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And these older generations of listeners are predominantly loyal recording media buyers. The rest are suitable for the entire family, especially parents and grandparents. The lacking broadband expansion in Germany helps the trade in physical products.Īnother factor lies in the music itself: if you look at the official annual album charts for 2016, you will find only a few records in the German Top 20 evidently aimed at people under thirty.
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If you have to pay less to have large amounts of data at your disposal, you are happy to make use of film, series and music streams. For the mobile use of music in particular, less expensive data transfer and high bandwidth are relevant factors that influence the forms of music consumption. There are a few possible reasons for this: for instance, in Sweden, the numbers for internet accesses, high-speed internet and smartphones per capita are significantly higher than in Germany. In Scandinavia, for example, digital music everywhere means almost exclusively streaming. The share of downloads declined more than 20 per cent in 2016, now amounting to only a little more than twelve per cent of the German market. Another finding of current market analysis is that whoever subscribes for access to diverse streaming services, feels no need to purchase the same music in the form of a download.
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Illegal software, with which you can make streams on Youtube or elsewhere into audible and locally stored data, hardly match up to the image of a livelihood loss-maker, for the principle of the download has in any case been replaced by streaming. After years of broadside accusations of piracy against the internet as such and file sharing in particular, stream ripping has been branded by the music industry as the new phenomenon that cheats creative artists and their middle-men of their revenue options on the market. And so the entire disruptive process of digitalization is no longer presented as a scenario of doom but rather as one with different bogeymen. According to the narrative of the music industry, the nadir has been passed and the business become the shaper instead of the plaything of the digital world. Then came MP3, the internet and file sharing networks. A lot of money, but far from the “Golden Age”: twenty years ago, in 1997, CD album sales alone generated 2.3 billion euros.
Overall, the German market for recorded music in 2016 amounted to nearly 1.6 billion euros. In 2016 it accounted for just under 60 per cent of the turnover in Germany, albeit with a decreasing rate. On the other hand, the old medium of the CD has not yet had its day. The growth engine is audio streaming: just under a quarter of sales now takes place in this still young market segment, with the trend rapidly increasing. This doesn’t seem much, but, after long years of decline, is quite positive. Is this anticyclical, old-fashioned, or perhaps visionary?įor the fourth year in a row, the German music industry is rejoicing in its growth, on the order of three per cent.
In Germany recording media are still of major importance for the perception of music.
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