– Internet becomes largest revenue area for copyrights for the first time
The collected copyright royalties for artists in the five areas of music, audiovisual, literature, drama and visual arts at a global level in 2022 were a record high of 12,1 billion euros, more than 140 billion Norwegian kroner. This represented an increase from the previous year of 26,7 percent.
/ 26/10/2023 / Kristian DugstadThe figures come from the “CISAC Global Collections Report 2022” which will be published worldwide on Thursday, October 26. CISAC is a global umbrella organization for collective management organizations for artists in the fields of music, audiovisual, literature, drama and visual arts. The annual CISAC report provides an overview of the copyright revenues of 225 member organizations in 116 countries.
Read the full report here..
– In total, artist-owned collective management companies worldwide collected 12,1 billion euros, or more than 140 billion Norwegian kroner in 2022. This is the highest ever, and it is worth noting that for the first time, the internet became the largest revenue area for copyrights in music, literature, drama, visual arts and the audiovisual sector. An increase from 2021 of 26,7 percent also shows that copyright revenues returned in full after the pandemic years, says TONO Communications Director, Willy Martinsen.
Copyright revenues for all areas were 19,8% higher in 2022 than the pre-pandemic level. The growth came from concerts and other public performances, but above all from the internet. The continued growth in music and film streaming services accelerated in 2022, rising to 4,2 billion euros, almost 50 billion kroner. This is more than double the pre-COVID-19 level in 2019.
– In 2022, the Internet overtook radio and TV, becoming the largest revenue area for copyright royalties for the first time. While Norway and parts of Europe have had a mature streaming market for a few years, countries like the US have followed suit, and this is driving the numbers up, says Martinsen.
In Europe, radio and TV are still bigger than the internet, although the internet grew by 29,4 percent and TV and radio by 6,8 percent Revenues from live performances and public performances, including concerts, background music, exhibitions and theatres, increased by 69,9% to €2,7 billion, but are still 7,9% below pre-pandemic levels.
All regions and all repertoires (music, audiovisual, literature, drama and visual arts) experienced revenue growth in 2022.
Music revenue, which is the largest category, increased by a record 28 percent to 10,8 billion euros, an increase of 21,4 percent compared to 2019.
“The results for the year show that the collective management system, despite all the enormous challenges it faces in adapting to digitalisation, remains robust and effective. The organisations support the creators they work for and are now delivering more money to more creators than ever before,” says CISAC President Björn Ulvaeus in the report’s foreword.
However, he points out that the creative industry is facing a new and serious challenge:
– Artificial intelligence will radically change the world for creators and the creative industry. It requires international leadership and a strong united front from all parts of the creative industry. Machines can only be a tool for human creativity, not a replacement for it. The use of copyrighted works must be authorized by the creator. Copyright must not be weakened or undermined by inappropriate exceptions. The use of artificial intelligence by developers must be transparent, and fair compensation to the human creator must be fundamental, he says.
About CISAC:
CISAC is the international umbrella organisation for collective management organisations for creators in the fields of music, audiovisual, literary, dramatic and visual arts, and is the world's leading network of collective management organisations. CISAC protects the rights and represents the interests of creators worldwide. With 225 member organisations in 116 countries, CISAC represents over four million creators in the fields of music, audiovisual, dramatic, literary and visual arts.
About TONO:
TONO was founded in 1928 and is a non-profit cooperative owned and managed by composers, lyricists and music publishers, and which manages the economic copyrights in their musical works. TONO grants permission for the use of protected music on radio, TV, internet, concert, cinema etc. for a fee, and transfers its financial result each year to the rights holders of music that has been performed publicly. TONO has more than 40,000 members, but also works for millions of authors and music publishers from around the world. TONO gives music creators an economic basis to be able to create new music, and collects and simplifies the licensing of protected music to music users. TONO had a turnover of NOK 864,6 million in 2022. www.tono.no
Contact:
Willy Martinsen, Communications Director at TONO, mob 909 65 254, willy.martinsen@tono.no