NMPA_International_Survey_12th_Edition

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NMPA INTERNATIONAL SURVEY TWELTH EDITION INTERNATIONAL YEAR IN REVIEW 2002 worth at least $700 million annually, and could possibly be worth as much as $1 billion per year. The proceeds are divided between operators, labels and the artists, and the creators and owners of musical compositions. Informa’s report stated that costs vary widely by country: Russia’s largest mobile phone operator, MTS, charges 30 cents per download, while Australia’s Vodafone charges $1.83. An increased sense of cooperation is also developing between music companies and mobile phone operators, who are actively looking at the joint revenue-generating possibilities of selling everything from ringtones and phone screensavers to music downloads and videoclips. U.K.-based wirelessresearch company EMC forecasts that the number of mobile-phone subscribers in several of the world’s major territories will show significant increases between now and 2004: it predicts that in Western Europe the number will rise from the current 304 million to 364 million; in Eastern Europe, from 55 million to 76 million; in North America, from 148 million to 188.5 million; and in the Asia-Pacific region from 302 million to 399 million, displacing Western Europe as the world’s largest single market. At the same time, U.S. wirelesscontent service provider Moviso has predicted that 550 million consumers internationally will be subscribing to wireless entertainment by 2004, increasing to 775 million in 2005. In another important development,Anderson Merchandisers,the music distributor for the Wal-Mart retail chain, has agreed to buy some of the assets of digital music pioneer Liquid Audio, which has licenses to distribute over 350,000 songs.Anderson expects to distribute music downloads through the websites of a number of retailers, including Wal-Mart. On the performing-rights society front,ASCAP partnered with interactive radio concern YES Networks to create Media guide,a jointly owned company that promises optimal monitoring of music performances on radio, TV, and the Internet using YES’ proprietary technology, while BMI launched Online Works in conjunction with its eight European partners in the digital copyright network FastTrack,which currently covers about 7.2 million works. In January 2003, FastTrack announced it had paid $300,000 for a 60% stake in the Argos International Organization and its digital rights management technology,which allows licensees to automate the process of sending data about the use of works to copyright owners.The technology was developed by Spanish society SGAE and German society GEMA in 1998.The remaining 40% of Argos is owned by SGAE and its digital arm sDae. 30
Country Profile mexico The 19th-largest market for music publishing revenue in 2001,Mexico continues to be faced with a growing piracy problem. MEXICAN SOCIETIES Asociacion Nacional e Interpretes (ANDI) PRESIDENT: Humberto Zurita According to figures released by IFPI,in 2002 Mexico’s music market fell by 15.5% in units to 56.8 million,with a corresponding 16.1% loss in value to 5.3 billion pesos ($547.4 million),marking its second consecutive year of decline. Mexico still remains the largest Latin American music market and 10th largest overall in the world, although its potential remains dramatically unrealized; IFPI estimates that 50% of the Mexican population buys pirate music products. Local estimates found that piracy accounted for 68% of 2002 sales, or roughly 99 million units, costing the local industry somewhere between $300- 500 million annually and making Mexico one of the top five pirate markets in the world. In 2002, 54 million pirate CDs—including 47 million blank CD-Rs—and 5 million cassettes were confiscated. Law enforcement efforts have been accompanied by massive anti-piracy campaigns on radio and TV. In another attempt at combating piracy, several labels have reduced their midline prices, although they caution that they will never be able to undercut the price of pirated product. Since piracy is such a well-organized business in Mexico, pirated product is often attractively packaged. According to AMPROFON, the nation’s association of record and video producers, the number of points of sale for music has dropped 50% since the 1980s.Currently,there are approximately 1,000 legitimate points of sale,compared with 50,000 outlets (including street vendors) that sell pirated music. Tonala 60, Colonia Roma (Delagacion Cuactem) 06700 Mexico DF Tel: 52 5 525 4059 Fax: 52 5 207 9889 E-mail: andi@andi.org.mx Website: www.andi.org.mx Sociedad de Autores y Compositores de Musica (SACM) PRESIDENT: Roberto Cantoral Garcia Mayorazgo 129, Col Xoco CP 03330, Mexico DF Tel: 52 5 604 7493 Fax: 52 5 604 7923 E-mail: informatica@sacm.org.mx Asociacion Mexicana de Productores Fonogramas y Videogrammas (AMPROFON) GENERAL DIRECTOR: Fernando Hernandez Tennyson No. 96 esq., Presidente Masaryk Entre, Alejandro Dumas y Eugenio Sue, Colonia Polanco Chapultepec, Mexico 11570 Tel: 52 5 281 6035 Fax: 52 5 280 9079 NMPA INTERNATIONAL SURVEY TWELTH EDITION COUNTRY PROFILE: MEXICO 31
Page 1: 12th e d i t i o n NATIONAL MUSIC P
Page 4 and 5: Preface The National Music Publishe
Page 6 and 7: Executive Summary This is the NMPA
Page 8 and 9: Following a solid 14% growth in rev
Page 10 and 11: Table 6 Master Survey Data 2001 INT
Page 12 and 13: Table 7 Flat Exchange Rates 2001 IN
Page 14 and 15: Chart 4 22 Other Countries Ireland
Page 16 and 17: REPRODUCTION-BASED INCOME In 2001,
Page 18 and 19: NMPA INTERNATIONAL SURVEY TWELTH ED
Page 20 and 21: International Year in Review:2002 C
Page 26 and 27: LATIN AMERICA NMPA INTERNATIONAL SU
Page 42 and 43: APPENDIX A NMPA INTERNATIONAL SURVE
Page 44 and 45: APPENDIX B International Involvemen
Page 46 and 47: APPENDIX C U.K., JAPAN, GERMANY, FR
Page 48 and 49: APPENDIX C NMPA INTERNATIONAL SURVE
Page 50 and 51: APPENDIX C The Main Organizations o
Page 52 and 53: APPENDIX C The Main Organizations o
Page 58 and 59: APPENDIX C ITALY UPDATE NMPA INTERN
Page 60 and 61: APPENDIX C SPAIN UPDATE NMPA INTERN
Page 62 and 63: APPENDIX D GLOSSARY OF TERMS INTERN
Page 64 and 65: NMPA: A Brief History As technology
Page 66: n m pa NATIONAL MUSIC PUBLISHERS’

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