TIERCES PARTIES: STUDIOS DE DE RÉGULATION MES FOURNISSEURS CINÉMA, TV, MÉDIAS CONSOMMATEUR INVESTISSEURS & EX.: BUREAU DE LA EX. KNAPP FINAL PROPRIÉTAIRES CONCURRENCE; SACEM FOURNISSEUR DE COMPÉTENCES CENTRALES CONSORTIUM - SOCIÉTÉ DES AUTEURS CINRAM DÉCOUVERTE ET DÉVELOPPEMENT DU TALENT EDGAR BRONFMAN COMPOSITEURS ET FONCTIONS MARKETING ET DISTRIBUTION ÉDITEURS DE MUSIQUE STANDARDS/ NORMES AGENCES ASSOCIATIONS ET FOURNISSEUR DE P&S COMPLÉMENTAIRES CD,DVD, MP3 ET GOUVERNEMENTALES SYNDICATS PRODUCTEURS D’ORDINATEURS, MUSICDNA EX. MINISTÈRE DES EX. CRIA- L’ASSOCIATION DE LECTEURS MP3, TÉLÉPHONES MOBILES AFFAIRES CULTURELLES L’INDUSTRIE CANADIENNE DE ACCÈS À INTERNET L’ENREGISTREMENT, DU QUÉBEC IFPI - International Federation of the Phonographic Industry ORGANISATIONS CONCURRENTES AVEC LESQUELLES L’ENTREPRISE PARTAGE DES ATTRIBUTS DE PRODUITS ET DE SERVICES, DES PROCESSUS D’AFFAIRES ET DES ARRANGEMENTS ORGANISATIONNELS. EX. APPLE, SONY BMG, EMI, WARNER, ETC. Figure 5.1 : Écosystème d’affaires de Warner Music Group. Adapté de Moore (1996). Auteur: Boucinha Pereira, Paula Alexandra, 2011. Extrait du mémoire: «Modèles d'affaires pour créer de la valeur dans l'industrie du disque : les cas des majors versus les maisons de disques québécoises» Université du Québec à Montréal, 2011. 132 Nous l’avons vu au cours de l’analyse de l’industrie du disque : les compétences centrales des maisons de disques résident dans leur capacité à acquérir et à développer le talent, ainsi que dans leur force marketing et leur réseau de distribution. Comme on peut le lire dans le rapport annuel de Warner Music (WMG, 2010b), le Groupe continue d’investir dans les fonctions de marketing et de distribution afin de se différencier de ses compétiteurs directs. Au niveau de la clientèle, Warner Music dessert différents segments : les grossistes et détaillants (physiques et en ligne), les consommateurs finaux (grâce à la vente directe à travers Internet) ainsi que les tierces parties (studios de cinéma et de télévision, ou encore les médias). Pour ce qui est des fournisseurs de Warner, on en compte une multitude le long de sa chaîne de valeur : Outrigger Media et Scripps Networks pour les services médias en ligne, Sony et Myxer pour différentes technologies liées à la distribution en ligne, ou encore Melodeo et Access ChinaMedia Solutions pour les services mobiles. Nous reviendrons plus en détail sur les différents éléments de l’activité centrale et de l’entreprise étendue lors de l’analyse du modèle d’affaires à la section suivante. Dans une perspective d’analyse plus large, différentes parties prenantes constituent l’écosystème d’affaires de Warner Music : le Bureau de la Concurrence (organisme de régulation), le Ministère des Affaires Culturelles du Québec (agence gouvernementale), ou encore l’Association de l’Industrie Canadienne de l’Enregistrement. Il faut également parler de firmes concurrentes, telles qu’Universal Music ou Sony Music, qui participent aujourd’hui avec Warner Music sur différents projets visant à embrasser l’ère Internet. Comme l’a écrit Moore : « l’écosystème induit une nouvelle forme de concurrence qui alterne coopération et compétition » (Pellegrin-Boucher, 2005). Le terme utilisé par Moore pour désigner ce phénomène, est celui de « coopétition ». Warner a clairement investi dans le phénomène Auteur: Boucinha Pereira, Paula Alexandra, 2011. Extrait du mémoire: «Modèles d'affaires pour créer de la valeur dans l'industrie du disque : les cas des majors versus les maisons de disques québécoises» Université du Québec à Montréal, 2011. 133 de coopétition, notamment à travers les différents partenariats le long de sa chaîne de valeur, dont nous parlerons à la prochaine section. Les différentes parties prenantes de l’écosystème d’affaires de Warner ont une influence sur les activités du Groupe: - des ambitions de croissance à travers des opérations de fusions ou acquisitions peuvent être coupées court par l’entremise du Bureau de la Concurrence ; - des efforts de lutte contre le piratage de musique ne peuvent succéder sans le vote de lois de la part du Gouvernement du Canada, ainsi que de l’appui de firmes concurrentes et d’institutions associatives ; mais aussi, - le choix de signer un nouvel artiste dépend des attentes de rendement des investisseurs, etc. Comme on peut le lire dans le rapport annuel de Warner Music (2010b) : « We have established ourselves as a leader in the music industry’s transition to the digital era by expanding our distribution channels, establishing a strong partnership portfolio and developing innovative products and initiatives. We have assembled a partnership portfolio with a broad range of online and mobile providers that goes beyond simple wholesale and retail arrangements. (...) This focus on partnership enables us to help bring new entrants into the space and transform the digital music ecosystem. We continue to initiate and sustain strategic relationships with key retailers, operators, technology companies, device manufacturers and next generation digital providers ». Auteur: Boucinha Pereira, Paula Alexandra, 2011. Extrait du mémoire: «Modèles d'affaires pour créer de la valeur dans l'industrie du disque : les cas des majors versus les maisons de disques québécoises» Université du Québec à Montréal, 2011. 134 5.1.3 Analyse du modèle d’affaires de Warner « Having a business model for your own is not enough. Executives must become ultra- sophisticated at developing business models for their respective communities ».
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