The International Federation of the Phonographic Industry (IFPI) is the organisation that represents the interests of the recording industry worldwide. It is a non-profit members' organisation registered in Switzerland and founded in Italy in 1933 by Francesco Braga.[1] It operates a secretariat based in London, with regional offices in Brussels, Hong Kong, Miami, Abu Dhabi, Singapore and Nairobi.
IFPI's mission is to promote the value of recorded music, campaign for record producer rights, and expand the commercial uses of recorded music.[2] Its services to members include a legal policy programme, litigation, content protection, sales reporting for the recorded music market, insight and analysis and work in the areas of performance rights, technology and trade.[3]
Structure
IFPI is governed by its Main Board, a group including representatives from across the organisation's members (including major and independent record labels), representatives from certain IFPI National Groups and the organisation's CEO.[4] There are also two regional boards (the IFPI Asia/Pacific Regional Board and IFPI Latin America Regional Board) which oversee regional matters.[4]
In April 2024 IFPI announced that Victoria Oakley had been appointed as CEO, joining the organisation in June 2024.[5] The previous CEO, Frances Moore, stepped down in December 2023.[6] She had been appointed the chief executive with a term effective from 1 July 2010.[7] She had replaced John Kennedy, who had headed the organisation since 2005 and was also one of the co-producers of Live Aid and Live8.[8] Moore was awarded an MBE in the Queen's Birthday Honours List in 2021 for her services to the music industry.[9]
Scope of influence
IFPI represents the recording industry worldwide; there are some 8,000 members across IFPI and its global network, operating in over 70 markets and some 70 local industry associations, affiliated music licensing companies and IFPI offices.[2] According to its criteria, IFPI membership is open to "a legal entity or person which is either a producer of phonograms or music videos, copies of which are made available to the public in reasonable quantities",[2] though the organisation does not define "reasonable quantities".
National groups and affiliate bodies include SNEP in France; BVMI in Germany; RIAJ in Japan; BPI in the UK; RIAA in the US; ARIA in Australia; Music Canada; AMPROFON in Mexico; Recorded Music New Zealand; Promusicae in Spain; FIMI in Italy and others.[10] Record labels can be members of both their local industry body and IFPI.
History
Members of the international phonographic industry formed IFPI at the industry's first international congress in Rome, Italy, held from 10 to 14 November 1933.[11] IFPI described its mission as representing "the interests of the recording industry worldwide in all fora"[12] by promoting legislation and copyrights[13] and "to protect the largely British-based recording industry" by promoting a global performance right in gramophone sound recordings.[14]
Phonogram copyrights established
The IFPI lobbied at the Rome Convention for the Protection of Performers, Producers of Phonograms and Broadcasting Organisations of 1961, which established an international standard for the protection of sound recordings, live performances and broadcasts. This convention was opposed by trade groups representing authors and composers, who were concerned that establishing such "neighbouring rights" would undermine their own control over how their works were used and would result in prohibitively expensive licensing.[15] Pressure from United States–based broadcasters who did not want to license the records they broadcast, among other factors, kept the United States from signing the convention; the United States would not recognise a separate sound recording copyright until 1971.[16]
In 1986, the ISO established the International Standard Recording Code (ISRC) standard, ISO 3901. In 1989, the IFPI was designated the registration authority for ISRC codes. ISRC codes "enable the use of copyright protected recordings and works to be controlled; facilitate the distribution and collection of royalties (performances, private copying); and assist in the fight against piracy".[18]
To further combat infringement of recorded works, the IFPI and the compact disc manufacturing industry introduced Source Identification (SID) codes in 1994. The SID codes are markings on optical discs such as compact discs (CD) and digital versatile discs (DVD) that identify the manufacturer, equipment, and master discs used to create each disc. There are two codes: the SID mastering code and the SID mould code. The SID mastering code identifies the manufacturing facility used to produce a master from which moulds are produced. The SID mould code identifies the plant where the disc was moulded (replicated). Since not all optical disc manufacturing facilities have the ability to both produce master discs and replicate discs, the SID mastering code and SID mould code on a given optical disc may or may not represent the same manufacturing facility.[19]:3,4
SID codes follow a standard format consisting of the letters "IFPI" followed by four or five hexadecimal digits. A number prefaced with "L" is a "mastering code", a serial number taken from a pool assigned by Philips to the manufacturer. The mastering code identifies the Laser Beam Recorder (LBR) signal processor or mould that produced a particular stamper or a glass master disc from which moulds are produced. Non-"L" numbers are "mould codes", which identify the manufacturer that replicated the disc. Phillips assigns the first 2 or 3 digits of the mould code and the remaining digits are a serial number assigned by that plant to its moulds.[19]:4,7
The Pirate Bay incidents
In mid-October 2007, after IFPI let the ifpi.com domain registration lapse, ownership of the ifpi.com domain was transferred to The Pirate Bay, a group which claimed it received the domain from an anonymous donor.[20] The group set up a Website under the domain titled "International Federation of Pirates Interests", a replacement backronym for IFPI. Ownership of the domain was returned to IFPI in late November, when a WIPO arbitration panel concluded that "the Disputed Domain Name is identical or confusingly similar to a trademark in which the [IFPI] has rights" and that the Pirate Bay's representative "registered and [was] using the Disputed Domain Name in bad faith" and failed to adequately rebut IFPI's contention that he "has no rights or a legitimate interest in the Disputed Domain Name".[21] The organisation's website www.ifpi.org was unaffected during the dispute.
2003 – Pro-Music established, a website with a directory of licensed music services in each country, supported by a cross-sector industry groups and set up and run by IFPI[23]
2004 – IFPI's Global Music Report first published (an annual publication; first edition called Online Music Report and subsequently renamed Digital Music Report in 2005. Rebranded to current name in 2016 and combined with separate publication Recording Industry in Numbers as combined report Global Music Report)
2005 – IFPI instrumental in litigation against illegal file-sharing site Kazaa, which later became a licensed service[24]
2009 – coordinated music industry action against The Pirate Bay, resulting in a high-profile ruling against the site's operators[25]
2013 – IFPI's Global Recording Artist of the Year Award is established; a list of the world's top 10 most popular artists across a calendar year. The artist in the number one spot is presented with a physical award by IFPI.[26]
2015 – Launch of New Music Fridays, the global switch to all markets releasing music on a Friday, driven by a steering committee including IFPI[27]
2015 – IFPI led legal action against Russian site vKontakte which led to a Russian court ordering the service to stop its "large-scale infringement"[28] and later saw the site become licensed in 2016[29]
2017 – IFPI co-ordinated legal action leading to the closure of the world's largest stream-ripping site, YouTubeMP3[30]
2019 – Changes to the European Copyright Directive—designed to great a fairer licensing environment for recorded music online—are adopted by the European Parliament, following a campaign by the creative industries, including IFPI[31]
2020 – A Sub-Saharan Africa IFPI regional office was opened in Nairobi, working across the region's 46 markets.[32]
2021 – IFPI opens first office in the MENA region in Abu Dhabi.[33]
2022 – A new Southeast Asia regional office opened in Singapore.[34]
2023 - IFPI launches four new Charts in the MENA region (Egypt, Saudi Arabia, UAE and North Africa)[35]
2024 - The European Parliament adopts the landmark EU Artificial Intelligence Act,[36] following a campaign by groups including IFPI[37]
Certifications and awards
IFPI publishes[38] six annual top-ten charts: the IPFI Global Recording Artist Chart, IFPI Global Single Chart, IFPI Global Album Chart, IFPI Global Album Sales Chart, the IFPI Global Vinyl Album Chart and (from 2023) the IFPI Global Streaming Album Chart.
Launched in January 2014,[26] the IFPI Global Recording Artist Chart (sometimes called just the IFPI Global Artist Chart) was the first global chart to accurately capture the popularity of artists across streaming channels, alongside digital and physical album and singles sales. The independently verified[39] chart includes sales of albums across digital, CD and vinyl formats; singles, both downloaded and physical; and streams across the calendar year. The chart includes all the music of each artist featured, not just one track or album. It uses album equivalent units to combine measurements of downloads, physical sales and streams.
IFPI also publishes a list of the top 10 best-performing global singles and albums each year. The most recent winners, for 2023, were Miley Cyrus' "Flowers"[49] and Seventeen's FML respectively.[50] In March 2022 IFPI launched the first Global Vinyl Album Chart (most recently topped by Taylor Swift's '1989 (Taylor's Version)[51]', announced in March 2024) and in March 2023 they introduced the IFPI Global Streaming Album Chart; Morgan Wallen's 'One Thing At A Time'[51] most recently took the top spot in that chart. The latest IFPI Global Album Sales Chart saw Seventeen at No. 1 with 'FML', with the K-Pop band having also reached No. 1 on the overall Global Album Chart for 2023 with the same album.
Formerly, IFPI ran certifications called the IFPI Platinum Europe Awards and the IFPI Middle East Awards. The IFPI Platinum Europe Awards were founded in 1996.[22] They are awarded for actual retail sales (as opposed to shipments) of one million albums, in one of the following countries: Austria, Belgium, Bulgaria, Czech Republic, Denmark, Finland, France, Germany, Greece, Hungary, Iceland, Ireland, Italy, Luxembourg, Netherlands, Norway, Poland, Portugal, Russia, Serbia, Slovakia, Spain, Sweden, Switzerland, Turkey and United Kingdom.[52] The IFPI Middle East Awards were established in October 2009.[22] They were awarded for sales in either Lebanon or the Gulf Cooperation Council countries, namely Bahrain, Kuwait, Oman, Qatar, Saudi Arabia and the United Arab Emirates. In the Gulf Cooperation Council, gold certification was awarded for sales of 3,000 units and platinum for sales of 6,000 units. In Lebanon, gold certification was awarded for sales of 1,000 units and platinum for sales of 2,000 units.[53]
Local associations
IFPI has a number of local associations and national groups:[54]
Music recording certification is a system of certifying that a music recording has shipped, sold, or streamed a certain number of units. The threshold quantity varies by type and by nation or territory.
The International Standard Recording Code (ISRC) is an international standard code for uniquely identifying sound recordings and music video recordings. The code was developed by the recording industry in conjunction with the ISO technical committee 46, subcommittee 9, which codified the standard as ISO 3901 in 1986, and updated it in 2001.
The music industry refers to the individuals and organizations that earn money by writing songs and musical compositions, creating and selling recorded music and sheet music, presenting concerts, as well as the organizations that aid, train, represent and supply music creators. Among the many individuals and organizations that operate in the industry are: the songwriters and composers who write songs and musical compositions; the singers, musicians, conductors, and bandleaders who perform the music; the record labels, music publishers, recording studios, music producers, audio engineers, retail and digital music stores, and performance rights organizations who create and sell recorded music and sheet music; and the booking agents, promoters, music venues, road crew, and audio engineers who help organize and sell concerts.
A remix album is an album consisting of remixes or rerecorded versions of an artist's earlier released material. The first act who employed the format was American singer-songwriter Harry Nilsson. As of 2007, the best-selling remix album of all time is Michael Jackson's Blood on the Dance Floor: HIStory in the Mix (1997).
The Argentine Chamber of Phonograms and Videograms Producers is an Argentine organization member of the IFPI, which represents the music industry in the country. It is a nonprofit organization integrated by multinational and independent record labels.
International Federation of the Phonographic Industry Greece, or simply IFPI Greece, is the Greek branch of the International Federation of the Phonographic Industry (IFPI) and is the official charts provider and recording sales certification body for Greece. The association compiles and publishes a Top 75 album sales chart. The chart is sponsored by Cyta Hellas.
Recording Industry of South Africa (RiSA) is a trade association representing the interests of major and independent record labels of South Africa. Located in Randburg, RiSA is responsible for running the annual South African Music Awards (SAMAs) and for music recording certification in South Africa. It also runs The Official South African Charts (TOSAC).
Persatuan Industri Rakaman Malaysia (RIM) is a Malaysian non-profit music organisation, founded on 12 December 1978, as the Malaysian Association of Phonograph Producers (MAPP). In the end of the 1980s, it changed its name to Malaysian Association of Phonogram and Videogram Producers and Distributors (MAPV). It adopted its current name in 1996.
The Polish Society of the Phonographic Industry is the trade organization that represents the interests of the music industry in Poland, and the Polish chapter of the International Federation of the Phonographic Industry (IFPI). Founded in 1991, it is authorised by the Polish Ministry of Culture and National Heritage to act as a copyright collective in the field of phonogram and videogram producers' rights. ZPAV publishes the Polish Music Charts and awards music recording sales certifications. It also issues the Fryderyk annual award for Polish music.
The Colombian Association of Phonogram Producers was a trade group representing the recording industry in Colombia.
Recording Industry Foundation in Taiwan, also known as IFPI Taiwan, formerly IFPI Members Foundation in Taiwan, is the organization that represents the interests of the music industry in Taiwan, and a member of the International Federation of the Phonographic Industry (IFPI).
The Latvian Performers' and Producers' Association is a National ISRC Agency of the International Federation of the Phonographic Industry with the task of representing the Latvian music industry for both national and international recording artists of all genres. Goals of the organisation are supporting Latvian artists and producers and promote development of Latvian music industry and export of music produced in Latvia, to promote and support creation of competitive music records and increase utilization of Latvian music by educating Latvian performers and producers, to officially represent Latvian music industry in Europe and international showcases, fairs and exhibitions, and to educate members of Latvian music industry about the issues of music export and global trends. The company also certifies albums and music videos based on unit sales and compiles the country's music chart.
The Global Recording Artist of the Year is an award presented by the International Federation of the Phonographic Industry (IFPI) to honor the year's commercially best-performing musician, based on global album-equivalent units earned, which includes music downloads, streaming and physical sales. It has been awarded every year since January 2014, starting with the British boy band One Direction, who won the accolade for 2013. American singer-songwriter Taylor Swift is the biggest winner of the accolade, having won four times—in 2014, 2019, 2022, and 2023.
The Sociedad de Gestión de Productores Fonográficos del Paraguay (SGP) is a Paraguayan non-profit organization that represents phonographic producers and performers throughout the country. SGP provides monthly top 100 and 50 music charts for Paraguay.
The Unión Peruana de Productores Fonográficos (UNIMPRO) is a non-profit organization and industry trade group integrated by multinational and national record companies in Peru composed of various Peruvian corporations involved in the music industry. It was founded in 2001 and it serves as the affiliate member of the International Federation of the Phonographic Industry (IFPI) in the country since 2012 and also serves as the national ISRC agency. It is one of the three collective societies in Perú along with Asociación Peruana de Autores y Compositores (APDAYC) and Sociedad Nacional de Intérpretes y Ejecutantes de la Música (SONIEM).
The Asociación Salvadoreña de Productores de Fonogramas y Afines is a non-profit organization and industry trade group integrated by multinational and national record companies in El Salvador composed of various Salvadoran corporations involved in the music industry. It serves as the affiliate member of the International Federation of the Phonographic Industry (IFPI) in the country and also serves as the national ISRC agency.
The Félag hljómplötuframleiðenda, also known as the IFPI Iceland, or the Icelandic National Group of IFPI, is a trade association representing and protecting the rights of record publishing companies in Iceland. It also serves as the Icelandic branch of the International Federation of the Phonographic Industry (IFPI). FHF is responsible for publishing the weekly Tónlistinn charts, which include the Tónlistinn – Lög chart for singles and the Tónlistinn – Plötur chart for albums. Additionally, FHF provides music recording certification in Iceland.
↑ Thalheim, R. (1938). "Der Schutz der Schallplatte nach italienischen Verordnung vom 18. February 1937.". Archiv für Urheber-, Film- und Theaterrecht. Vol.11. Berlin: Julius Springer. p.39.
↑ Drahos, Peter; Braithwaite, John (2002). Information Feudalism: Who Owns The Knowledge Economy?. Earthscan. pp.181–182. ISBN1-85383-917-5. The key actor in coordinating the industry's piracy strategy became its international trade association, the International Federation of the Phonographic Industry. Formed in 1933, its mission was to represent 'the interests of the recording industry worldwide in all fora'.
↑ Davies, Gillian (May 1984). Oral History of Recorded Sound (Abstract). British Library National Sound Archiv e. Archived from the original on 27 January 2009. Retrieved 10 April 2008. IFPI founded in 1933 to deal with [r]ecord industry at inter-governmental level; promoting legislation; copyrights for industry worldwide.
↑ Frith, Simon (January 1988). "Copyright and the Music Business". Popular Music. 7 (1): 57–75. doi:10.1017/S0261143000002531. JSTOR853076. S2CID153812624. IFPI was founded in 1933, in its own words, 'to protect the largely British-based recording industry', but, as Gavin McFarlane points out, its brief was more specifically 'to promote on a world-wide basis the performing right in gramophone records'...
↑ Drahos & Braithwaite (2002), p. 181: "Authors and composers became increasingly worried by copyright's technological turn. They saw it as compromising the artistic purity of copyright. At a more practical level, authors were worried that the recognition of a 'neighbouring right' in the form of a sound recording would undermine their control over the use of works as well as add to users' costs. Users would now have to pay additional licence fees to producers of sound recordings. It was the resistance of key author associations that helps to explain why it took more than 30 years for an international standard for the protection of sound recordings to emerge in the form of the Rome Convention of 1961."
↑ Drahos & Braithwaite (2002), p. 181: "The US did not join the Rome Convention. Aside from some constitutional issues, powerful broadcasting organisations in the US did not want to endanger a status quo in which they received records from the recording industry for free or at a discount. Domestically, the US did not recognise a separate copyright in sound recordings until 1971."
↑ Drahos & Braithwaite (2002), p. 181: "After its major lobbying effort on the Rome Convention [of 1961], IFPI began a campaign against piracy. It pushed for and obtained in 1971 the Convention for the Protection of Producers of Phonograms against Unauthorised Duplication of their Phonograms."
1 2 "SID Code Implementation Guide"(PDF). IFPI. International Federation of the Phonographic Industry. Archived(PDF) from the original on 2 December 2012. Retrieved 10 January 2012.
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