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				Streaming revenues were up 45 percent in 2015 thanks to the 
				growth of smartphones and licensed quality subscription services 
				as overall global music proceeds grew 3.2 percent to $15 
				billion, the International Federation of the Phonographic 
				Industry said in its annual report.
 Revenues from digital delivery now made up 45 percent of total 
				earnings compared to the 39 percent share from physical sales, 
				it said.
 
 "After two decades of almost uninterrupted decline, 2015 
				witnessed key milestones for recorded music: measurable revenue 
				growth globally; consumption of music exploding everywhere; and 
				digital revenues overtaking income from physical formats for the 
				first time," said IFPI Chief Executive Frances Moore.
 
 "They reflect an industry that has adapted to the digital age 
				and emerged stronger and smarter."
 
 IFPI said digital revenues had risen by 10.2 percent last year 
				to $6.7 billion which had helped offset the decline in the sales 
				of CDs and other physical formats.
 
 Streaming had grown to such an extent it was close to overtaking 
				the sums earned from downloads, with an estimated 68 million 
				people now paying for a music subscription.
 
 However, the IFPI warned there was a "fundamental weakness" 
				behind the improved revenues because the record consumption of 
				music was not resulting in a fair remuneration to artists or 
				record labels.
 
 Moore said new laws were needed to stop some major digital 
				services using "safe harbor" rules in U.S. and European 
				legislation which give immunity from copyright violation because 
				users post music and other content themselves.
 
 "They were not designed to exempt companies that actively engage 
				in the distribution of music online from playing by the same 
				rules as other online music services," Moore said. "The effect 
				is a distorted market, unfair competition and artists and labels 
				deprived of a fair return for their work."
 
 (Reporting by Michael Holden; editing by Stephen Addison)
 
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