|Title:||Swings and roundabouts: Swedish music copyrights 1980 - 2009|
|Citation:||Albinsson, S. (2013) Swings and roundabouts: Swedish music copyrights 1980 - 2009. Journal of Cultural Economics 37, 175 - 184|
|Key Related Studies:|
|About the Data|
|Data Description:||The study dataset is compiled from the Swedish Performing Right Society’s annual reports on the distribution of payments from music copyrights.|
|Data Type:||Primary and Secondary data|
|Secondary Data Sources:|
|Data Collection Methods:|
|Data Analysis Methods:|
|Cross Country Study?:||No|
|Government or policy study?:||No|
|Time Period(s) of Collection:||
“For this study, data from the annual reports of the STIM (the Swedish Performing Right Society) (By Swedes it is read as a word: ‘stim’ and not as four separate initials S.T.I.M.) were collected and analysed. If the general hypothesis that a digital technology shift has resulted in illegal downloading holds true, there should be a decrease in total revenues for composers from record sales. This is what the STIM data show. There has, however, been a simultaneous growth in income from other sources, which compensates for the loss from record royalties. This study also includes a unique data set from the STIM showing revenues for individual music IPR owners. The general finding is that a very small group of composers receives a very large share of the copyright revenues. Music as a ‘winner-takes-all’ arena is apparent.”
Main Results of the Study
• The average annual growth rate for STIM revenues is 6.4%, reducing to 3.8% between 1995 and 2009. As revenues have been increasing, so too has membership to STIM, averaging 5.2% increases between 2003 and 2009, and 5.2% between 2008 and 2009 alone. Thus, as revenues are increasing, so too is membership.
• Sales of CDs and records have decreased, having peaked in 2001. However, since then, revenues from broadcasts and live performances have increased.
• 95% of revenue recipients received fewer than 10,000 SEK in 2009; by contrast, in 2009, 0.2% of recipients collected 36% of total revenue. The study finds that only 1% of recipients (approx 30 - 90 composers) earn enough to make a decent standard of living. As such, this is indicative of a winner-takes-all market.
Policy Implications as Stated By Author
The study does not make any explicit policy recommendations.
Coverage of Study
|Level of aggregation:||Reports|
|Period of material under study:||1980 - 2009|