Música Grabada

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Música Grabada MÚSICA GRABADA Caminos JOAN S. LUNA, jefe de redacción de MondoSonoro 1 Panorama global del sector de la música grabada 2 La música grabada en España 4 ANUARIO SGAE DE LAS ARTES ESCÉNICAS, MUSICALES Y AUDIOVISUALES 2015 MÚSICA GRABADA TABLAS TABLA 1 Ventas mundiales de música grabada por regiones y tipo de soporte (físico/digital). 2010-2014 TABLA 2 Principales países en ventas de música grabada. 2014 TABLA 3A Principales países en ventas físicas. 2014 TABLA 3B Principales países en ventas digitales. 2014 TABLA 4 Servicios legales online de descargas de música en el panorama internacional. 2014 TABLA 5 Evolución del mercado discográfico español según soportes. 2009-2014 TABLA 6 Evolución del mercado discográfico nacional según soportes. 2009-2014 Evolución de los productores discográficos que han solicitado, al menos, una licencia TABLA 7 en SGAE. 2000-2014 TABLA 8 Álbumes más vendidos en España. 2014 TABLA 9 Recopilaciones más vendidas en España. 2014 TABLA 10 DVD musicales más vendidos en España. 2014 TABLA 11 Top 20 radio en España. 2014 TABLA 12 Los lanzamientos de álbumes de más éxito en Europa. 2014 TABLA 13 Top global de música digital (singles). 2014 2 7 3 4 ANUARIO SGAE DE LAS ARTES ESCÉNICAS, MUSICALES Y AUDIOVISUALES 2015 MÚSICA GRABADA GRÁFICOS GRÁFICO 1 Evolución de las ventas mundiales de música grabada. 2005-2014 GRÁFICO 2 Evolución de las ventas globales de música grabada según soportes. 2005-2014 GRÁFICO 3 Evolución mundial de ventas globales de música grabada digital. 2005-2014 GRÁFICO 4 Evolución de ventas globales de música grabada digital. 2007-2014 GRÁFICO 5 Ventas de música grabada en España según el tipo de mercado GRÁFICO 6 Ventas de música en España en formato digital. 2011-2014 Evolución de la presencia del repertorio español e internacional entre los 50 álbumes más GRÁFICO 7 vendidos en España GRÁFICO 8 % de individuos que descargan música desde Internet en España. 2008-2014 GRÁFICO 9 Volumen total de archivos musicales descargados al año por ordenador. 2007-2014 GRÁFICO 10 Evolución de las descargas de archivos digitales de música por Internet en España. 2007-2014 3 7 3 4 ANUARIO SGAE DE LAS ARTES ESCÉNICAS, MUSICALES Y AUDIOVISUALES 2015 MÚSICA GRABADA Caminos JOAN S. LUNA Jefe de redacción de MondoSonoro Caminos JOAN S. LUNA Jefe de redacción de MondoSonoro Diría que el error más habitual que cometemos quienes desarrollamos nuestra carrera profesional dentro de la industria musical, sea en sus márgenes o sea en pleno ojo del huracán, es plantearnos los asuntos relacio- nados con la música grabada en términos de cantidad, ingresos, ventas y demás índices cuantificables. Así es como solemos hacerlo, siempre o casi siempre. De ese modo valoramos únicamente uno de los vértices de nuestra escena musical, el que genera riqueza o pérdidas, el que suma enteros a la economía del país o los resta, el que deja a profesionales en la calle o crea puestos de trabajo. Quizás eso sea lo verdaderamente importante, no me malinterpreten, y sin duda es lo que importará a quienes vayan a echar un repaso a este Anuario que tenemos entre manos. Pero existen otros mundos y –cada día más– están en este. Desde el exterior, les decía, el valor de las industrias –sean estas de lo que sean– se mide por los dividendos que generan, por sus beneficios y por sus pérdidas, en resumen, por el dinero que pasa de unas manos a otras. Pero siempre existe vida más allá de la industria, sobre todo en un momento en el que esos posibles beneficios son pocos, los gastos muchos y las trabas no es que ayuden precisamente demasiado a evitar las situaciones más precarias e injustas. Y para mí esa precariedad es la que carga sobre sus espaldas la facción independiente o alternativa de toda esta historia del pop y el rock actual. Resulta difícil negar que, a día de hoy, la escena pop rock de corte independiente (un amplio cajón de sastre que iría del indie como género hasta verdaderas actitudes disidentes al margen de los canales habituales) goza de un excelente estado de salud que le ha permitido desarrollarse y llegar al público de modos muy distintos. Y es posible que no siempre hayamos tenido eso presente a la hora de tratar a todos los artistas del modo que merecen: como artistas. Cuando alguien es capaz de crear buena música, merece un respeto desde el inicio. Nunca debe ser sospechoso y en sus manos estará decidir qué forma y qué vías, soportes o plataformas encajan mejor con su forma de entender el arte, el negocio o lo que sea. Es demasiada la presión que se coloca en el extremo opuesto de la balanza frente a unos números que distan mucho de ser lo que fueron antaño. Por eso, cada día más, son muchos, muchísimos, los artistas y creadores que vuelven a las trincheras a la hora de presentar sus canciones. Por eso existen disidencias, confrontaciones, gritos desesperados por dar con otros modelos o sencillamente riachuelos de agua fresca que fluyen en paralelo a un universo ya conocido que se mantiene dentro de los valores de la tradición. De ahí que durante el pasado año fuesen muchos, muchísimos, los artistas de mi entorno que optaron por difundir su música de mil modos distintos. Algunos han apostado por ofrecer su música en descarga gratui- ta y en Creative Commons, otros han establecido relaciones comerciales con pequeños sellos gestionados en su mayor parte por verdaderos amantes del underground, otros han reunido un puñado de modestas discográficas para coeditar unos vinilos que difícilmente se venderán, incluso los ha habido que han seguido los canales tradicionales paso a paso de cara a difundir sus creaciones. Algunos incluso se han atrevido a plantar cara a estos tiempos digitales publicando cintas de casete en un ejercicio de reivindicación de la calma en estos tiempos de relampagueantes velocidades en lo que a disfru- te de la música se refiere. Y es que la libertad de seguir el camino que cada uno quiera debería mantenerse por encima de cualquier otra valoración. ¿Y saben por qué? Porque al final de lo que verdaderamente de- bería tratar todo esto es de canciones y de composiciones más que de dinero. 4 7 3 4 ANUARIO SGAE DE LAS ARTES ESCÉNICAS, MUSICALES Y AUDIOVISUALES 2015 MÚSICA GRABADA Caminos JOAN S. LUNA Jefe de redacción de MondoSonoro Sé que suena extraño, porque lo importante es siempre que uno pueda recuperar el dinero que genere con su trabajo, pero el mundo se ha convertido con el paso de los años en algo muy complejo. Ya no existe un modelo, existen decenas, y algunos encajarán con nuestra forma de ver el mundo y otros no. Por eso me alegra disfrutar con fantásticos discos de grandes sellos discográficos tanto como con huidizas grabacio- nes que surgieron de algún rincón del ciberespacio para nuestro disfrute. Y ya no hay vuelta atrás. Debemos y deberemos convivir por el resto de nuestros días entre modelos distintos, con todo lo bueno y con todo lo malo que eso pueda conllevar. Porque la música es libertad. Porque el ser humano se siente libre creando música, grabándola, interpretándola, y esa libertad no puede nunca coartarse. Solamente dejando volar la creatividad hacia el destino que le apetezca seremos capaces de superar baches, rencillas y malentendidos, solamente así conseguiremos que una buena canción siempre encuentre su lugar en el corazón de la gente. Y eso tiene menos que ver con beneficios y pérdidas, con industrias y plataformas, de lo que muchos nos pensamos 5 7 3 4 ANUARIO SGAE DE LAS ARTES ESCÉNICAS, MUSICALES Y AUDIOVISUALES 2015 MÚSICA GRABADA 1 Panorama global del sector de la música grabada 1 Panorama global del sector de la música grabada Las ventas de música grabada se han mantenido, por segundo año consecutivo, quedando paralizado el retroceso que venía produciéndose desde el año 2005. Las ventas en 2014 fueron de 15.000 millones de dólares, una cifra muy similar a la de 2013, cuando se recaudaron 15.029 millones de dólares. El mantenimiento de las ventas de música grabada consiguió estabilizarse en 2014 gracias a que las ventas de música grabada en soportes digitales están en aumento, sobre todo en potencias mundiales como EE UU (Japón destaca, pero en las ventas de música grabada en soportes físicos). En España aumentan las ventas de música grabada, puesto que en 2013 se recaudaron 116,4 millones de dólares y en 2014 se llegó a 147,5 millones de dólares, un ascenso de 31,1 millones de dólares en un año, lo que supone un crecimiento del 26,7%. Al igual que en otros muchos países, el mercado digital va en aumento de un año a otro, pese a que en 2014 todavía el soporte físico genere más ventas que el digital. El soporte físico representó un 57,6% del mercado frente al 42,4% del formato digital, lo que en términos absolutos supuso 85 millones de dólares de ventas de música en soporte físico y 62,5 millones de dólares de música grabada en soporte digital. 1.1 Distribución del valor en la industria musical Comprobamos a lo largo de los años que la venta mundial de música grabada ha ido decreciendo. Desde el año 2010 se mantuvo ligeramente este descenso, e incluso observando la posterior evolución vemos que de 2013 a 2014 se mantienen las ventas mundiales en los 15.000 millones de dólares, un aspecto muy significativo para este sector (gráfico 1). 6 7 3 4 ANUARIO SGAE DE LAS ARTES ESCÉNICAS, MUSICALES Y AUDIOVISUALES 2015 MÚSICA GRABADA 1 Panorama global del sector de la música grabada Gráfico 1 Evolución de las ventas mundiales de música grabada.
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