The latest issue of Music & Copyright is now available for subscribers to download. Here are some of the highlights.
EUIPO report sheds light on young Europeans’ digital content habits
A new report published by the European Union Intellectual Property Office (EUIPO) has detailed the attitudes and behavior of 15–24-year-olds in terms of digital media and intellectual property rights (IPRs). The report looked at the main drivers and barriers to acquiring digital content made available by both legal and unlicensed online sources. The report found that young European consumers felt there was a lack of information about IPRs that would help them understand the important issues and that the current level of information available is not communicated effectively to their age group. It concluded that these factors combined to produce indifference among many young European consumers, who have been brought up in the digital age, not caring whether they infringe on IPRs when they acquire content.
GEMA reports flat year for collections and distributions
German authors’ society GEMA has reported its financial details for 2015. Total collections matched the previous year’s record total, marking the third consecutive year of growth after two years of decline. Distributions to members were down slightly but were still the second highest ever for the authors’ society. GEMA said expenses grew, but costs as a share of total revenue, excluding certain strategic costs, decreased. The authors’ society noted that its total income benefited last year from export revenue which turned out to be higher than projected, as well as favorable exchange rates. However, despite the steady year, GEMA said collections from digital services did not match the volume of use and payments made by consumers to access these services.
Big music gets to grips with big data
Data is becoming an increasingly essential tool for the music industry. Its proponents believe that robust data collection and analytics can genuinely provide a competitive edge. Festival operators and music-streaming providers have only just begun to effectively mine big data, using it to deliver more value from their products and services. We are likely to see the music industry ramp up its big data capabilities as the opportunities provided by data-driven understanding become clearer. Live music organizers and digital music providers will find themselves at the forefront of this change.
Italy country report
In addition to the usual set of music industry statistics and news briefs, the latest issue of Music & Copyright includes a detailed Italy music industry profile. Italy was one of the world’s best performing markets for recorded music in 2015. Physical and digital sales growth boosted trade earnings to the highest level since 2008. Although a long way behind Europe’s big three markets of Germany, the UK, and France in terms of trade revenue from recorded music, the country has suffered the same problems associated with high levels of recorded music available online from unlicensed sources. Despite three consecutive years of growth, trade earnings from recorded music are still considerably lower than they were 15 or so years ago. However, continued gains from subscription services suggest the country is on the road to recovery. Live music sales also had a good 2015 with mid-year data from authors’ society SIAE showing a rise in ticket sales to concerts.
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As the issue of multiterritory licensing comes under the spotlight in Europe, differences in rates charged and rights splits will become more evident. Will an EU directive that breaks down national borders be followed by a bigger push for deeper collection-society harmonization across the region?
With publication of the European Commission’s new multiterritory licensing proposals, Brussels’ efforts to harmonize the EU’s digital-music landscape are looking to build on legislation harmonizing authors’ and publishers’ rights that are managed by collection societies. Continue reading
The number of digital-music services in Europe is growing every year and consumers across the continent are being presented with an array of different ways to listen to music. Digital-music delivery and consumption has undergone a rapid transition. However, such has been the speed of the sector’s evolution, new business models specializing in digital-music delivery across Europe have forced those organizations charged with issuing licenses to rethink the way they operate.
Music publishers and collection-societies in Europe have taken to the task in different ways (see below table for major music publisher initiative details). But, in contrast to a few years ago, when digital-music services were required to negotiate countless licensing deals, agreements between music publishers and collection-societies have reduced the necessity for endless rounds of licensing negotiations. Continue reading
In a country profile of Germany a few weeks ago, we reported that some members of the German authors’ society GEMA members had raised concerns at the unfairness of GEMA’s voting system at its annual conference. To recap, GEMA oper-ates three levels of membership: associated, extraordinary and ordinary (the highest level). These levels define voting rights at its annual conference. In 2009, there were 54,605 associated members, 6,406 extraordinary members and 3,343 ordinary members. Associated and extraordinary members have no voting rights at the annual conference. But in pre-meeting sessions, these two groups can nominate up to 34 representatives to participate in, and have voting rights during, the annual meeting. A proposal to raise the number of delegates from the associated and extraordinary membership from 34 to 42 was made at last month’s annual conference, but a decision on the proposal was been postponed until next year’s annual meeting.
After the concert promoter Monika Bestle filed a 106,000-signature petition last year, a hearing in May at the German Bundestag concluded that GEMA’s internal voting process was not well balanced. But is GEMA any less democratic than the other collection societies in Europe? Moreover, could members of other collection societies who are not eligible to vote at their annual general meetings cite the unrest at GEMA as reason for change in their national collection society?
PRS for Music in the UK and SACEM in France are two of Europe’s largest collection societies. PRS divides its membership into three tiers: full, associate and provisional. Of the total membership of 63,129, full members, which numbered 4,172 at the beginning of this year, have multiple voting rights; associate members (17,175) have a single vote; and provisional members (41,782) do not vote. The qualifying criteria for admission to each category of membership are based on a member’s earnings in the previous year. If earnings meet the threshold, which is defined as a set percentage of the total amount distributed to PRS members the year before that, the member is promoted to the next category of membership. Full members have a standard 10 votes. They qualify for an additional 10 votes if they have been a member for at least 20 years and during that time have received an aggregate number of distributions from PRS that is at least 10 times the annual qualifying figure for admission to full membership for the previous year or they have been a member for at least two years and during that time have received an aggregate number of distributions from PRS that is at least 20 times the annual qualifying figure for admission to full membership for the previous year.
Like PRS, SACEM has three membership levels for authors, composers and publishers: adherents (members), societaires professionnels (professional members) and societaires definitifs (full members). At the beginning of the year, the total membership of 132,000 was divided among 127,629 adherents, 2,277 societaires professionnels and 2,094 societaires definitifs. At SACEM’s annual general meeting, all members participate in the approval of the society’s accounts and elect the members of the board of directors, which is made up of six authors and two author-directors, six composers and six publishers. All members have a single vote, while societaires professionnels and societaires definitifs each receive 15 additional votes. The board of directors appoints members as societaires professionnels and societaires definitifs.
BUMA and STEMRA in the Netherlands operate as a single company, despite consisting of two separate bodies: Vereniging BUMA (the BUMA Association) and Stichting STEMRA (the STEMRA Foundation). Each has its own members and affiliates and its own board of directors. BUMA’s board consists of 12 members: six composers, three authors and three publishers. Candidates are recommended by the societies of composers, authors and publish¬ers, but members are elected by composers, authors and publishers collectively. STEMRA’s board consists of 12 members: seven composers or authors, four publishers and one member recommended by BUMA. The composer/author members are elected by writer/composer members of BUMA/STEMRA, and publisher members are elected by publisher members only. Voting is on a weighted basis, based on the publisher’s turnover, and any publisher gets a maximum of 10 votes. Once music authors and publishers transfer the commercial exploitation of their music copyright to BUMA/STEMRA, they become members (BUMA) or affiliates (STEMRA) and are eligible to vote. BUMA/STEMRA ended 2009 with about 16,000 members and affiliates.
Italian authors’ society SIAE has author and publisher members from a variety of arts, including the music, literary, drama, opera, visual and audiovisual sectors. It does not categorize members in tiers. Although rights holders can be contractually represented by SIAE, only members are allowed to participate in SIAE’s governing bodies. SIAE’s General Assembly (GA) consists of 64 members, which are elected by all members every four years. The GA, which meets twice a year, nominates the other governing bodies (president, board of directors, section committees, board of auditors, internal audit) every four years. From a total 81,839 “musical” members, 79,154 are authors and 2,485 are publishers.
SGAE of Spain ended 2009 with 96,955 author and publisher members. Its author mem¬bership is divided into the professional categories of music (72,748 members), grand rights (theater, drama, musicals, etc.) (7,371) and audiovisual (8,031). Voting rights are divided between temporary rights and permanent rights, with the number of votes weighted, based on royalty income. For temporary rights, the weighting of votes is dependent on royalty income received in the previous financial year, and for permanent rights the votes are weighted based on royalty income received in the previous five years.
In the latest issue of the newsletter we continue the analysis by looking at SUISA of Switzerland, SABAM of Belgium, AKM of Austria and STIM of Sweden. We also compare European collection societies with those operating in North America and Asia. The conclusion to all this? It would seem that although most collection societies restrict the voting at annual meetings to the most senior or exclusive members, virtually all of them continue to operate with full member support. For the time being at least. As always, comments are gratefully accepted.
New research published by Music & Copyright has revealed that royalty collections from the world’s authors’ and mechanical-rights collection societies increased 1% at constant-currency exchange rates in 2008, to US$10.91 billion, from US$10.81 billion in 2007. The rise was lower than the previous year. Music & Copyright has also stated that the increase in 2009 will be just 0.1%, to US$10.92 billion. Total distributions in 2008 were US$9.31 billion, and a marginal increase is expected in 2009.
Although the estimated rises in royalty collections and distributions are small, they do provide the music industry with a rare bit of good news, particularly as recorded-music sales are expected to fall again in 2009. In 2008 recorded-music accounted for 71.8% of the combined total, with authors’ royalties taking the remaining 28.2%. But this share is steadily rising; in 2007 authors’ rights had a share of 26.2%, up from 24.1% in 2006. For 2009, the continued demise of recorded-music could push the authors’ share to 30%.
However, as is customary with all music industry good news, there is a down side. Some collection societies have forecast that total collections will be lower in 2009 than 2008. Those societies that collect both authors’ and mechanical reproduction royalties have achieved growth through higher broadcasting and performance royalties, compensating for the fall in mechanicals. But the global financial crisis and its effects on advertising revenues and live performance events will limit broadcast and performance-related collection growth. This means they are less likely to be able to counter the mechanicals’ decline, which is caused by the decrease in recorded-music sales. Music & Copyright has calculated that total mechanical collections were down 9.1%, to US$2.37 billion, in 2008, from US$2.61 billion in 2007.
Although the live music sector in Germany is looking prettyhealthy, one aspect that is concerning the concert industry is the intention of GEMA to increase rates for live music performances. It is likely to take until next month for GEMA and the two live-music trade organizations IDKV and VDKV to reach an agreement on the new rates. The three parties are currently presenting their cases to a German Patent Office arbitral court, after the live music bodies refused to accept GEMA’s demands for significant increases in concert and festival rates. Among other proposals, GEMA wants to introduce a levy on sponsorship fees and ticketing-service charges. The new rates set out a gradually escalating pricing system rising to 10% of ticket prices for festival events by 2014. Representatives of IDKV and VDKD called GEMA’s demands extortion, but GEMA says it is merely acting on the requests of its members. So far, the arbitration court has conducted two hearings and plans to present its findings for fair compensation for performing rights next month. This decision will be considered binding for all concerned parties.
Although the conflict over performance rates gained coverage only in trade papers and music magazines, another case against GEMA reached a much bigger audience. Since September, German citizens have had the right to apply for a so-called e-petition. Monika Bestle, who runs a small venue in Sonthofen, a tiny town in the deep south of Germany, filed such a petition protesting about the policies of GEMA at the German Bundestag. Bestle’s petition gained – by sheer coincidence on June 22, the same day of GEMA’s annual meeting – the 50,000 signatures required to officially place it for consideration on the agenda of the German parliament.
In the petition, Bestle asks the German government to decide whether the policies of GEMA are in line with civil law regarding associations and copyright. She has also requested that the Government force GEMA to undertake a broad reformation of its rate system for small live-music promoters and the royalty-payment plan for artists; a simplification of business conditions; and transparency and amendment of its encashment rules. One year ago, the government’s Culture in Germany committee of enquiry confronted GEMA with a report that included similar observations.
During its general assembly, GEMA distributed a press release regarding the petition to its members, saying that it already offers several special rates for smaller concert promoters and that some postings in online forums contained false information. But this situation was not dismissed easily – when the petition gathered more than 80,000 signatures, several nationwide news sources, such as Spiegel.de and Frankfurter Rundschau picked up the issue, publishing reports critical of GEMA’s practices. Worrying for GEMA is that the petition has thousands more signatures than it has members. Also, earlier this year, it received critical media coverage when, due to a tariff conflict, YouTube Germany removed GEMA-protected repertoire from its servers.