The Music industry: Digital takes over from physical 音楽業界、デジタルがCDを超える
2016年4月21日
今回の記事は「音楽業界、デジタルがCDを超える」という内容です。さていったいどのような内容なのでしょうか。
今回のポッドキャストです。お聴き下さい。
本日のSentence
Subscription-based digital music services like Apple Music, Tidal, and Rhapsody were the main contributors.
アップルミュージック、Tidal、Rhapsodyのような購読型デジタル音楽サービスが大きく貢献した。
constitute=【他動】～の構成要素となる
responsible for=《be ～》～の原因となる、～の貢献している
take over from=交代する、～に取って代わる、～から引き継ぐ
ボキャブラリー
| digital | adj | デジタル。コンピューター技術の一種である |
|---|---|---|
| surpass | verb | を凌ぐ。（誰かまたは何か）より良い、または大きい |
| format | noun | 形式、型。何かの配列、デザイン、または構成 |
| reveal | verb | 明かす。何かを知らせるようにすること |
| subscription | noun | 加入、契約。企業と契約を交わし、定期的に刊行物またはサービスを受け取ること |
日本語訳
昨年、音楽業界史上初めて、ストリーミングやダウンロードを含むデジタル音楽の販売額がCDのような物理的メディアの販売額を上回った。これは、国際レコード産業連盟（IFPI）によって今月発表されたグローバルミュージックリポートで明らかにされた。
IFPIによると、2015年に全世界の音楽業界で前年度を3.2%上回る150億ドルの売上を記録した。このうち、デジタル販売は売上高の45%を占めており、一方で物理的メディアはわずか39%だった。
デジタルメディアの中で、ストリーミングは2014年の14%から増えて、全世界売上高の19%を占めた。アップルミュージック、Tidal、Rhapsodyのような購読型デジタル音楽サービスが大きく貢献した。一方、広告収入に依存しているユーチューブ、SoundCloud、Spotifyなどの無料のストリーミングサービスは、全世界売上高のうちわずか6億3,400万ドルだった。
Less than two decades ago, music CDs dominated the market and raked in revenues for the music industry. In 1999, revenues reached almost $24 billion. From then onward, it’s been all downhill for revenues from physical music formats. However, digital formats like streaming helped the industry achieve a resurgence in 2015. This is one of the important conclusions of the Global Music Report published by the International Federation of the Phonographic Industry (IFPI) on April 12.
According to IFPI, the global music industry recorded revenues of $15 billion in 2015, a 3.2% increase over the previous year. This is the first major year-on-year growth since 1999. This is also the first time that the industry has touched the $15-billion mark after 2009. This might seem like good news, but the disappointing fact is that revenues were more than $20 billion a decade ago.
Another important takeaway from the IFPI report is that digital sales surpassed physical sales for the first time in history. The former accounted for 45% of the revenues, while the latter was responsible for only 39%. In fact, the 10.2% increase in digital revenues to $6.7 billion has more than offset the decline in downloads and physical formats.
The IFPI data gives a country-wise breakup of where each country stands in the music market. The U.S. and Japan have retained their positions as number one and number two respectively. While the U.S. accounted for revenues close to $5 billion (an increase of 1% from 2014), Japan’s music market yielded almost $2.5 billion, up 3% from 2014. In the tussle for third sport, the UK has overtaken Germany with a revenue of $1.4 billion. Germany’s music market declined 0.3% to show a revenue of $1.31 billion. These top four nations are followed by France, Australia, Canada, South Korea, Italy, and Brazil in that order. While many countries recorded double-digit growth in terms of revenue, China seems to be the fastest growing music market in the world at a rate of 68%. China’s music market yielded $169.7 million to make it the 14th largest recorded music market in the world.
In more than 40 nations, including the U.S., there is more money in streaming than in downloads. Last year, downloads declined by 10% and now account for only a fifth of the music industry’s revenues. This is likely to decline further over the next few years. In contrast, the widespread use of smartphones and growth of subscription-based digital music services like Apple Music, Tidal, and Rhapsody have resulted in a 19% share of global revenues for streaming, up from 14% in 2014. More than 68 million users worldwide use streaming services today in comparison with only 41 million in 2014. In 2010, when data was first compiled for this segment, users of streaming services were only 8 million.
Surprisingly, the so-called "freemium" music providers like YouTube, SoundCloud, and Spotify--which are ad supported--contribute only $634 million to global music revenues, which is barely 4% of the world market. On the basis of a database of 900 million users, IFPI concludes that these services only earn 72 cents a year per user. Conversely, paid services generate $29.41 per subscriber.
The IFIP drew attention to the growing gulf between the paid services and freemium services like Alphabet Inc.’s YouTube in terms of the number of users and music volume consumed on the one side and the revenue yield from such services on the other. The number of free streams doubled in the U.S. and grew 88% in the UK. This is having a detrimental effect on paid services because it is becoming increasingly difficult to draw customers to such paid channels when freemium services are growing so fast.
Although revenue from digital music has surpassed physical formats like CDs, the latter still continues to be the preferred option for music lovers in major music markets like Japan (75%), Germany (60%), and France (42%). Japan continues to be the world’s biggest market for physical sales.
But that aside, the demand for digital music is likely to grow rapidly in the next few years. In fact, the growth of the streaming industry in the U.S. in particular has been phenomenal. Last year, the total number of streams leapfrogged 93% to 317 billion. This number is far greater than the sum total of sales from singles and albums.
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