2020 MUSIC INDUSTRY WHITE PAPER
SUMMARY
English / 中文
SUMMARY
Part 1 Music User Trends
1. Research Objectives and Overview
This survey, which targeted all Koreans aged between 10 and 59, analyzed the general form of music use and the subjects’ level of awareness in 2020. It examined the types of music use through diverse media sources, and also reviewed the status of general music use, online music services, purchase behavior of music in CD/DVD/Blu-ray/cassette tape/LP formats, viewing of music performances, and the reach of online music-related videos. To this end, the survey aimed to measure the level of public consumption by examining the manner of music usage, frequency, and method of accessing specific media. The subjects of this survey include those who have used music content in the past year among citizens aged 10 to 59 years old and living across the country. The survey was conducted according to the proportion of population composition by region, gender, and age based on the National Statistical Office's resident registration demographic data as of July 2020. Conducted yearly, the response standard period for the survey on content use was from August 2019 to August 2020 (last year). Data collection was compiled via online from August to September 2020 (Aug 20 – Sep 9).
2 2020 MUSIC INDUSTRY WHITE PAPER Part 1 Music User Trends
Table 1 2020 Factual Research Design for Music Users
Classification Content Target population All Koreans aged 10-59 Research population Koreans aged 10-59 with exposure to music contents over the past year Research areas 17 cities and provinces nationwide Data collection Online structural survey method Resident Registration Population Statistics data as of July 2020 provided by the Ministry of the Interior and Safety Sample framework A total of 1,160,000 research panels nationwide was used as the sample framework of the research institution Sampling method Proportional allocation according to region/gender/age Valid sample 3,000 people Data collection August – September 2020 period
2. Main Results of the Research
1) Overall status of the general use of music
(1) Experience of listening to music
Figure 1 Methods or Service Used When Listening to Music
(Base: Overall, multiple response, Unit: %)
63.2 2020(n=3,000) 60.3
39.3
30.5 28.7
11.5 10.8 7.1 0.4
Music Online Video TVMusic Downloading Radio Physical Music Other Others Streaming Sites Programs Services Selection Albums Performance Digital (Offline Songs Performance)
2020 MUSIC INDUSTRY WHITE PAPER 3 SUMMARY
Regarding the method or service used to listen to music in the past year, “Music streaming” was the most commonly used service at 63.2%, then followed by “Online video sites” (60.3%) and “TV music programs” (39.3%). Compared to the previous year, listening to music through “Online video sites,” “TV music programs,” and “Physical albums” increased.
(2) Time slot for listening to music (weekdays/weekend)
Regarding the time slot for listening to music during weekdays, “18:00 to before 20:00” ranked highest with 36.9%, and, on weekends, “13:00 to before 18:00” ranked highest with 32.9%. Looking at the time slot for listening to music during weekdays based on the characteristics of the respondents, the ratios of listening to music between “18:00 to before 20:00” for “Men” (39.3%) and by age, “15 to 19 years old” (46.7%), “20 to 24 years old” (46.0%), and “25 to 29 years old” (45.6%)” were relatively high. Moreover, the ratios of listening to music between “13:00 to before 18:00” were relatively high among people between the ages of “20 to 24 years old” (49.4%) and “15 to 19 years old” (48.9%).
Figure 2 Time Slot for Listening to Music (Weekdays/Weekend)
(Base: Overall, multiple response, Unit: %)
2020(n=3,000) Weekdays Weekend 36.9 35.0 32.9 31.6 30.3
22.6 22.0 28.7 29.0 26.8 26.8 22.6 14.8 12.3 11.4 17.8
12.6 5.4
3.6 4.3
Do not 6:00 to 9:00 to 12:00 to 13:00 to 18:00 to 20:00 to 22:00 to Midnight 2:00 to listen before before before before before before before to before 9:00 12:00 13:00 18:00 20:00 22:00 Midnight before 2:00 6:00
Note: 2020 time variance has been changed
4 2020 MUSIC INDUSTRY WHITE PAPER Part 1 Music User Trends
(3) Primary device used for listening to music
Regarding the primary device used for listening to music (based on ranks 1+2+3), “Smartphone” was the most frequently used device, making up for 88.3%, followed by “Computer/laptop” (46.9%) and “TV” (46.0%). Based on the top ranking, “Smartphone” (65.7%), “TV” (11.0%), and “Computer/laptop” (7.3%) were the most preferred devices. Similar to the previous year, the rate of appreciation through “Smartphone” remains the highest, while the rate of appreciation through “TV” is increasing (based on the top rank).
Figure 3 Device Used for Listening to Music
(Base: Overall, multiple response, Unit: %)
2020(n=3,000) Rank 1 Ranks 1+2+3 88.3
46.9 46.0
65.7 27.1
14.0 11.6 7.4 7.0 6.8 1.6 0.8 1.6 1.5 1.6 0.3 7.3 11.0 7.3 1.6 2.4 0.20.4 0.1 Smart Computer/ TV Radio Tablet Car Audio CD/DVD/ AI MP3 LP Player Cassette Other phone Laptop PC Blu-ray/ Speaker Player (Turntable) Tape Console Player Player
(4) Favorite music by genre
Based on the favorite music by genre, “Ballad” was the most popular genre with 76.5%, followed by “Dance” (55.8%), “OST” (movie, drama, etc.) (50.7%), and “R&B/soul” (36.7%). “OST” (movie, drama, etc.), “R&B/Soul,” “Rap/hip-hop,” and “Trot” appeared to increase from the previous year. Looking at the characteristics of the respondents, the ratios of people aged 40-49 years old (80.2%) and 50-59 years old (80.3%) who enjoyed listening to “Ballads” were relatively high. “Dance” was relatively high among women (61.6%) by gender, and among people ages 10-14 years old (68.0%) by age. “OST (movies, dramas, etc.)” showed a relatively high preference ratio among people aged 15-19 years old (65.0%).
2020 MUSIC INDUSTRY WHITE PAPER 5 SUMMARY
Figure 4 Favorite Music by Genre
(Base: Overall, multiple response, Unit: %)
2020(n=3,000) 76.5
55.8 50.7
36.7 33.1
21.3 19.7 16.1 15.7 12.2 10.6 1.9
Ballad Dance OST R&B/ Rap/ Trot Classical Rock/ Indie Jazz/ EDM Others (movie, Soul Hip-Hop Music Metal Music Fusion drama, Jazz etc.)
Note: 1) “EDM” added in 2019 2) “EDM” in 2019 has changed to “Electronic Music/EDM” in 2020 3) In the case of OST (movie, drama, etc.), it is somewhat vague to consider it as a genre, and there is expert opinion that music users may not recognize OST as a genre.
2) Overall Status of Using Online Music Services
(1) Frequency of music streaming and downloading services use
Regarding the frequency of using music streaming services through music streaming and other digital music sources, the highest portion of respondents selected “Almost every day” at 38.7%, followed by “3-4 times a week” (22.7%) and “1-2 times a week” (18.5%). The ratio among those who use music streaming “More than once a week” is 79.8%, which is similar to the result in 2019.
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Figure 5 Frequency of Using Music Streaming Services
(Base: Music streaming and other digital music source users, Unit: %)
Almost every day 3~4 times a week 1~2 times a week 2~3 times a month Once a month Once every 2~3 months Once every 4 months to 1 year
More than once a week 79.8
2020 38.7 22.7 18.5 11.5 3.42.52.9 (n=1,961)
On the other hand, regarding the frequency of the aforementioned users of music downloading services, “2-3 times a month” was the most common pattern with 22.3%, followed by “1-2 times a week” with 21.0%. The ratio of using music downloading services “More than once week” was 43.9%, which is an increase from the previous year.
Figure 6 Frequency of Using Online Music Downloading Services
(Base: Music downloading and other digital music source users, Unit: %)
Almost every day 3~4 times a week 1~2 times a week 2~3 times a month Once a month Once every 2~3 months Once every 4 months to 1 year
More than once a week 43.9
2020 10.3 12.6 21.0 22.3 10.6 10.2 13.1 (n=1,003)
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(2) Using paid music streaming and downloading services
(2-1) Experience of using paid music streaming and downloading services Among the users of music streaming and downloading services, 63.6% of the respondents said they used paid music streaming and downloading services.
Figure 7 Experience of Using Paid Music Streaming and Downloading Services
(Base: Music streaming and downloading services and other digital music source users, Unit: %)
Yes No
By Year By Gender By Age
33.2 27.0 33.0 36.4 36.4 36.4 41.7 41.6 41.4 42.9
66.8 73.0 67.0 63.6 63.6 63.6 58.3 58.4 58.6 57.1
2020 Men Women 10~14 15~19 20~24 25~29 30~39 40~49 50~59 (n=2,249) (n=1,124) (n=1,125) (n=115) (n=149) (n=235) (n=348) (n=581) (n=490) (n=331)
(2-2) Average monthly expense for paid music streaming and downloading services
Figure 8 Average Monthly Expense for Paid Music Streaming and Downloading Services
(Base: Paid users of the music streaming and downloading services, and other digital music source users, Unit: %)
2020(n=1,430) 54.5
20.9 18.0
4.4 2.2
Less than 5,000 to 10,000 to 15,000 to More than 5,000 KRW less than less than less than 20,000 KRW 10,000 KRW 15,000 KRW 20,000 KRW
8 2020 MUSIC INDUSTRY WHITE PAPER Part 1 Music User Trends
Regarding the monthly average expenses for paid music streaming and downloading services, “5,000 to less than 10,000 KRW” represented the most common range at 54.5%, followed by “10,000 to less than 15,000 KRW” (20.9%), and “less than 5,000 KRW” (18.0%).
(2-3) Overall status of purchasing music CD/DVD/Blu-ray/cassette tape/LP
a. Purchase experience The percentage of music users who purchased a music CD/DVD/ Blu-ray/cassette tape/LP/kino album was 20.2%, which was similar to the survey results in 2019.
Figure 9 Experience of Purchasing Physical Albums in the Past year
(Base: Overall, Unit: %)
Yes No
By Year By Gender By Age
74.7 70.6 75.1 79.8 80.3 79.2 77.2 82.0 81.8 82.6
29.4 25.3 24.9 22.8 20.2 19.7 20.8 18.0 18.2 17.4
2020 Men Women 10~14 15~19 20~24 25~29 30~39 40~49 50~59 (n=3,000) (n=1,521) (n=1,479) (n=150) (n=180) (n=261) (n=390) (n=712) (n=732) (n=575)
b. Average monthly expense Regarding the average monthly expense of the respondents who purchased music CD/DVD/Blu-ray/cassette tape/LP/kino albums, “10,000 to less than 30,000 KRW” represented the most common range at 49.7%, followed by “30,000 to less than 50,000 KRW” (23.8%), and “Less than 10,000 KRW” (17.2%).
2020 MUSIC INDUSTRY WHITE PAPER 9 SUMMARY
Figure 10 Average Monthly Expense for Purchasing Physical Albums
(Base: Users who purchased physical albums in the past year, Unit: %)
2020(n=606) 49.7
23.8 17.2 7.9 1.5 Less than 10,000 to 30,000 to 50,000 to More than 10,000 KRW less than less than less than 100,000 KRW 30,000 KRW 50,000 KRW 100,000 KRW
(2-4) Overall status of viewing music performances
a. Experience of viewing music performances by type After examining the experience of viewing music performances by type, “Domestic Korean popular music concerts” were the most popular with 59.6%, though representing an 8.1% decrease YoY. It was followed by “Musical performances” (49.4%) and “Music festivals” (31.5%). Compared to the previous year, the ratio of viewing “Music festival” decreased by 11.2%p. The ratio of viewing “Indie music performances, including live club performances, etc.” was newly added at 19.8%.
Figure 11 Experience of Viewing Music Performances by Type
(Base: Users who viewed music performance in the past year, Unit: %)
2020(n=324) 59.6
49.4
31.5 24.7 19.8 19.4 16.0 7.1 0.0 0.0 Domestic Musical Music Classical Indie Music International Opera Korean Busking/ Company Korean Performances Festivals Music Performances Music Performances Traditional Street and Popular Performances Including Concerts Music Performance Local Music Live Club (Visiting) Performances Government Concerts Performances, Events / etc. University Festivals
Note: 1) “Busking/Street Performance” and “Company and Local Government Events /University Festivals” in 2019 were deleted. 2) “Indie Music Performances Including Live Club Performances, etc.” has been added in 2020
10 2020 MUSIC INDUSTRY WHITE PAPER Part 1 Music User Trends
On the other hand, “Domestic Korean Popular Music Concerts” attracted the largest number of viewers at 46.9%, followed by “Musical Performances” (43.2%), “Music Festivals” (22.2%), and “Classical Music Performances” (19.8%).
Figure 12 Experience of Viewing Paid Music Performance by Type
(Base: Users who viewed music performance in the past year, multiple response, Unit: %)
46.9 2020(n=324) 43.2
22.2 19.8 14.8 12.7 12.0 14.2 3.7 0.0 Domestic Musical Music Classical International Indie Opera Korean Company Do Not Korean Performances Festivals Music Music Music Performances Traditional and Watch Popular Performances Concerts Performances Music Local Music (Visiting) Including Performances Government Concerts Live Club Events / Performances, University etc. Festivalst
Note: 1) “Company and Local Government Events /University Festivals” in 2019 were deleted. 2) “Indie Music Performances Including Live Club Performances, etc.” has been added in 2020
b. Number of times that paid music performances have been viewed in the past year
Figure 13 Number of Times that Paid Music Performances Have Been Viewed in the Past Year
(Base: Paid users of those who viewed music performances in the past year, Unit: %, times)
2020(n=278) 28.1 25.2 26.3
20.5
3.8
1Time 2Time 3Time MoreThan 4Times Average
Note: In the case of the 2020 survey, the experts said that the impact of performance-related experiences due to COVID-19 will appear in the next year, including the period before the spread of the disease in the past year (August 2019-August 2020).
2020 MUSIC INDUSTRY WHITE PAPER 11 SUMMARY
Regarding the number of times one paid to view music performances in the past year, 28.1% of the respondents selected “2 times,” followed by “More than 4 times” (26.3%), “1 time” (25.2%), and “3 times” (20.5%). The average number of times one paid to view a music performance in the past year was approximately 3.8.
c. Consumable amount that users spent to view one paid performance Regarding the consumable amount that users spent to view one paid performance, 34.3% of the respondents selected “50,000 to less than 100,000 KRW,” followed by “100,000 to less than 150,000 KRW” (28.4%), and “10,000 to less than 50,000 KRW” (22.2%).
Figure 14 Consumable Amount Per Paid Music Performance Viewing
(Base: Users who viewed music performance in the past year, Unit: %)
2020(n=324) 34.3
28.4
22.2
9.3 5.9
Less than 10,000 to 50,000 to 100,000 to More Than 10,000 KRW Less than Less than Less than 150,000 KRW 50,000 KRW 100,000 KRW 150,000 KRW
(2-5) Overall status of using online music videos
a. Viewing experience The rate of viewing music videos online was at 81.6%, a 5.6% increase compared to the previous year.
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Figure 15 Rate of Viewing Online Music Videos
(Base: Overall, Unit: %)
Yes No By Year By Gender By Age
8.7 8.3 10.3 17.6 16.9 18.4 19.3 19.9 22.8 21.4
91.3 91.7 89.7 82.4 83.1 81.6 80.7 80.1 77.2 78.6
2020 Men Women 10~14 15~19 20~24 25~29 30~39 40~49 50~59 (n=3,000) (n=1,521) (n=1,479) (n=150) (n=180) (n=261) (n=390) (n=712) (n=732) (n=575)
b. Viewing frequency Regarding the viewing frequency online music videos, “1-2 times a week” received the highest number of responses at 28.2 %, followed by “3-4 times a week” (21.8%) and “Almost every day” (19.9%). The ratio of viewing online music videos at least once a week was 69.8%.
Figure 16 Frequency of Viewing Online Music Videos
(Base: Users who viewed online music videos in the past year, Unit: %)
Almost every day 3~4 times a week 1~2 times a week 2~3 times a month Once a month Once every 2~3 months Once every 4 months to 1 year
More than once a week 69.8
2020 19.9 21.8 28.2 16.2 6.6 4.3 3.1 (n=2,447)
2020 MUSIC INDUSTRY WHITE PAPER 13 SUMMARY
c. Viewing method Regarding the viewing method online music videos, “YouTube” was the most preferred platform at 90.2%, followed by “Online video services other than YouTube” (30.3%), “Music service sites” (22.7%), and “SNS” (20.4%).
Figure 17 Method of Viewing Online Music-related Contents
(Base: Users who viewed online music videos in the past year, multiple responses, Unit: %)
90.2 2020(n=2,447)
30.3 22.7 20.4
2.5 0.2 YouTube Online Video Music SNS P2P, Webhard Others Service Service Sites (Facebook, (Naver TV, (Melon, Bugs, Instagram, Naver V App, Genie, Twitter, etc.) KakaoTV, etc.) Naver Music, etc.)
(2-6) Overall status of music-related use through other sources: music goods, MD purchase
a. Music goods/MD purchase The rate among those who responded that they purchased music goods/MD was 20.2%, increasing by 5.5%p. On the other hand, in terms of the average annual expense for such purchase, “50,000 to less than 100,000 KRW” was the highest at 40.0%, followed by “50,000 to less than 100,000 KRW” (32.5%), “100,000 to less than 200,000 KRW” (18.1%), and “200,000 to less than 500,000 KRW” (6.8%).
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Figure 18 Experience of Purchasing Music Goods/MDs
(Base: Overall, Unit: %)
Yes No By Year By Gender By Age
64.7 60.6 73.2 74.9 79.8 77.1 81.3 82.3 85.7 86.6
35.3 39.4 26.8 25.1 20.2 22.9 18.7 17.7 14.3 13.4
2020 Men Women 10~14 15~19 20~24 25~29 30~39 40~49 50~59 (n=3,000) (n=1,521) (n=1,479) (n=150) (n=180) (n=261) (n=390) (n=712) (n=732) (n=575)
Figure 19 Average Annual Expense for Purchasing Music Goods/MDs
(Base: Users who purchased music goods/MD in the past year, Unit: %)
2020(n=607) 40.0
32.5
18.1
6.8 2.6
Less than 50,000 to 100,000 to 200,000 to More Than 50,000 KRW Less than Less than Less than 500,000 KRW 100,000 KRW 200,000 KRW 500,000 KRW
Note: 1) Difficulty in direct comparison due to the change in intervals in 2019 2) Experts’ advice and interpretations that the relatively high response rate of “Less than 50,000 KRW” can be explained by the increase in the proportion of consumers with small/light purchases.
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Part 2 Support Programs for Music
1. Support Programs for Increasing Production Capability
1) Support Program for Online Production, Distribution and Promotion of Popular Music
With the increase in the proportions of new media, such as the role of streaming services and video contents in the consumption of music contents, the popular music online promotion project, “MUSEON” was established to support the production and distribution of music contents online. This project, in collaboration with the Naver Musicians League, was designed to respond to the changing trends in the music industry by expanding support to the production and distribution of online video contents, in addition to the existing album production and performance launches. Three cutoffs were implemented through public voting and expert evaluation in online platforms, discovering musicians in terms of popularity and ability. Furthermore, the project aims to expand its target of support, escape from the cutoff type of survival support, increase public awareness, and nurture musicians to establish a niche in the music market in the future. It will promote musicians through different media sources, and broaden their contact point with the public through regular performances. It will also provide various forms of support for overseas expansion so that musicians with talent and potential can gain recognition not only from Korea, but also from abroad.
2) Co-production of Music Broadcasting-linked Convergence Content
With the recent development of artificial intelligence (AI), VR･AR, and 5G technologies, various types of content using these technologies have emerged, leading the innovation in the contents industry. Music contents are also expanding the market through the grafting of ICT and content, while the production of convergent content that leads to new forms of consumption is
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gaining ground among large agencies. To this end, a pilot project was implemented to produce convergence contents that target small and medium-sized entertainment companies, which occupy the majority of the domestic popular music industry but fails to succeed on their own due to lack of capital and networking capabilities. Based on the results of this pilot project, the ICT-Music (Music Tech) production support project was established in 2020, selecting and supporting a convergence project on music and new ICT technologies that can introduce further innovation to the overall music ecosystem, from planning to production, distribution, and consumption.
2. Opening of the Seoul International Music Fair (MU:CON)
The Seoul International Music Fair (hereinafter, MU:CON) is an international music market that has been held since 2012. Its purpose is to build a network among the domestic and international music industries and to promote homegrown, promising musicians overseas. Music production companies, indie labels, artists, performance planning companies, and distribution companies are among the participants in the musical showcase, conferences, and business matching programs. The 8th MU:CON in 2019 was held in connection with the Gangnam Festival at COEX in Seoul for four days. For the first time ever, an artistic director was invited to add diversity to the program. A total of 1,001 business consultations were conducted with 125 overseas buyers and 1,448 domestic buyers in attendance. A pre-business matching system was introduced through the website so that participating companies could directly initiate meetings with desired buyers. As a result, satisfaction among the participating companies has significantly increased.
2020 MUSIC INDUSTRY WHITE PAPER 17 SUMMARY
Table 2 Overview and Key Achievements of MU:CON 2019
Classification Content ∙ Date: Sep. 30 – Oct. 3, 2019 ∙ Location: COEX, Seoul Overview ∙ Concept: MUSIC × CULTURE × TECH ∙ Event set: Showcase, conference and pitching, biz-matching, networking party, etc. ∙ 1,001 cases in total - 762 1:1 consultations Biz-matching - 239 selective interviews - 1,573 buyers (125 foreigners, 1,448 Koreans) ∙ Participating musicians: 77 teams in total (75 Korean teams and 2 foreign teams) ∙ Attendees: 4,285 people (Opening performance – 599 people, COEX Plaza - 1,877 Showcase people, SM Town Theater – 1,809 people) ∙ Naver V app live viewing: 53,912 people ∙ Attendees: 2,997 people (13 conference sessions - 2,516 people, 27 pitching sessions Conference and -481 people) Pitching - Lecturers: 54 (41 foreigners, 13 Koreans) ∙ 3 teams MU:CON - Yoon Sang X Aisyah Aziz Collaboration - PLUMA X Holly - Eyedi X Kevin Wild
MU:CON, as a venue for business exchanges in the music industry, has been largely contributing to the presentation of top-notch domestic musicians and songs, and to the formation of networks with business partners at home and abroad. In the future, it plans to strengthen its position as a representative music market of Asia through the diversification of its programs, such as enhancing business performance by inviting genuinely interested buyers, inviting directors of different overseas festivals, and expanding the number of participants in program pitchings.
3. Support Programs for Overseas Expansion of Popular Music
1) Opening of Korean Spotlight
The Korean pop music showcase, which was held at major overseas music markets and festivals, has been steadily promoting strategic overseas expansion of many domestic popular music artists. In 2019, under the brand, “Korea
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Spotlight,” the showcase was held at three different locations: South by Southwest (SXSW, Austin, USA), The Great Escape (TGE, Brighton, UK), and Reeperbahn Festival (Hamburg, Germany). With the popularity of K-pop and the growing interest in Korean popular music abroad, Korea Spotlight remains active in the promotion of music markets in major overseas bases, hosting a showcase of Korean popular music and constantly supporting individual participation of musicians to increase opportunities for local advancement by introducing different genres of Korean popular music abroad.
2) Support Program for the Opening of Overseas Tour Programs
In 2019, it organized a tour in connection with major overseas festivals by integrating the overseas festival participation support project and the overseas performance opening support project, which, in the past, were carried out separately. There was also an “overseas tour program opening support” project for musicians who intended to pursue long-term performances.
3) Support Program for Online Promotion of Overseas Expansion
The video platforms represented by YouTube and various social media services are serving as windows for promoting domestic musicians and expanding overseas opportunities. To this end, it established an overseas online promotion support project was established to produce and distribute online video contents, including music videos, performance videos, and films, and to host overseas performances and events (promotions) based on these PR activities. As part of the project’s efforts to form a point of contact with the public under the influence of the COVID-19 online non-face-to-face musical performances have started booming. Moreover, the demand for K-pop idols and various musicians from overseas has increased after steadily introducing and supporting various genres of Korean popular music abroad. To this end, the project will provide active support to introduce more diverse musicians overseas, and help in expanding their reach.
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4. Support Programs for the Music Production Center Operation
The operation support project for a regional-based, music production center program was designed to promote the construction of a diverse and experimental music creation ecosystem by enhancing the capabilities of musicians in the region, and strengthening the foundation of the regional music industry. The support target includes music production centers established by the Ministry of Culture, Sports, and Tourism, two each year for local governments across the country, and graded support for program operation expenses to 10 of them created in 2019 (Seoul, Busan, Daegu, Gwangju, Chungnam, Chungbuk, Jeonnam, Jeonbuk, Gyeongnam, and Gangwon). Each music production center provides a stable creative space for local musicians, and the operation of related programs, such as networking, mentoring, and planned performances, involving both studio owners and musicians. This project provided an opportunity to discover the potential of local musicians and that of the local music industry. In the future, it is expected to play a major role in expanding diversity and encouraging experimentation in the domestic music industry as more music production centers are established by the local governments across the country.
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摘要
第一节 音乐产业的用户情况
1. 调查目的和概要
本调查包括2020年所有10至59岁公⺠的总体⾳乐使⽤⾏为和感知。通过各种媒体了解 了⾳乐使⽤状况：总体⾳乐使⽤状况、在线⾳乐服务使⽤状况、⾳乐CD/DVD/蓝光光盘/ 磁带/LP唱片购买状况、⾳乐表演观看状况、与⾳乐相关的在线视频使⽤状况。为此，本 研究旨在通过调查各种媒体是否使⽤⾳乐、使⽤频率和使⽤⽅法来衡量⾳乐的使⽤水平。 本调查的对象是在韩国居住的10岁至59岁的国⺠中在过去⼀年使⽤过⾳乐内容的⼈。 调查根据截至2020年7⽉统计厅居⺠登记⼈⼝统计资料的各地区、性别、年龄的⼈⼝组成 ⽐例进⾏。 调查周期为⼀年⼀次，对⾳乐欣赏调查内容的回答标准为2019年8⽉∼2020年8⽉(最近 ⼀年)。资料的收集在2020年8⽉至9⽉期间(8/20~9/9)通过⽹上调查⽅式进⾏。
表 1 2020年音乐用户实情调查设计 项目 内容 目标总体 10周岁~59周岁的全体国⺠ 调查总体 在10周岁~59周岁的全体国⺠中最近⼀年欣赏过音乐的⼈ 调查地区 全国17个市和道 资料收集⽅法 通过结构化的问卷在⽹上进⾏调查 截至2020年7⽉⾏政⾃治部提供的居⺠登记⼈口统计现状 抽样框 把调查执⾏机构持有的全国固定样本组116万名作为抽样框 抽样⽅法 按各地区/性别/年龄⽐例分配 有效样本 3,000名 资料收集时间 2020年8⽉~9⽉
22 2020 音乐产业白皮书 第⼀节 音乐产业的用户情况
2. 主要调查结果
1) 音乐欣赏一般概况
(1) 音乐欣赏方式
在欣赏⾳乐时使⽤的⽅式或服务中、“串流⾳乐”以63.2%占据首位。接着、依次为“⽹ 络视频⽹站(60.3%)”、“电视⾳乐节目(39.3%)”等。通过“⽹络视频⽹站”、“电视⾳乐节 目”、“实体唱片”欣赏⾳乐的⽐例同⽐增加。
图 1 欣赏音乐时使用的方式或服务
(Base: 全体, 可多选, 单位: %)
63.2 2020年(n=3,000) 60.3
39.3
30.5 28.7
11.5 10.8 7.1
0.4
串流音乐 ⽹络视频⽹站 电视音乐节目 下载服务 收音机点播 实体唱片音乐表演 其他数字音乐 其他 音乐 （线下表演）
(2) 音乐欣赏时段(工作日/周末)
在工作日的⾳乐欣赏时段中、“下午6点〜下午8点以前”以36.9%占据首位。在周末的⾳ 乐欣赏时段中、“下午1点∼下午6点以前”以32.9%占据首位。 从工作日的⾳乐欣赏时段回答者的特征来看、“下午6点〜下午8点以前”欣赏⾳乐的⽐例 为“男性(39.3%)”、年龄段为“15~19岁(46.7%)”、“20~24岁(46.0%)”、“25~29岁 (45.6%)”相对较高。 周末的⾳乐欣赏时段中、“下午1点∼下午6点以前”欣赏⾳乐的⽐例为“20~24岁 (49.4%)”和“15~19岁(48.9%)”相对较高。
2020 音乐产业白皮书 23 摘要
图 2 音乐欣赏时段
(Base: 全体, 可多选, 单位: %)
2020年(n=3,000) 工作日 周末 36.9 35.0 32.9 31.6 30.3
22.6 22.0 28.7 29.0 26.8 26.8 22.6 14.8 12.3 11.4 17.8
12.6 5.4
3.6 4.3
不听 上午6点~ 上午9点~ 下午12点~ 下午1点~ 下午6点~ 下午8点~ 下午10点~ 午夜~ 凌晨2点~ 上午9点 下午12点 下午1点 下午6点 下午8点 下午10点 午夜 凌晨2点 上午6点 以前 以前 以前 以前 以前 以前 以前 以前 以前
注: 2020年时间段区间变更
(3) 欣赏音乐时主要使用的设备
在欣赏⾳乐时主要使⽤的设备中(以第1+2+3位为准)，此处应该使⽤逗号，⽽不是顿 号。“智能手机”以88.3%占据首位。接着依次为“计算机/笔记本电脑(46.9%)”、“电视 (46.0%)”等。以第⼀位为准来看、依次为“智能手机(65.7％)”、“电视(11.0％)”和“计算机/ 笔记本电脑(7.3％)”。继上⼀年之后，通过"智能手机"欣赏的⽐例最高、通过“电视”欣赏 的⽐例呈增长趋势(以第⼀位为准)。
图 3 欣赏音乐时主要使用的设备
(Base: 全体, 可多选, 单位: %) 2020年(n=3,000) 排名第1 排名第1+2+3 88.3
46.9 46.0
65.7 27.1
14.0 11.6 7.4 7.0 6.8 1.6 0.8 1.6 1.5 1.6 0.3 7.3 11.0 7.3 1.62.4 0.2 0.4 0.1 智能手机 计算机/ 电视 收音机 平板电脑 汽车音响 CD/DVD/ AI 扬声器 MP3 LP 播放器 磁带 其他 笔记本电脑 蓝光/ 播放器 （留声机） 播放器 光盘播放器
24 2020 音乐产业白皮书 第⼀节 音乐产业的用户情况
(4) 爱听的音乐类型
在爱听的⾳乐类型中、“抒情歌曲”以76.5%占据首位。接着、依次为“舞曲(55.8%)”、 “主题曲(电影和电视剧等)(50.7%)”、“R&B/Soul(36.7%)等。“主题曲(电影和电视剧等)”、 “R&B/Soul”、“说唱/嘻哈”、“Trot”⽐前⼀年有所增长。 从回答者的特征来看、40~49岁(80.2%)和50~59岁(80.3%)年龄段中爱听“抒情歌曲”的 ⽐例相对较高。⼥性(61.6%)以及10~14岁(68.0%)年龄段中爱听“舞曲”的⽐例相对较高。 15~19岁(65.0%)年龄段中爱听“主题曲(电影和电视剧等)”的⽐例相对较高。
图 4 爱听的音乐类型
(Base: 全体、可多选、单位: %)
2020年(n=3,000) 76.5
55.8 50.7
36.7 33.1
21.3 19.7 16.1 15.7 12.2 10.6 1.9
抒情歌曲 舞曲 主题曲 R&B/Soul说唱/嘻哈Trot古典音乐摇滚/独⽴音乐 爵士/ EDM 其他 (电影和 重⾦属 融合爵士 电视剧等)
注: 1) 2019年新增"EDM" 2) 2019年的"EDM"已改为2020年的“电子音乐/EDM” 3) 就主题曲(电影和电视剧等)而言、将其视为⼀种类型在某种程度上有些模糊、有专家认为音乐用户可能不会将主题曲视 为⼀种类型。
2) 网络音乐服务使用情况
(1) 串流和下载服务使用频率
在串流⾳乐及其他数字⾳乐⽤户们的串流服务使⽤频率中、“几乎每天”以38.7%占据首 位。接着依次为“⼀周3~4次(22.7%)”、“⼀周1~2次(18.5%)”等。⼀周1次以上“的⽐例为 79.8%, 与2019年相近。
2020 音乐产业白皮书 25 摘要
图 5 音乐串流服务使用频率
(Base: 串流音乐及其他数字音乐用户, 单位: %)
几乎每天 ⼀周3~4次 ⼀周1~2次 ⼀个⽉2~3次 ⼀个⽉⼀次 2~3个⽉⼀次 4个⽉~1年⼀次
一周一次以上 79.8
2020年 38.7 22.7 18.5 11.5 3.42.52.9 (n=1,961)
在下载服务及其他数字⾳乐⽤户们的⾳乐下载服务使⽤频率中、“⼀个⽉2~3次”以 22.3%占据首位、其次为“⼀周1~2次”(21.0%)。“⼀周⼀次以上”的⽐例为43.9%, 与前⼀ 年相⽐有所增长。
图 6 网络音乐下载服务使用频率
(Base: 音乐下载及其他数字音乐用户, 单位: %)
几乎每天 ⼀周3~4次 ⼀周1~2次 ⼀个⽉2~3次 ⼀个⽉⼀次 2~3个⽉⼀次 4个⽉~1年⼀次
一周一次以上 43.9
2020年 10.3 12.6 21.0 22.3 10.6 10.2 13.1 (n=1,003)
(2) 关于付费使用音乐串流和下载服务
2-1. 付费使⽤⾳乐串流和下载服务情况 在⾳乐串流和下载服务的⽤户中, 对是否付费使⽤过⾳乐串流和下载服务的提问回答 “是”的⽐例为63.6%。
26 2020 音乐产业白皮书 第⼀节 音乐产业的用户情况
图 7 最近一年付费使用音乐串流和下载服务情况
(Base: 串流音乐、下载及其他数字音乐用户, 单位: %)
是 否
年度 性别 年龄段
33.2 27.0 33.0 36.4 36.4 36.4 41.7 41.6 41.4 42.9
66.8 73.0 67.0 63.6 63.6 63.6 58.3 58.4 58.6 57.1
2020年 男 ⼥ 10~14岁 15~19岁 20~24岁 25~29岁 30~39岁 40~49岁 50~59岁 (n=2,249) (n=1,124) (n=1,125) (n=115) (n=149) (n=235) (n=348) (n=581) (n=490) (n=331)
2-2. ⽤于使⽤⾳乐串流和下载服务的⽉平均费⽤ 在付费使⽤⾳乐串流和下载服务的⽤户们⽤于使⽤服务的⽉平均费⽤中, “5,000韩元以 上〜不到10,000韩元”以54.5%占据首位。接着依次为“10,000韩元以上〜不到15,000韩 元”(20.9%)、“不到5,000韩元”(18.0%)。
图 8 用于使用音乐串流和下载服务的⽉平均费用
(Base: 串流音乐、下载及其他数字音乐用户中的付费用户, 单位: %)
2020年(n=1,430) 54.5
20.9 18.0
4.4 2.2
不到5,000韩元5,000韩元以上~ 10,000韩元以上~ 15,000韩元以上~ 20,000韩元以上 不到10,000韩元 不到15,000韩元 不到20,000韩元
2020 音乐产业白皮书 27 摘要
3) 音乐CD/DVD/蓝光光盘/磁带/LP唱片购买情况
(1) 购买情况
购买⾳乐CD/DVD/蓝光光盘/磁带/LP唱片/Kihno专辑等实体光盘的⾳乐⽤户⽐例为 20.2%，与2019年的调查结果相似。
图 9 最近一年音乐实体唱片购买情况
(Base: 全体, 单位: %)
是 否
年度 性别 年龄段
74.7 70.6 75.1 79.8 80.3 79.2 77.2 82.0 81.8 82.6
29.4 25.3 24.9 22.8 20.2 19.7 20.8 18.0 18.2 17.4
2020年 男 ⼥ 10~14岁 15~19岁 20~24岁 25~29岁 30~39岁 40~49岁 50~59岁 (n=3,000) (n=1,521) (n=1,479) (n=150) (n=180) (n=261) (n=390) (n=712) (n=732) (n=575)
(2) 用于购买的月平均费用
购买过⾳乐CD/DVD/蓝光光盘/磁带/LP唱片/Kihno专辑的⽤户们⽤于购买的⽉平均费 ⽤中“10,000韩元以上〜不到30,000韩元”以49.7%占据首位。接着依次为“30,000韩元以 上〜不到50,000韩元”(23.8%)、“不到10,000韩元”(17.2%)。
图 10 用于购买音乐实体唱片的⽉平均费用
(Base: 最近⼀年实体唱片购买用户, 单位: %)
2020年(n=606) 49.7
23.8 17.2 7.9 1.5
不到10,000韩元 10,000韩元以上~ 30,000韩元以上~ 50,000韩元以上~ 100,000韩元以上 不到30,000韩元 不到50,000韩元 不到100,000韩元
28 2020 音乐产业白皮书 第⼀节 音乐产业的用户情况
4) 音乐表演观看情况
(1) 观看类型
按最近⼀年观看的⾳乐表演类型来看, “韩国流⾏歌曲演唱会”为59.6%, 同⽐减少 8.1%p。接着依次为“⾳乐剧表演”(49.4%)、“⾳乐节”(31.5%)等, “⾳乐节”观看⽐例同⽐ 减少11.2%p。新增加的“Live Club等独⽴演出”的观看⽐例为19.8%。
图 11 最近一年观看的音乐表演类型
(Base: 最近⼀年观看过音乐表演的观众, 可多选, 单位: %)
59.6 2020年(n=324)
49.4
31.5 24.7 19.8 19.4 16.0 7.1 0.0 0.0
韩国 音乐剧表演 音乐节 古典音乐表演 Live Club 国外音乐会 歌剧表演 国乐表演 街头表演 企业及 流⾏歌曲 等独⽴演出 （访韩） 地⽅政府/ 演唱会 活动大学 节庆活动
注: 1) 删除2019年“街头表演”、“企业及地⽅政府/活动大学节庆活动” 2) 增加2020年““Live Club等独⽴演出”
按付费观看的⾳乐表演类型来看, “韩国流⾏歌曲演唱会”以46.9%占据首位。接着依次 为“⾳乐剧表演”(43.2%)、“⾳乐节”(22.2%)、“古典⾳乐表演”(19.8%)等。
图 12 音乐表演付费观看类型
(Base: 最近⼀年观看过音乐表演的观众, 可多选, 单位: %)
46.9 2020年(n=324) 43.2
22.2 19.8 14.8 12.7 12.0 14.2
3.7 0.0 韩国 音乐剧表演 音乐节 古典音乐表演 国外音乐会 Live Club 歌剧表演 国乐表演 企业及 不观看 流⾏歌曲 （访韩） 等独⽴演出 地⽅政府/ 演唱会 活动大学 节庆活动
注: 1) 删除2019年“街头表演”、“企业及地⽅政府/活动大学节庆活动” 2) 增加2020年““Live Club等独⽴演出”
2020 音乐产业白皮书 29 摘要
(2) 最近⼀年付费音乐表演的观看次数
在付费观看过⾳乐表演的⼈中, 最近⼀年付费⾳乐表演的观看次数为“2次”的以28.1%占 据首位。接着依次为“4次以上”(26.3%)、“1次”(25.2%)、“3次”(20.5%)。 最近⼀年⾳乐表演的付费观看次数为平均3.8次。
图 13 最近一年观看收费音乐表演的次数
(Base: 最近⼀年观看过音乐表演的观众中观看付费表演的观众, 单位: %, 次)
28.1 2020年(n=278) 26.3 25.2
20.5
3.8
1次 2次 3次 4次以上 平均
注: 以2020年的调查为例，最近⼀年(2019年8⽉至2020年8⽉)的调查时间包括疫情传播之前的时期，专家表示，新冠疫情对表 演观看情况的影响将在明年出现。
(3) 观看收费表演时每次愿意消费的费用
观看⾳乐表演的⽤户们在今后观看收费表演时每次愿意消费的费⽤中, “50,000〜 100,000韩元”以34.3%占据首位。接着依次为“100,000〜150,000韩元”(28.4%)、 “10,000〜50,000韩元”(22.2%)等。
图 14 观看收费音乐表演时每次愿意消费的费用
(Base: 最近⼀年观看过音乐表演的观众, 单位: %)
34.3 2020年(n=324) 28.4
22.2
9.3 5.9
不到10,000韩元 10,000韩元以上~ 50,000韩元以上~ 10,000韩元以上~ 150,000韩元以上 不到50,000韩元 不到100,000韩元 不到150,000韩元
30 2020 音乐产业白皮书 第⼀节 音乐产业的用户情况
5) 音乐相关网络视频观看情况
(1) 观看情况
观看过⾳乐相关⽹络视频的⽐例为81.6%, 同⽐增加5.6%p。
图 15 最近一年音乐相关网络视频观看情况
(Base: 全体, 单位: %)
是 否 年度 性别 年龄段
8.7 8.3 10.3 17.6 16.9 18.4 19.3 19.9 22.8 21.4
91.3 91.7 89.7 82.4 83.1 81.6 80.7 80.1 77.2 78.6
2020年 男 ⼥ 10~14岁 15~19岁 20~24岁 25~29岁 30~39岁 40~49岁 50~59岁 (n=3,000) (n=1,521) (n=1,479) (n=150) (n=180) (n=261) (n=390) (n=712) (n=732) (n=575)
(2) 观看频率
在⾳乐相关⽹络视频的观看频率中, “⼀周1∼2次”以28.2%占据首位。接着依次为“⼀周 3~4次(21.8%)”、“几乎每天(19.9%)”等。⼀周⼀次以上观看⾳乐相关⽹络视频的⽐例为 69.8%。
图 16 音乐相关网络视频观看频率
(Base: 最近⼀年观看过音乐相关⽹络视频的用户, 单位: %)
几乎每天 ⼀周3~4次 ⼀周1~2次 ⼀个⽉2~3次 ⼀个⽉⼀次 2~3个⽉⼀次 4个⽉~1年⼀次
一周一次以上 69.8
2020年 19.9 21.8 28.2 16.2 6.6 4.3 3.1 (n=2,447)
2020 音乐产业白皮书 31 摘要
(3) 观看方法
在⾳乐相关⽹络视频的观看⽅法中, “YouTube”以90.2%继前⼀年占据首位。接着依次 为“YouTube以外的⽹络视频服务”(30.3%)、“⾳乐服务⽹站”(22.7%)、“SNS”(20.4%) 等。
图 17 音乐相关网络视频观看方法
(Base: 近⼀年观看过音乐相关⽹络视频的用户、可多选, 单位: %)
90.2 2020年(n=2,447)
30.3 22.7 20.4
2.5 0.2 YouTube YouTube以外 音乐服务⽹站 SNS P2P, ⽹盘等 其他 的⽹络视频服务 (MELON，BUGS (脸书, Instagram, (Naver TV,Naver V App, GENIE 推特等) Kakao TV等) Naver音乐等)
6) 其他音乐相关服务使用情况 : 购买音乐商品(goods)、MD
(1) 音乐商品(goods)･MD购买情况
图 18 音乐商品(goods)/MD购买情况
(Base: 全体, 单位: %)
是 否 年度 性别 年龄段
64.7 60.6 73.2 74.9 79.8 77.1 81.3 82.3 85.7 86.6
35.3 39.4 26.8 20.2 22.9 25.1 17.7 18.7 14.3 13.4
2020年 男 ⼥ 10~14岁 15~19岁 20~24岁 25~29岁 30~39岁 40~49岁 50~59岁 (n=3,000) (n=1,521) (n=1,479) (n=150) (n=180) (n=261) (n=390) (n=712) (n=732) (n=575)
32 2020 音乐产业白皮书 第⼀节 音乐产业的用户情况
购买过⾳乐商品(goods)/MD的⽐例为20.2%, 同⽐增加5.5%p。 购买过⾳乐商品(goods)/MD的⼈⽤于购买的年均费⽤为“不到50,000韩元”以40.0%占 据首位。其次为“50,000〜100,000韩元(32.5%)”、“100,000〜200,000韩元(18.1%)”、 “200,000〜500,000韩元(6.8%)”等。
图 19 用于购买音乐商品(goods)/MD的年均费用
(Base: 最近⼀年购买过音乐商品(goods)/MD的⼈, 单位: %)
2020年(n=607) 40.0
32.5
18.1
6.8 2.6
不到50,000韩元 50,000韩元~ 100,000韩元~ 200,000韩元~ 500,000韩元以上 100,000韩元 200,000韩元 500,000韩元
注: 1) 由于2019年时间间隔变化，难以进⾏直接⽐较。 2) 专家的建议和解读认为，受访者中“低于50,000韩元”的⽐例相对较⾼，是因为小/轻(light)购买的消费者增加。
2020 音乐产业白皮书 33 摘要
第二节 音乐资助项目趋势
1. 增强制作能力
1) 资助大众音乐在线制作、发⾏和推⼴
随着流媒体服务、视频内容等新媒体在⾳乐内容消费中所占⽐重的提高，新设⽴了⽀持 在线内容制作和发⾏的流⾏⾳乐在线推⼴⽀持项目“Muse on”。该项目与Naver⾳乐家联 盟合作，旨在通过扩大在线视频内容的制作和分发，包括⽀持现有专辑制作和演出，来应 对⾳乐⾏业不断变化的趋势。尤其是通过⽹络平台的公众投票和专家评估，共进⾏了三个 阶段的筛选，发掘了既有⼈⽓⼜有实⼒的⾳乐家。 今后，为了扩大资助对象，摆脱切断式的⽣存⽀持，提高公众认知度，培养能在市场⽴ 足的⾳乐家，将利⽤更加多样化的媒体推⼴⾳乐家，并通过定期演出扩大与公众的联系。 此外该项目还计划增加对开拓海外市场的⽀持，以使有潜⼒的⾳乐家不仅能在韩国，⽽且 能在国外树⽴知名度。
2) 联合制作音乐⼴播相关的融合内容
近年来，随着⼈工智能(AI)、VR和AR以及5G技术的发展，各种使⽤这些技术的内容层 出不穷，引领了内容⾏业的创新。⾳乐内容也通过ICT与内容的结合来拓宽市场，以大型 策划公司为中心引导公众新消费的融合内容的制作正变得越来越活跃。对此，为占韩国流 ⾏⾳乐产业大多数，但由于缺乏资本和⽹络未能出尝试的中⼩型机构开展了融合内容制作 的试点项目。 根据试点项目的结果，将在2020年创建⼀个新的ICT-⾳乐(⾳乐技术)制作⽀持项目，以 选择和⽀持⾳乐和ICT新技术的融合项目，该项目可以在整个⾳乐⽣态系统中带来创新， 包括规划、制作、发⾏和消费。
34 2020 音乐产业白皮书 第二节 音乐资助项目趋势
2. 举办首尔国际音乐博览会(MU:CON)
首尔国际⾳乐博览会(MU:CON)是⼀个自2012年以来举办的国际⾳乐市场，旨在建⽴ 国内外⾳乐产业⽹络，并为韩国的优秀⾳乐家拓展海外市场。⾳乐制作公司、独⽴唱片公 司、艺术家、表演策划公司和发⾏商等将参加，并将⼀起举办展览、会议和商业配对项 目。2019年迎来第8届的首尔国际⾳乐博览会与江南⾳乐节联合为期四天在首尔COEX举 ⾏。值得⼀提的是，自开幕以来，它首次邀请艺术总监来丰富节目。共有125名海外买家 和1,448名国内买家参与商务配对，进⾏了1,001次商务洽谈。通过⽹站引⼊了事前商务配 对系统，参与者可以与自己想要的买家进⾏洽谈，参与者的满意度得到显著提高。
表 2 首尔国际音乐博览会(MU:CON) 2019概要及主要成果
项目 内容 ∙ 日期: 2019.9.30.(周⼀)~10.3.(周四) ∙ 地点: 首尔COEX 概要 ∙ 主题: 音乐(MUSIC) × 文化(CULTURE) × 科技(TECH) ∙ 活动组成：展示、会议和推介、商务配对、社交聚会等 ∙ 共1,001项 - 1:1洽谈762项 商务配对 - 选择性面谈239项 - 买家1,573名(海外125名、国内1,448名) ∙ 参与音乐⼈: 共77组(国内75组、海外2组) 展示 ∙ 参观⼈数: 共4,285名(开幕演出599名, COEX广场1,877名, SM TOWN剧场1,809名) ∙ 收看Naver V App直播的观众: 53,912名 ∙ 参观⼈数: 共2,997名(13次会议2,516名, 27次推介481名) 会议和推介 - 演讲者54名(海外41名、国内13名) ∙ 共3组 - 尹尚 X Aisyah Aziz 音博会合作 - PLUMA X Holly - Eyedi X Kevin Wild
首尔国际⾳乐博览会作为⾳乐界进⾏商业交流的场所，向海外⾳乐市场展⽰韩国优秀的 ⾳乐家和⾳乐，为与国内外商业伙伴⽹络的建⽴做出了巨大贡献。在未来，它将通过邀请 真正的买家来提高业务成果，邀请各种海外⾳乐节导演，以及扩大对推介项目的参与对象 等多样化的项目来巩固其亚洲领先⾳乐市场的地位。
2020 音乐产业白皮书 35 摘要
3. 资助流⾏音乐开拓海外市场
1）举办韩国聚光灯(Korea Spotlight)
在海外主要⾳乐市场和⾳乐节举办的韩国流⾏⾳乐展销会是⼀个稳步推进韩国国内各类 流⾏⾳乐战略扩张海外市场的项目。2019年，“韩国聚光灯”在⻄南偏南(SXSW，美国奥 斯丁)、大逃亡(TGE，英国布莱顿)和雷帕恩节(德国汉堡)三个地点举办了展览。 随着韩国流⾏⾳乐的普及和海外对韩国流⾏⾳乐整体兴趣的增长，为了将韩国流⾏⾳乐 的各种流派引⼊海外，来拓展当地市场的发展机会，该项目积极参与主要海外⾳乐市场， 并持续⽀持韩国流⾏⾳乐展或⾳乐⼈的个⼈参与。
2）资助举办海外巡演项目
2019年整合以往单独进⾏的海外节庆参加资助项目和海外演出举办资助项目，与重大 海外节庆结合策划巡演，或实施“海外巡演项目举办资助”项目，来资助打算从事长期巡演 的⾳乐家。
3）资助海外市场开拓在线宣传
以YouTube为代表的视频平台和各种SNS，不仅在推⼴国内⾳乐⼈，也成为开拓海外 市场的窗⼝。对此，制作发⾏了⾳乐视频、表演视频、影片制作花絮等⽹络视频内容，并 在这些推⼴活动的基础上，实施了海外市场开拓在线宣传资助项目来帮助海外演出和活动 (推⼴活动)的举办。 在这种情况下，为了找到与公众的联系点，⾳乐家们正在积极开展在线非面对面表演。 此外，由于对各种流派的韩国流⾏⾳乐的持续介绍和资助，近年来海外不仅对韩国流⾏偶 像的需求不断上升，对许多⾳乐⼈的需求也不断上升。因此，我们将向海外介绍更多类型 的⾳乐家，并不遗余⼒积极资助以使他们能在海外拓展中取得实际成果。
36 2020 音乐产业白皮书 第二节 音乐资助项目趋势
4. 资助音乐创作中心运营
以区域为基础的⾳乐创作中心运营⽀持项目旨在通过加强当地⾳乐家的能⼒和创建面向 区域的⾳乐产业，创建⼀个多样化和实验性的⾳乐创作⽣态系统。⽂化体育观光部每年将 在韩国全国范围内提供两个⾳乐创作中心作为资助对象，2019年创建的10个空间(首尔、 釜山、大邱、光州、忠南、忠北、全南、全布、庆南和江原)获得了该项目运营费⽤的不 同级别的资助。每个⾳乐创作中心都为当地⾳乐家提供稳定的创作空间，以及在创作中心 和⾳乐家之间建⽴联系、指导和策划表演等相关项目的运作提供资助。 这为确认当地⾳乐家的潜⼒和当地⾳乐产业的发展可能性提供了⼀个机会。未来如果更 多的⾳乐创作中心在韩国各地地⽅政府建⽴起来，将有望对扩大韩国国内⾳乐产业的多样 性和实验性发挥重大作⽤。
2020 音乐产业白皮书 37
2020 MUSIC INDUSTRY WHITE PAPER SUMMARY
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