The document profiles digital music streaming in the Nordic countries based on a survey conducted in 2017. Some key findings:
- YouTube and Spotify are the most used digital music services across the Nordics, though their market shares vary by country.
- Over 40% of Danes and Swedes subscribe to a premium or bundled music streaming service, compared to around 30% who only use free versions.
- Premium subscribers tend to be younger, higher income, students, and office workers, while free users have lower incomes and include more non-workers.
- Premium subscribers are more frequent concertgoers and feel it's important artists are compensated for music streaming compared to free users.
This document contains the results of surveys given to people about their music preferences and consumption habits. The surveys included questions about gender, age, favorite music genres, how often they listen to music, whether they watch music videos and why, how many albums they purchase, how much they are willing to spend on albums, and what factors influence their album purchases. The surveys found that the target audience is mostly ages 16-19, prefers hip-hop and pop music, watches music videos multiple times a day, does not often purchase albums but is willing to spend £3.99-6.99 on them, and considers the artist, songs, and cover appearance most important when buying albums.
This document analyzes the results of a 15 question survey about music preferences and consumption habits. The survey was targeted at younger audiences that listen to electronic/dance music. Key findings include: most respondents were ages 16-25; equal numbers of male and female respondents; most watch music videos regularly and see them as important to artists' success; streaming and illegal downloads are preferred over physical purchases; social media is a primary way to discover new music; and electronic/dance music is associated with nightclubs but could be more popular with chart success and more music videos.
Felix Canetty-Clarke - What The Heck Does Your Audience Want? [Darker Music T...Tommy Darker
The document provides an overview of a presentation on understanding music consumers and the music industry. Some key points:
- The presentation covers trends in the global recorded music industry, consumer insights into music discovery and preferences, and how big data can help understand audiences.
- A survey of over 2,650 UK residents found that radio and TV are still the most common ways people discover new music, though younger audiences rely more on the internet, apps and streaming.
- While physical music sales have declined significantly since 2000, digital revenues have grown and now account for the majority of industry revenues in most major markets. Streaming continues to see strong growth.
The document discusses the target audience for music marketing, which is identified as 16-25 year olds, also known as Generation Z. Some key facts about this audience are that they spend around 9 hours per day in front of screens, have short attention spans, and can use multiple screens at once. They prefer accessing music through streaming platforms like YouTube, Spotify, and Apple Music. Music videos are largely consumed on YouTube, which has the highest weekly reach among this demographic. When asked, friends in this age group said they prefer music videos that tell a story, include a plot or storyline, and feel natural and real. The document also provides information on Universal Music Group, one of the major record labels, and how various media platforms
The document describes a music video questionnaire conducted to gather data on audience preferences. It found that the target audience is 21-25 year olds who work part-time. They prefer to watch music videos online and spend £2-£3 on music. Costumes and varied locations were favored for the video, while a film grain effect and formal text were preferred. Images with calm colors and imaginative artwork were liked for the album cover and advertisements.
The document describes a campaign to promote Sonera's music player service. Users can create posters promoting their own virtual "festarit" parties and share them online. For each click on a poster's banner, the festarit receives a "join" point. Posters will also be turned into banners for online promotion. The goal is to make a viral campaign that promotes both the music player and users' festarits. A website will be built where users can make posters, see others' posters in a gallery, and check a ranking of top festarits.
The document describes a campaign to promote Sonera's music player service. Users can create posters promoting their own virtual "festarit" parties and share them online. For each click on a poster's banner, the festarit receives a "join" point. Posters will also be turned into banners for online promotion. The goal is to make a viral campaign that promotes both the music player and users' festarits. A website will be built where users can make posters, see others' posters in a gallery, and check a ranking of top festarits.
This document contains the results of surveys given to people about their music preferences and consumption habits. The surveys included questions about gender, age, favorite music genres, how often they listen to music, whether they watch music videos and why, how many albums they purchase, how much they are willing to spend on albums, and what factors influence their album purchases. The surveys found that the target audience is mostly ages 16-19, prefers hip-hop and pop music, watches music videos multiple times a day, does not often purchase albums but is willing to spend £3.99-6.99 on them, and considers the artist, songs, and cover appearance most important when buying albums.
This document analyzes the results of a 15 question survey about music preferences and consumption habits. The survey was targeted at younger audiences that listen to electronic/dance music. Key findings include: most respondents were ages 16-25; equal numbers of male and female respondents; most watch music videos regularly and see them as important to artists' success; streaming and illegal downloads are preferred over physical purchases; social media is a primary way to discover new music; and electronic/dance music is associated with nightclubs but could be more popular with chart success and more music videos.
Felix Canetty-Clarke - What The Heck Does Your Audience Want? [Darker Music T...Tommy Darker
The document provides an overview of a presentation on understanding music consumers and the music industry. Some key points:
- The presentation covers trends in the global recorded music industry, consumer insights into music discovery and preferences, and how big data can help understand audiences.
- A survey of over 2,650 UK residents found that radio and TV are still the most common ways people discover new music, though younger audiences rely more on the internet, apps and streaming.
- While physical music sales have declined significantly since 2000, digital revenues have grown and now account for the majority of industry revenues in most major markets. Streaming continues to see strong growth.
The document discusses the target audience for music marketing, which is identified as 16-25 year olds, also known as Generation Z. Some key facts about this audience are that they spend around 9 hours per day in front of screens, have short attention spans, and can use multiple screens at once. They prefer accessing music through streaming platforms like YouTube, Spotify, and Apple Music. Music videos are largely consumed on YouTube, which has the highest weekly reach among this demographic. When asked, friends in this age group said they prefer music videos that tell a story, include a plot or storyline, and feel natural and real. The document also provides information on Universal Music Group, one of the major record labels, and how various media platforms
The document describes a music video questionnaire conducted to gather data on audience preferences. It found that the target audience is 21-25 year olds who work part-time. They prefer to watch music videos online and spend £2-£3 on music. Costumes and varied locations were favored for the video, while a film grain effect and formal text were preferred. Images with calm colors and imaginative artwork were liked for the album cover and advertisements.
The document describes a campaign to promote Sonera's music player service. Users can create posters promoting their own virtual "festarit" parties and share them online. For each click on a poster's banner, the festarit receives a "join" point. Posters will also be turned into banners for online promotion. The goal is to make a viral campaign that promotes both the music player and users' festarits. A website will be built where users can make posters, see others' posters in a gallery, and check a ranking of top festarits.
The document describes a campaign to promote Sonera's music player service. Users can create posters promoting their own virtual "festarit" parties and share them online. For each click on a poster's banner, the festarit receives a "join" point. Posters will also be turned into banners for online promotion. The goal is to make a viral campaign that promotes both the music player and users' festarits. A website will be built where users can make posters, see others' posters in a gallery, and check a ranking of top festarits.
The document summarizes the results of a questionnaire conducted to discover audience preferences for features in a music video and accompanying album. Key results found that the target audience is those aged 21-25 who work part-time and have some disposable income. Respondents preferred to watch music videos on a PC and buy music online for £2-3. They favored costumes, varied locations, and film grain effects in music videos. The majority preferred a formal text style for the album. These results will help guide the production of the music video and visual elements of the album to appeal to the target audience.
IFPI has today released 'Connecting with Music', the 2017 Music Consumer Insight Report. Based on research conducted by Ipsos Connect, the report examines the ways in which fans are engaging with recorded music across 13 of the world's leading music markets.
The 2007 Digital Music Survey reveals how social networks are changing the way
music is discovered, purchased and consumed. See: http://www.entertainmentmediaresearch.com/ADMINNews/templates/emr.asp?articleid=38&zoneid=2 - Publicly available from the authors website: http://www.entertainmentmediaresearch.com/reports/EMR_Digital_Music_Survey2007.pdf
Spotify Ciblage et Comportement @ Radio 2.0 Paris 2014ACTUONDA
Spotify : Ciblage et Comportement.
Le comportement utilisateur au coeur de l’innovation publicitaire
Où l’on se concentrera sur la façon dont on peut utiliser la data utilisateur pour affiner de façon exponentielle le ciblage publicitaire.
Animation par Cédric Begoc, Responsable Commercial EMA
Présentation donnée aux IV Rencontres Radio 2.0 Paris, le 13 octobre 2014 dans le prestigieux Studio 105 de la Maison de la Radio de Radio France.
Info : www.RR20.fr
Pour rester informé, suivez-nous sur :
- Facebook : Radio 2.0 Paris
- Twitter : @Radio_20 #rr20
- LinkedIn : Radio 2.0
Organisateurs : Nicolas Moulard / Actuonda, Xavier Filliol / Editions de l'Octet, Radio France, Ina Expert
Partenaires :
- Partenaires Platinum : Mediametrie, Limelight
- Autres Partenaires : Music Story, Triton Digital, Targetspot, RCS, Spotify, Netia, Deezer, Kantar
- Partenaires Média : La Lettre Pro de la Radio, RadioPub, Media +, Edition Multimedia, Satellinet, French Web
- La Radio des Rencontres : Broadcast Associés, Radioline
Avec le soutien du Ministère de la Culture et de la Communication, Geste, ESML, Syrol, Sacem, UDA-Union des Annonceurs, IRMA, Salon de la Radio, URTI
Membres du Comité de Pilotage : Actuonda, Broadcast Associés, Deezer, Editions de l’Octet, Havas Media, INA, IndésRadio, irma, Kantar Media, Ministère de la Culture et de la Communication, MédiaMétrie, Orange, Radio France, Radioline, RFI, RTL, Sacem , Spotify Targetspot , Triton Digital, UDA-Union des Annonceurs, Warner Music France.
- 61% of Vietnamese listen to Music everyday
- Vietnamese music is dominantly popular
- Computers and smartphones are the top devices to listen to music
- Mp3.zing.vn is more for youth, Nhaccuatui is popular more for the elderly
- 29% listen to music on motorbike against the law
- Web site is the most common information source
- 56% do not pay for music for last 12 month
The document is a report analyzing the results of a survey conducted for a music magazine audience. Some key findings include:
- The majority (57%) of respondents were female. YouTube, Facebook, and Snapchat were the most popular media platforms.
- Blue was the most preferred color at 33%. The majority spend free time on sports or gaming/TV.
- Most would consume music on YouTube (46%) and listen 2-4 hours per day. While most would not buy magazines, genres like hip hop/R&B and pop were favored among those who would buy a music magazine.
Presented at Vienna Music Business Research Days, October 2, 2014, based on data collected through the Artist Revenue Streams project.
http://money.futureofmusic.org
The document discusses the Europeana Sounds project, a three-year European Commission funded project running from 2014-2017 with a budget of €6.14 million. The project aimed to make more European audio content available online by improving access and the user experience. It aggregated audio content from over 20 European organizations and developed new technical infrastructure and processes to enrich metadata and provide playable, shareable audio through various thematic channels on Europeana's portal.
The document discusses Followmusic, a music news and concert notification service. It aims to provide personalized music news feeds, concert notifications for followed artists, album updates, and band information pages. It sees opportunities in the growing concert and streaming markets. Followmusic plans to generate revenue from selling music/concert data and widgets to partners, advertising, and affiliations/kickbacks from ticket and music sales processed through the app. It believes its unique combination of services could keep users highly engaged on a daily basis.
Who Gets Left Behind as Remix Goes Mainstream?Aram Sinnreich
A presentation of a paper by Fernanda Rosa and Aram Sinnreich at #AoIR2016. This paper uses longitudinal survey data to demonstrate the increasingly mainstream nature of "remix" or "configurable" culture, while also examining the lingering social inequities that are reproduced by asymmetric adoption of these emerging cultural trends.
The document contains the results from a survey about music video preferences. It shows that 52% of respondents were male, most were ages 12-19, and the most popular music genre was pop music. The majority of respondents preferred performance-based music videos and enjoy watching music videos often, primarily on YouTube. The survey findings indicate that a pop music video with a performance format would be an effective choice for a school music video project given current music video viewing trends.
This document provides information about TIDAL, its competitors Spotify and Apple Music, and recommendations for how TIDAL can improve its position in the music streaming market. It finds that TIDAL has lower awareness, fewer users, and lacks the product experience of its larger competitors. It recommends that TIDAL utilize influencer marketing with popular artists, form strategic partnerships in the audiophile market, employ market skimming to maximize short-term revenue, and improve the user experience through product changes.
Spotify currently has over 100 million active users with 30 million paying subscribers. However, subscriber growth has stalled in recent months. Competitors like Tidal, Pandora, and Apple Music offer unique features to attract Spotify users. The document proposes a new "Listening Parties" feature for Spotify that would allow premium users to host social events where any user can join and help curate playlists together. Survey data found over 95% of users want some control over music at social events. If implemented, Listening Parties could increase user engagement with the app and drive more conversions to paid subscriptions and ad revenue.
Music player network non endemic profileTyler Reed
I created this piece to profile the buying behavior of Music Player Network subscribers around non-endemic products. Distributed to potential advertisers outside of core manufacturer advertisers.
The document summarizes the results of a survey about music consumption habits. It finds that most people download music for free from friends or illegal sites and rely on recommendations from friends to find new music. People typically spend $10-20 per month on music and listen digitally on computers or MP3 players. Advertising and cover artwork influence some people to research a band further but most people only buy music from their favorite bands.
The survey results showed that the target audience for the music product was mainly younger people aged 16-21, most of whom were students. A majority of respondents were female. Almost all listened to music daily or weekly, primarily using Spotify or iTunes. Most watched music videos regularly. This provided useful information about how the target audience consumes music content.
The document discusses various aspects of the UK live music industry. It notes that live music attendance has increased significantly in recent years while recorded music sales have declined. Festivals have grown substantially in size and popularity. However, the live music industry may face challenges due to its increased reliance on live revenues as ticket prices rise and the recession impacts consumer spending. Social media and digital platforms are increasingly important for music discovery and fan engagement. The primary audience for live music consists of affluent 16-24 year old males, though festival attendees tend to listen to a wider variety of genres.
The Science Pills. Short messages through social media are really efficient?Giovanni Mazzitelli
This document analyzes the effectiveness of using social media and short messages to promote science communication. It details the annual growth of visitors, researchers involved, and media coverage of the European Researchers' Night event from 2006-2016. Surveys found the organization very effective and the event useful for promoting researchers. Social media like Facebook, blogs, and YouTube were highly effective at spreading awareness, with some science-themed video pills reaching millions of views. While an accessible way to promote science, creating high-quality, engaging content that avoids oversimplification is challenging but critical for maximum impact.
Spotify is a music streaming service available on web and mobile devices that allows users to access over 30 million songs. The document discusses what problem Spotify solves for consumers such as integration with existing music libraries, large music selection, social sharing features, and helping to curb music piracy. It also provides a company snapshot, noting Spotify has over 75 million monthly active users, 20 million paid subscribers, and $1.1 billion in revenue in 2014. Challenges discussed include high licensing costs and over-reliance on subscription fees for revenue.
The document summarizes the results of a questionnaire conducted to discover audience preferences for features in a music video and accompanying album. Key results found that the target audience is those aged 21-25 who work part-time and have some disposable income. Respondents preferred to watch music videos on a PC and buy music online for £2-3. They favored costumes, varied locations, and film grain effects in music videos. The majority preferred a formal text style for the album. These results will help guide the production of the music video and visual elements of the album to appeal to the target audience.
IFPI has today released 'Connecting with Music', the 2017 Music Consumer Insight Report. Based on research conducted by Ipsos Connect, the report examines the ways in which fans are engaging with recorded music across 13 of the world's leading music markets.
The 2007 Digital Music Survey reveals how social networks are changing the way
music is discovered, purchased and consumed. See: http://www.entertainmentmediaresearch.com/ADMINNews/templates/emr.asp?articleid=38&zoneid=2 - Publicly available from the authors website: http://www.entertainmentmediaresearch.com/reports/EMR_Digital_Music_Survey2007.pdf
Spotify Ciblage et Comportement @ Radio 2.0 Paris 2014ACTUONDA
Spotify : Ciblage et Comportement.
Le comportement utilisateur au coeur de l’innovation publicitaire
Où l’on se concentrera sur la façon dont on peut utiliser la data utilisateur pour affiner de façon exponentielle le ciblage publicitaire.
Animation par Cédric Begoc, Responsable Commercial EMA
Présentation donnée aux IV Rencontres Radio 2.0 Paris, le 13 octobre 2014 dans le prestigieux Studio 105 de la Maison de la Radio de Radio France.
Info : www.RR20.fr
Pour rester informé, suivez-nous sur :
- Facebook : Radio 2.0 Paris
- Twitter : @Radio_20 #rr20
- LinkedIn : Radio 2.0
Organisateurs : Nicolas Moulard / Actuonda, Xavier Filliol / Editions de l'Octet, Radio France, Ina Expert
Partenaires :
- Partenaires Platinum : Mediametrie, Limelight
- Autres Partenaires : Music Story, Triton Digital, Targetspot, RCS, Spotify, Netia, Deezer, Kantar
- Partenaires Média : La Lettre Pro de la Radio, RadioPub, Media +, Edition Multimedia, Satellinet, French Web
- La Radio des Rencontres : Broadcast Associés, Radioline
Avec le soutien du Ministère de la Culture et de la Communication, Geste, ESML, Syrol, Sacem, UDA-Union des Annonceurs, IRMA, Salon de la Radio, URTI
Membres du Comité de Pilotage : Actuonda, Broadcast Associés, Deezer, Editions de l’Octet, Havas Media, INA, IndésRadio, irma, Kantar Media, Ministère de la Culture et de la Communication, MédiaMétrie, Orange, Radio France, Radioline, RFI, RTL, Sacem , Spotify Targetspot , Triton Digital, UDA-Union des Annonceurs, Warner Music France.
- 61% of Vietnamese listen to Music everyday
- Vietnamese music is dominantly popular
- Computers and smartphones are the top devices to listen to music
- Mp3.zing.vn is more for youth, Nhaccuatui is popular more for the elderly
- 29% listen to music on motorbike against the law
- Web site is the most common information source
- 56% do not pay for music for last 12 month
The document is a report analyzing the results of a survey conducted for a music magazine audience. Some key findings include:
- The majority (57%) of respondents were female. YouTube, Facebook, and Snapchat were the most popular media platforms.
- Blue was the most preferred color at 33%. The majority spend free time on sports or gaming/TV.
- Most would consume music on YouTube (46%) and listen 2-4 hours per day. While most would not buy magazines, genres like hip hop/R&B and pop were favored among those who would buy a music magazine.
Presented at Vienna Music Business Research Days, October 2, 2014, based on data collected through the Artist Revenue Streams project.
http://money.futureofmusic.org
The document discusses the Europeana Sounds project, a three-year European Commission funded project running from 2014-2017 with a budget of €6.14 million. The project aimed to make more European audio content available online by improving access and the user experience. It aggregated audio content from over 20 European organizations and developed new technical infrastructure and processes to enrich metadata and provide playable, shareable audio through various thematic channels on Europeana's portal.
The document discusses Followmusic, a music news and concert notification service. It aims to provide personalized music news feeds, concert notifications for followed artists, album updates, and band information pages. It sees opportunities in the growing concert and streaming markets. Followmusic plans to generate revenue from selling music/concert data and widgets to partners, advertising, and affiliations/kickbacks from ticket and music sales processed through the app. It believes its unique combination of services could keep users highly engaged on a daily basis.
Who Gets Left Behind as Remix Goes Mainstream?Aram Sinnreich
A presentation of a paper by Fernanda Rosa and Aram Sinnreich at #AoIR2016. This paper uses longitudinal survey data to demonstrate the increasingly mainstream nature of "remix" or "configurable" culture, while also examining the lingering social inequities that are reproduced by asymmetric adoption of these emerging cultural trends.
The document contains the results from a survey about music video preferences. It shows that 52% of respondents were male, most were ages 12-19, and the most popular music genre was pop music. The majority of respondents preferred performance-based music videos and enjoy watching music videos often, primarily on YouTube. The survey findings indicate that a pop music video with a performance format would be an effective choice for a school music video project given current music video viewing trends.
This document provides information about TIDAL, its competitors Spotify and Apple Music, and recommendations for how TIDAL can improve its position in the music streaming market. It finds that TIDAL has lower awareness, fewer users, and lacks the product experience of its larger competitors. It recommends that TIDAL utilize influencer marketing with popular artists, form strategic partnerships in the audiophile market, employ market skimming to maximize short-term revenue, and improve the user experience through product changes.
Spotify currently has over 100 million active users with 30 million paying subscribers. However, subscriber growth has stalled in recent months. Competitors like Tidal, Pandora, and Apple Music offer unique features to attract Spotify users. The document proposes a new "Listening Parties" feature for Spotify that would allow premium users to host social events where any user can join and help curate playlists together. Survey data found over 95% of users want some control over music at social events. If implemented, Listening Parties could increase user engagement with the app and drive more conversions to paid subscriptions and ad revenue.
Music player network non endemic profileTyler Reed
I created this piece to profile the buying behavior of Music Player Network subscribers around non-endemic products. Distributed to potential advertisers outside of core manufacturer advertisers.
The document summarizes the results of a survey about music consumption habits. It finds that most people download music for free from friends or illegal sites and rely on recommendations from friends to find new music. People typically spend $10-20 per month on music and listen digitally on computers or MP3 players. Advertising and cover artwork influence some people to research a band further but most people only buy music from their favorite bands.
The survey results showed that the target audience for the music product was mainly younger people aged 16-21, most of whom were students. A majority of respondents were female. Almost all listened to music daily or weekly, primarily using Spotify or iTunes. Most watched music videos regularly. This provided useful information about how the target audience consumes music content.
The document discusses various aspects of the UK live music industry. It notes that live music attendance has increased significantly in recent years while recorded music sales have declined. Festivals have grown substantially in size and popularity. However, the live music industry may face challenges due to its increased reliance on live revenues as ticket prices rise and the recession impacts consumer spending. Social media and digital platforms are increasingly important for music discovery and fan engagement. The primary audience for live music consists of affluent 16-24 year old males, though festival attendees tend to listen to a wider variety of genres.
The Science Pills. Short messages through social media are really efficient?Giovanni Mazzitelli
This document analyzes the effectiveness of using social media and short messages to promote science communication. It details the annual growth of visitors, researchers involved, and media coverage of the European Researchers' Night event from 2006-2016. Surveys found the organization very effective and the event useful for promoting researchers. Social media like Facebook, blogs, and YouTube were highly effective at spreading awareness, with some science-themed video pills reaching millions of views. While an accessible way to promote science, creating high-quality, engaging content that avoids oversimplification is challenging but critical for maximum impact.
Spotify is a music streaming service available on web and mobile devices that allows users to access over 30 million songs. The document discusses what problem Spotify solves for consumers such as integration with existing music libraries, large music selection, social sharing features, and helping to curb music piracy. It also provides a company snapshot, noting Spotify has over 75 million monthly active users, 20 million paid subscribers, and $1.1 billion in revenue in 2014. Challenges discussed include high licensing costs and over-reliance on subscription fees for revenue.
Similar to Polaris Nordic Digital Music Survey 2017 (20)
Teosto – What's this song? @finlandiataloTeosto ry
This document summarizes music recognition pilots conducted in 2012-2013 in Finland. It discusses recognizing music from live performances at festivals like Provinssirock as well as DJ sets from clubs. The pilots found the system could already identify songs with some restrictions and quality of recording did not significantly affect results. Recognition was best from a direct desk output and one DJ set. Processing live and line-out signals caused difficulties in another DJ set. Potential applications discussed were integrated live venue systems, artist-specific services, and big festivals where recognition could help royalty distribution.
Project Management Semester Long Project - Acuityjpupo2018
Acuity is an innovative learning app designed to transform the way you engage with knowledge. Powered by AI technology, Acuity takes complex topics and distills them into concise, interactive summaries that are easy to read & understand. Whether you're exploring the depths of quantum mechanics or seeking insight into historical events, Acuity provides the key information you need without the burden of lengthy texts.
Digital Marketing Trends in 2024 | Guide for Staying AheadWask
https://www.wask.co/ebooks/digital-marketing-trends-in-2024
Feeling lost in the digital marketing whirlwind of 2024? Technology is changing, consumer habits are evolving, and staying ahead of the curve feels like a never-ending pursuit. This e-book is your compass. Dive into actionable insights to handle the complexities of modern marketing. From hyper-personalization to the power of user-generated content, learn how to build long-term relationships with your audience and unlock the secrets to success in the ever-shifting digital landscape.
UiPath Test Automation using UiPath Test Suite series, part 6DianaGray10
Welcome to UiPath Test Automation using UiPath Test Suite series part 6. In this session, we will cover Test Automation with generative AI and Open AI.
UiPath Test Automation with generative AI and Open AI webinar offers an in-depth exploration of leveraging cutting-edge technologies for test automation within the UiPath platform. Attendees will delve into the integration of generative AI, a test automation solution, with Open AI advanced natural language processing capabilities.
Throughout the session, participants will discover how this synergy empowers testers to automate repetitive tasks, enhance testing accuracy, and expedite the software testing life cycle. Topics covered include the seamless integration process, practical use cases, and the benefits of harnessing AI-driven automation for UiPath testing initiatives. By attending this webinar, testers, and automation professionals can gain valuable insights into harnessing the power of AI to optimize their test automation workflows within the UiPath ecosystem, ultimately driving efficiency and quality in software development processes.
What will you get from this session?
1. Insights into integrating generative AI.
2. Understanding how this integration enhances test automation within the UiPath platform
3. Practical demonstrations
4. Exploration of real-world use cases illustrating the benefits of AI-driven test automation for UiPath
Topics covered:
What is generative AI
Test Automation with generative AI and Open AI.
UiPath integration with generative AI
Speaker:
Deepak Rai, Automation Practice Lead, Boundaryless Group and UiPath MVP
Main news related to the CCS TSI 2023 (2023/1695)Jakub Marek
An English 🇬🇧 translation of a presentation to the speech I gave about the main changes brought by CCS TSI 2023 at the biggest Czech conference on Communications and signalling systems on Railways, which was held in Clarion Hotel Olomouc from 7th to 9th November 2023 (konferenceszt.cz). Attended by around 500 participants and 200 on-line followers.
The original Czech 🇨🇿 version of the presentation can be found here: https://www.slideshare.net/slideshow/hlavni-novinky-souvisejici-s-ccs-tsi-2023-2023-1695/269688092 .
The videorecording (in Czech) from the presentation is available here: https://youtu.be/WzjJWm4IyPk?si=SImb06tuXGb30BEH .
How to Interpret Trends in the Kalyan Rajdhani Mix Chart.pdfChart Kalyan
A Mix Chart displays historical data of numbers in a graphical or tabular form. The Kalyan Rajdhani Mix Chart specifically shows the results of a sequence of numbers over different periods.
For the full video of this presentation, please visit: https://www.edge-ai-vision.com/2024/06/building-and-scaling-ai-applications-with-the-nx-ai-manager-a-presentation-from-network-optix/
Robin van Emden, Senior Director of Data Science at Network Optix, presents the “Building and Scaling AI Applications with the Nx AI Manager,” tutorial at the May 2024 Embedded Vision Summit.
In this presentation, van Emden covers the basics of scaling edge AI solutions using the Nx tool kit. He emphasizes the process of developing AI models and deploying them globally. He also showcases the conversion of AI models and the creation of effective edge AI pipelines, with a focus on pre-processing, model conversion, selecting the appropriate inference engine for the target hardware and post-processing.
van Emden shows how Nx can simplify the developer’s life and facilitate a rapid transition from concept to production-ready applications.He provides valuable insights into developing scalable and efficient edge AI solutions, with a strong focus on practical implementation.
Skybuffer SAM4U tool for SAP license adoptionTatiana Kojar
Manage and optimize your license adoption and consumption with SAM4U, an SAP free customer software asset management tool.
SAM4U, an SAP complimentary software asset management tool for customers, delivers a detailed and well-structured overview of license inventory and usage with a user-friendly interface. We offer a hosted, cost-effective, and performance-optimized SAM4U setup in the Skybuffer Cloud environment. You retain ownership of the system and data, while we manage the ABAP 7.58 infrastructure, ensuring fixed Total Cost of Ownership (TCO) and exceptional services through the SAP Fiori interface.
GraphRAG for Life Science to increase LLM accuracyTomaz Bratanic
GraphRAG for life science domain, where you retriever information from biomedical knowledge graphs using LLMs to increase the accuracy and performance of generated answers
Salesforce Integration for Bonterra Impact Management (fka Social Solutions A...Jeffrey Haguewood
Sidekick Solutions uses Bonterra Impact Management (fka Social Solutions Apricot) and automation solutions to integrate data for business workflows.
We believe integration and automation are essential to user experience and the promise of efficient work through technology. Automation is the critical ingredient to realizing that full vision. We develop integration products and services for Bonterra Case Management software to support the deployment of automations for a variety of use cases.
This video focuses on integration of Salesforce with Bonterra Impact Management.
Interested in deploying an integration with Salesforce for Bonterra Impact Management? Contact us at sales@sidekicksolutionsllc.com to discuss next steps.
5th LF Energy Power Grid Model Meet-up SlidesDanBrown980551
5th Power Grid Model Meet-up
It is with great pleasure that we extend to you an invitation to the 5th Power Grid Model Meet-up, scheduled for 6th June 2024. This event will adopt a hybrid format, allowing participants to join us either through an online Mircosoft Teams session or in person at TU/e located at Den Dolech 2, Eindhoven, Netherlands. The meet-up will be hosted by Eindhoven University of Technology (TU/e), a research university specializing in engineering science & technology.
Power Grid Model
The global energy transition is placing new and unprecedented demands on Distribution System Operators (DSOs). Alongside upgrades to grid capacity, processes such as digitization, capacity optimization, and congestion management are becoming vital for delivering reliable services.
Power Grid Model is an open source project from Linux Foundation Energy and provides a calculation engine that is increasingly essential for DSOs. It offers a standards-based foundation enabling real-time power systems analysis, simulations of electrical power grids, and sophisticated what-if analysis. In addition, it enables in-depth studies and analysis of the electrical power grid’s behavior and performance. This comprehensive model incorporates essential factors such as power generation capacity, electrical losses, voltage levels, power flows, and system stability.
Power Grid Model is currently being applied in a wide variety of use cases, including grid planning, expansion, reliability, and congestion studies. It can also help in analyzing the impact of renewable energy integration, assessing the effects of disturbances or faults, and developing strategies for grid control and optimization.
What to expect
For the upcoming meetup we are organizing, we have an exciting lineup of activities planned:
-Insightful presentations covering two practical applications of the Power Grid Model.
-An update on the latest advancements in Power Grid -Model technology during the first and second quarters of 2024.
-An interactive brainstorming session to discuss and propose new feature requests.
-An opportunity to connect with fellow Power Grid Model enthusiasts and users.
Driving Business Innovation: Latest Generative AI Advancements & Success StorySafe Software
Are you ready to revolutionize how you handle data? Join us for a webinar where we’ll bring you up to speed with the latest advancements in Generative AI technology and discover how leveraging FME with tools from giants like Google Gemini, Amazon, and Microsoft OpenAI can supercharge your workflow efficiency.
During the hour, we’ll take you through:
Guest Speaker Segment with Hannah Barrington: Dive into the world of dynamic real estate marketing with Hannah, the Marketing Manager at Workspace Group. Hear firsthand how their team generates engaging descriptions for thousands of office units by integrating diverse data sources—from PDF floorplans to web pages—using FME transformers, like OpenAIVisionConnector and AnthropicVisionConnector. This use case will show you how GenAI can streamline content creation for marketing across the board.
Ollama Use Case: Learn how Scenario Specialist Dmitri Bagh has utilized Ollama within FME to input data, create custom models, and enhance security protocols. This segment will include demos to illustrate the full capabilities of FME in AI-driven processes.
Custom AI Models: Discover how to leverage FME to build personalized AI models using your data. Whether it’s populating a model with local data for added security or integrating public AI tools, find out how FME facilitates a versatile and secure approach to AI.
We’ll wrap up with a live Q&A session where you can engage with our experts on your specific use cases, and learn more about optimizing your data workflows with AI.
This webinar is ideal for professionals seeking to harness the power of AI within their data management systems while ensuring high levels of customization and security. Whether you're a novice or an expert, gain actionable insights and strategies to elevate your data processes. Join us to see how FME and AI can revolutionize how you work with data!
Best 20 SEO Techniques To Improve Website Visibility In SERPPixlogix Infotech
Boost your website's visibility with proven SEO techniques! Our latest blog dives into essential strategies to enhance your online presence, increase traffic, and rank higher on search engines. From keyword optimization to quality content creation, learn how to make your site stand out in the crowded digital landscape. Discover actionable tips and expert insights to elevate your SEO game.
Your One-Stop Shop for Python Success: Top 10 US Python Development Providersakankshawande
Simplify your search for a reliable Python development partner! This list presents the top 10 trusted US providers offering comprehensive Python development services, ensuring your project's success from conception to completion.
TrustArc Webinar - 2024 Global Privacy SurveyTrustArc
How does your privacy program stack up against your peers? What challenges are privacy teams tackling and prioritizing in 2024?
In the fifth annual Global Privacy Benchmarks Survey, we asked over 1,800 global privacy professionals and business executives to share their perspectives on the current state of privacy inside and outside of their organizations. This year’s report focused on emerging areas of importance for privacy and compliance professionals, including considerations and implications of Artificial Intelligence (AI) technologies, building brand trust, and different approaches for achieving higher privacy competence scores.
See how organizational priorities and strategic approaches to data security and privacy are evolving around the globe.
This webinar will review:
- The top 10 privacy insights from the fifth annual Global Privacy Benchmarks Survey
- The top challenges for privacy leaders, practitioners, and organizations in 2024
- Key themes to consider in developing and maintaining your privacy program
Webinar: Designing a schema for a Data WarehouseFederico Razzoli
Are you new to data warehouses (DWH)? Do you need to check whether your data warehouse follows the best practices for a good design? In both cases, this webinar is for you.
A data warehouse is a central relational database that contains all measurements about a business or an organisation. This data comes from a variety of heterogeneous data sources, which includes databases of any type that back the applications used by the company, data files exported by some applications, or APIs provided by internal or external services.
But designing a data warehouse correctly is a hard task, which requires gathering information about the business processes that need to be analysed in the first place. These processes must be translated into so-called star schemas, which means, denormalised databases where each table represents a dimension or facts.
We will discuss these topics:
- How to gather information about a business;
- Understanding dictionaries and how to identify business entities;
- Dimensions and facts;
- Setting a table granularity;
- Types of facts;
- Types of dimensions;
- Snowflakes and how to avoid them;
- Expanding existing dimensions and facts.
1. Digital Music in the Nordics
May 2017 By: Simon Bugge Jensen & Julie Sophie Schou
POLARIS NORDIC
2. 2
Content
D i g i t a l M u s i c S e r v i c e s i n t h e N o r d i c s 2 0 1 7
3 Purpose
5 Summary and Methodology
7 Results
8 Market overview
13 Profiling users of digital music services
30 Behavior and attitudes
38 Social media
41 TV streaming
44 Profiling YouTube music streamers
61 Profiling Facebook music streamers
79 About YouGov
4. 4
Purpose of study
D i g i t a l M u s i c S e r v i c e s i n t h e N o r d i c s 2 0 1 7
Polaris Nordic (a collaboration between the three Nordic
collecting societies Koda, TONO and Teosto) needs
knowledge about the use of digital music services in the
Nordic region and has conducted a survey in collaboration
with YouGov.
This report highlights selected findings focusing on
characterizing:
• The market for digital music services
• Behavior and attitude on music streaming – progress
from 2015
• The profile of premium subscribers and profiles of
free/trial version users (non paying users)
• The profile of people who stream music/music videos
on Facebook
• The profile of people who stream music/music videos
on YouTube
6. 66
Sample
National representative
sample in DK, NO, SE og FI
Men/women aged 15-65
Parents of children aged 12-14
Methodology
The data collection was
carried out online using the
Nordic YouGov Panel
Field Period
April 20th - May 13th 2017
Interviews
DK: 1.020 interviews
SE: 1.005 interviews
NO: 1.013 interviews
FI: 1.009 interviews
Stream music
DK:75%
SE: 83%
NO: 81%
FI: 82%
Premium subscribers/Bundlers
DK: 43%
SE: 48%
NO: 48%
FI: 22%
40%80%
Streaming content with music
on Facebook - weekly
DK: 35%
SE: 32%
NO: 40%
FI: 32%
35%
Streaming music on
YouTube - weekly
42%
Digital Music
Services
2018?
Summary and methodology
D i g i t a l M u s i c S e r v i c e s i n t h e N o r d i c s
DK: 32%
SE: 43%
NO: 45%
FI 50%
9. 99
100%
75%
43%
100%
In each of the Nordic countries, 8 out of 10 use digital music services. The share of free/trial users is
significantly higher in Finland than in the other Nordic countries
100%
83%
48%
35%
100%
80%
40%
40%
100%
81%
U s e r o v e r v i e w – u s e r s , s u b s c r i b e r s a n d t r i a l i s t s
Total population Only free version/trial
YouTube, Soundcloud, Bandcamp,
vidFlow, Spotify, Apple Music,
Deezer, Google Play Music, Groove,
Napster, Tidal,
Users of digital
music services
Subscribe to Premium/bundle
Telmore Musik, YouSee Musik, Spotify,
Tidal, Apple Music, Google Play Music,
Deezer, Groove, Napster, Beat.no,
GubeMusic
Nordic Market Overview
Q7 In the past 12 months, have you personally
used, or do you currently use any of the
following digital music services (for music or
music videos)?
Base: all
31%
33%
48%
82%
22%
60%
10. 1010
16%iTunes
55%Spotify
62%YouTube (46%)
(50%)
(24%)
I n t h e N o r d i c s , Y o u T u b e a n d S p o t i f y a r e , b e y o n d
c o m p a r i s o n , t h e m o s t u s e d d i g i t a l m u s i c s e r v i c e s a n d
t h e i r m a r k e t s h a r e s h a v e i n c r e a s e d s i g n i f i c a n t l y
o v e r t h e p a s t t w o y e a r s w i t h S p o t i f y i n S w e d e n a s
t h e o n l y e x c e p t i o n ( s t a t u s q u o c o m p a r e d t o 2 0 1 5 ) .
M o s t u s e d d i g i t a l m u s i c s e r v i c e s
18%Yousee Music
38%Spotify
48%YouTube
13%iTunes
51%Spotify
60%YouTube
Top 3 - Nordic
Top 3 Top 3
Top 3 Top 3
Q7 In the past 12 months, have you personally used, or do you currently use any of the following digital music services (for music or music videos)?
Base: all
(37%)
(33%)
(21%)
8%iTunes
46%Spotify
69%YouTube (55%)
(38%)
(8%)
13%iTunes
60%YouTube
64%Spotify (64%)
(50%)
(17%)
Y o u T u b e i s t h e m o s t u s e d d i g i t a l m u s i c s e r v i c e i n
N o r w a y , D e n m a r k a n d F i n l a n d ( e s p e c i a l l y )
w h e r e a s S p o t i f y d o m i n a t e s t h e S w e d i s h m a r k e t
( t h o u g h c l o s e l y f o l l o w e d b y Y o u T u b e w h i c h h a s
i n c r e a s e d s i g n i f i c a n t l y w h e r e a s S p o t i f y h a s n o t ) .
C o m p a r e d t o t h e o t h e r c o u n t r i e s , D a n e s a r e
l e s s a c t i v e u s e r s o f b o t h Y o u T u b e a n d S p o t i f y ,
p r o b a b l y d u e t o t h i r d p l a c e , Y o u s e e M u s i c ,
w i t h a u s e r s h a r e o f 1 8 % . I n t h e o t h e r t h r e e
c o u n t r i e s , t h e t h i r d p l a c e i s h e l d b y i T u n e s .
11. 1111
Looking at users of Spotify and YouTube, three out of four use the services on a weekly basis.
Spotify has a much larger daily user share than YouTube
W e e k l y u s e r f r e q u e n c y – S p o t i f y a n d Y o u T u b e
Q8 How often do you use the following service (for music or music videos)?
Base: Users of Spotify, users of YouTube, users of youSee Musik
Net: 71%
(daily/weekly)
Net: 66% 30%
Daily
36%
Weekly
Nordic weekly user frequency
Net: 71% 36%
Daily
34%
Weekly
Net: 73% 37%
Daily
36%
Weekly
Net: 72% 39%
Daily
33%
Weekly
Net: 77%
(daily/weekly)
Net: 73% 45%
Daily
28%
Weekly
Nordic weekly user frequency
Net: 79% 50%
Daily
29%
Weekly
Net: 77% 51%
Daily
26%
Weekly
Net: 76% 46%
Daily
30%
Weekly
Net: 65% 33%
Daily
32%
Weekly
12. 1212
67%
74%
74%
72%
52%
62%
63%
57%
41%
56%
44%
34%
34%
43%
32%
30%
20%
25%
30%
26%
0% 20% 40% 60% 80% 100%
Denmark
Sweden
Norway
Finland
12-17
18-29
30-39
40-49
50-65
64%
73%
63%
74%
29%
39%
42%
55%
27%
41%
37%
33%
28%
24%
29%
31%
10%
23%
19%
20%
0% 20% 40% 60% 80% 100%
Denmark
Sweden
Norway
Finland
12-17
18-29
30-39
40-49
50-65
S h a r e o f d a i l y u s e r s o n S p o t i f y a n d Y o u T u b e – b y a g e
There’s a similar patterns across the Nordic countries on daily streamers. There’s a much higher share of
young people who stream music daily on Spotify and YouTube
Q8 How often do you use the following service (for music or music videos)?
Base: Users of Spotify, users of YouTube
15. 1515
S t r e a m e r s - D e n m a r k
More than 4 in out of 10 Danes subscribe to a premium or bundled music streaming service
43%
31%
26%
Subscription/Bundle Only free version/trial Do not stream musicQ7 In the past 12 months, have you personally used,
or do you currently use any of the following digital
music services (for music or music videos)?
Base: All
We’ll profile people who have access through
Premium subscription/bundles
Q9a Which version have you used in the past 12 months?
Base: Have used the service within last 12 months
We’ll profile people who only use
Free version/trial version
Used services: Telmore Musik, YouSee Musik,
Spotify, Tidal, Apple Music, Google Play Music,
Deezer, Groove, Napster
Used services: YouTube, Soundcloud, Bandcamp,
Spotify, Tidal, Apple Music, Google Play Music,
Deezer, Groove, Napster
Share of Danes who use at
least one free music service:
68%
16. 1616
56% 56%
44% 45%
26%
34% 33%
41%
31%
25%
12-17 y/o 18-29 y/o 30-39 y/o 40-49 y/o 50-65 y/o
Age
41%
Gender
33%
The arrows show significant
demographic variations within each of
the two user groups (not variations
between the two user groups)
32%
42%
54%
44%
29%
21%
Less than 300.000 kr.
300.000 - 699.999 kr.
More than 700.000 kr.
Household income
Region
45% / 27%
48% / 30%
34% / 41%
40% / 35%
42% / 28%
Occupation
Profile
Demographics – Premium subscribers/bundlers
The group of Danes who have a premium/bundled streaming subscription is made up
by significantly more young people aged 12-29 and has an overrepresentation of
households with a high household income, student and office workers.
Demographics – only free/trial users
Region wise, significantly more people from Nordjylland stream for free or as trialists.
The groups of free users/trialists is overrepresented by households with a low
household income and people who are not in work.
Behavior/attitudes
Compared to free/trial users, premium subscribers/bundlers:
- Are more frequent concertgoers
- Agree more that it’s fair that artists are compensated when their music is used in
online services
- Is more driven to choose a digital music service to be able to have access to all
music (for free users/trialists the main driver is that a service is free)
45%
29%
18%
56%
50%
38%
52%
42%
32%
27%
31%
17%
Not active
Student/apprentice/trainee
Office worker
Skilled/unskilled worker
Self-employed
S t r e a m i n g P r o f i l e s – d e m o g r a p h i c s
Profiles on premium/bundled subscribers and free/trial users
RED: Premium subscribers/Bundles – 43%
GREY: Only Free version/Trial version – 31%
17. 1717
S t r e a m i n g P r o f i l e s – b e h a v i o r a n d a t t i t u d e s
Profiles on premium/bundled subscribers and free/trial users
75%
31%
29%
23%
22%
65%
26%
16%
22%
24%
I find it important that creators of music get a
compensation when their works are used in online…
There is adequate information on songwriters,
musicians, producers etc. on tracks and albums on…
I often follow and listen to shared or curated
playlists on online music services
I often find interesting music via social media
It is usually easy to know what kind of content I am
allowed to share online
That I have access to all
the music I like
61% That it’s free 51%
That the service is legal 47%
That I have access to all
the music I like
42%
That the sound is of high
quality
43%
That the sound is of high
quality
38%
Ease of use 42% That the service is legal 36%
That the music can be
easily used on multiple
devices and platforms
36% Ease of use 30%
Top 3 music services
Top 5 drivers when choosing music service
Buy music
71%
61%
Gone to a
concert past 12
months
Average number
of concerts past
12 months
3,36
2,73
Sub-
scribers
Free/t
rial
Music downloads 19% 13%
CDs 12% 16%
Vinyl 9% 6%
Other formats 3% 4%
Don’t buy music 64% 67%
57% 42%
52% 82%
42% -
Subscribers Free/trials
Top 5 Statements
(agree/strongly agree)
RED: Premium subscribers/Bundles
GREY: Only Free version/Trial version
The arrows show significant variations
between the two user groups
19. 1919
S t r e a m e r s - S w e d e n
Profiles on premium/bundled subscribers and free/trial users on music streaming
48%
35%
17%
Subscription/Bundle Only free version/trial No streamersQ7 In the past 12 months, have you personally
used, or do you currently use any of the following
digital music services (for music or music videos)?
Base: All
Q9a Which version have you used in the past 12 months?
Base: Have used the service within last 12 months
Free version/Trial version
We’ll profile people who have access through
Premium subscription/bundles
Used services: YouTube, Soundcloud, Bandcamp,
Spotify, Tidal, Apple Music, Google Play Music,
Deezer, Groove, Napster
Used services: Spotify, Tidal, Apple Music, Google
Play Music, Deezer, Groove, Napster
We’ll profile people who only use
Share of Swedes who use at
least one free music service:
70%
20. 2020
61% 61%
54%
50%
29%
33%
29%
34% 33%
40%
12-17 y/o 18-29 y/o 30-39 y/o 40-49 y/o 50-65 y/o
Profiles on premium/bundled subscribers and free/trial users
Age
45%
Gender
36%
36%
50%
62%
44%
32%
26%
Less than 300.000 kr.
300.000 - 699.999 kr.
More than 700.000 kr.
Household income
Region
47% / 26%
49% / 30%
46 / 33%
50% / 40%
48% / 34%
Occupation
52%
33%
30%
63%
62%
43%
37%
50%
28%
24%
37%
40%
Not active
Student/apprentice/trainee
Office worker
Skilled/unskilled worker
Self-employed
S t r e a m i n g P r o f i l e s – d e m o g r a p h i c s
RED: Premium subscribers/Bundles – 48%
GREY: Only Free version/trial version – 35%
Profile
Demographics – Premium subscribers/bundlers
Swedes who have who have a premium/bundled streaming subscription is made up by
significantly more males, young people aged 12-29 and has an overrepresentation of
households with a high household income, student and office workers.
Demographics – Only free/trial users
Swedish music streamers who use a free/trial version are overrepresented by people with
low household incomes and people who are not active.
Behavior/attitudes
Compared to free/trial users, premium subscribers/bundlers are characterized by:
- A higher share who goes to concerts annually and they are more frequent concertgoers
- Agree more that it’s fair that artists are compensated when their music is used in online
services
- Close to 100% who use Spotify
- Is more driven to choose a digital music service to be able to have access to all the music
they like (for free users/trialists the main driver is that a service is free).
The arrows show significant
demographic variations within each of
the two user groups (not variations
between the two user groups)
21. 2121
S t r e a m i n g P r o f i l e s – b e h a v i o r a n d a t t i t u d e s
Profiles on premium/bundled subscribers and free/trial users
70%
38%
33%
31%
30%
61%
27%
29%
20%
16%
I find it important that creators of music get a
compensation when their works are used in online…
There is adequate information on songwriters,
musicians, producers etc. on tracks and albums on…
It should be easier to find domestic music on digital
music services
It is usually easy to know what kind of content I am
allowed to share online
I often follow and listen to shared or curated
playlists on online music services
That I have access to all
the music I like
63% That it’s free 50%
Ease of use 55% Ease of use 39%
That the sound is of high
quality
44%
That I have access to all
the music I like
34%
That the music can be
easily used on multiple
devices and platforms
43%
That the sound is of high
quality
28%
That the service is legal 31% That the service is legal 27%
Top 3 services
Top 5 drivers when choosing music service
Buy music
65%
48%
Gone to a
concert past 12
months
Average number
of concerts past
12 months
Statements
3,27
2,64
Sub-
scribers
Free/
Trial
Music downloads 19% 11%
CDs 14% 19%
Vinyl 7% 7%
Other formats 4% 1%
Don’t buy music 62% 66%
96% 48%
66% 83%
15% 14%
Subscribers Free/trial
RED: Premium subscribers/Bundles
GREY: Only Free version/trial version
The arrows show
significant variations
between the two user
groups
23. 2323
S t r e a m e r s - N o r w a y
Almost half of Norwegians subscribe to a premium or bundled streaming service
48%
32%
20%
Subscription/Bundle Only free version/trial No streamersQ7 In the past 12 months, have you personally
used, or do you currently use any of the following
digital music services (for music or music videos)?
Base: All
Q9a Which version have you used in the past 12 months?
Base: Have used the service within last 12 months
Free version/trial version Used services: Spotify, Tidal, Apple Music, Google
Play Music, Deezer, Groove, Napster, Beat.no,
GubeMusic
Used services: YouTube, Soundcloud, Bandcamp,
vidFlow, Spotify, Tidal, Apple Music, Google Play
Music, Deezer, Groove, Napster, vidFlow
We’ll profile people who have access through
Premium subscription/bundles
We’ll profile people who only use
Share of Norwegians who use at
least one free music service:
71%
24. 2424
Profile
Demographics – Premium subscribers/bundlers
Premium subscribers/bundlers is overrepresented by more young people aged 12-29, households
with a high household income and students.
Demographics – Only free/trial users
The group of free/trial users is significantly less represented by young people aged 18-29 and
people from Eastern Norway. The group is overrepresented by people who are not in work.
Behavior/attitudes
Compared to free/trial users, premium subscribers/bundlers are:
- More annually concertgoers
- Buy more music downloads and vinyls
- To a greater extent use Spotify (while free users/trialists to a greater extent use YouTube)
- Agree more that it’s fair that artists are compensated when their music is used in online
services
- Is more driven to choose a digital music service to be able to have access to all the music
they like
65% 66%
52%
49%
24%
28%
24%
38%
30%
37%
12-17 y/o 18-29 y/o 30-39 y/o 40-49 y/o 50-65 y/o
Profiles on premium/bundled subscribers and free/trial users
Age
46%
Gender
34%
46%
45%
56%
37%
37%
29%
Less than 300.000 kr.
300.000 - 699.999 kr.
More than 700.000 kr.
Household income
Region
49% / 31%
51% / 25%
45% / 38%
47% / 36%
50% / 36%
Occupation
50%
32%
30%
66%
53%
48%
32%
41%
27%
28%
34%
52%
Not active
Student/apprentice/trainee
Office worker
Skilled/unskilled worker
Self-employed
S t r e a m i n g P r o f i l e s – d e m o g r a p h i c s
RED: Premium subscribers/Bundles – 48%
GREY: Only Free version/trial version – 32%
The arrows show significant
demographic variations within each of
the two user groups (not variations
between the two user groups)
25. 2525
S t r e a m i n g P r o f i l e s – b e h a v i o r a n d a t t i t u d e s
Profiles on premium/bundled subscribers and free/trial users
71%
39%
38%
37%
36%
56%
31%
26%
18%
35%
I find it important that creators of music get a
compensation when their works are used in online…
It should be easier to find domestic music on digital
music services
There is adequate information on songwriters,
musicians, producers etc. on tracks and albums on…
I often follow and listen to shared or curated
playlists on online music services
It is usually easy to know what kind of content I am
allowed to share online
That I have access to all
the music I like
67% That it’s free 49%
Ease of use 51%
That I have access to all
the music I like
38%
That the sound is of high
quality
49% Ease of use 38%
That the music can be
easily used on multiple
devices and platforms
44%
That the sound is of high
quality
29%
That the service is legal 41% That the service is legal 28%
Top 3 services
Top 5 drivers when choosing music service
Buy music
71%
54%
Gone to a
concert past 12
months
Average number
of concerts past
12 months
3,42
3,11
Sub-
scribers
Free/t
rial
Music downloads 28% 17%
CDs 19% 23%
Vinyl 11% 7%
Other formats 4% 4%
Don’t buy music 52% 56%
85% 42%
70% 86%
20% 17%
Subscribers Free/trials
Top 5 Statements
(agree/strongly agree)
RED: Premium subscribers/Bundles
GREY: Only Free version/trial version
The arrows show
significant variations between
the two user groups
27. 2727
S t r e a m e r s - F i n l a n d
Less than 1 out of 4 Finns pay for a premium/bundled subscription for a music service
22%
60%
18%
Subscription/Bundle Only free version/trial No streamersQ7 In the past 12 months, have you personally
used, or do you currently use any of the following
digital music services (for music or music videos)?
Base: All
Q9a Which version have you used in the past 12 months?
Base: Have used the service within last 12 months
Free version/trial version Used services: Spotify, Tidal, Apple Music, Google
Play Music, Deezer, Groove
Used services: YouTube, Soundcloud, Bandcamp,
Spotify, Tidal, Apple Music, Google Play Music,
Deezer, Groove
We’ll profile people who have access through
Premium subscription/bundles
We’ll profile people who only use
Share of Finns who use at
least one free music service:
77%
28. 2828
27%
37%
24%
19%
9%
68%
58%
67% 64%
54%
12-17 y/o 18-29 y/o 30-39 y/o 40-49 y/o 50-65 y/o
Profiles on premium/bundled subscribers and free/trial users
Age
19%
Gender
63%
14%
24%
49%
67%
56%
36%
Less than 40.499 euros
40.500 - 94.499 euros
94.500 euros and more
Household income
Region
19% / 61%
17% / 61%
24% / 59%
25% / 59%
Occupation
24%
58%
8%
39%
28%
19%
22%
64%
58%
53%
64%
45%
Not active
Student/apprentice/trainee
Office worker
Skilled/unskilled worker
Self-employed
S t r e a m i n g P r o f i l e s – d e m o g r a p h i c s
RED: Premium subscribers/Bundles – 22%
GREY: Only Free version/trial version – 60% Profile
Demographics – Premium subscribers/bundlers
Premium subscribers/bundlers is overrepresented by more young people aged 12-29, and students households
with a high household income, students and households with a high household income. High household income
is probably the most defining demographic as more than twice as many households with a household income
of more than 94.500 Euros are premium subscribers /bundlers compared to the average.
Demographics – Only free/trial users
The group of free/trial users has an overrepresentation of households with a low household income.
Behavior/attitudes
Compared to free/trial users, premium subscribers/bundlers:
- Are more frequent annually concertgoers
- Buy more music downloads and vinyls
- To a greater extent use Spotify (while free users/trialists to a greater extent use YouTube)
- Agree more that it’s fair that artists are compensated when their music is used in online services
- Is more driven to choose a digital music service to be able to have access to all the music they like (for
free users/trialists the main driver is that a service is free)
The arrows show significant
demographic variations within each of
the two user groups (not variations
between the two user groups)
29. 2929
S t r e a m i n g P r o f i l e s – b e h a v i o r a n d a t t i t u d e s
Profiles on premium/bundled subscribers and free/trial users
80%
45%
39%
39%
38%
75%
29%
31%
41%
22%
I find it important that creators of music get a
compensation when their works are used in online…
There is adequate information on songwriters,
musicians, producers etc. on tracks and albums on…
It is usually easy to know what kind of content I am
allowed to share online
It should be easier to find domestic music on digital
music services
I often follow and listen to shared or curated
playlists on online music services
That I have access to all
the music I like
58% That it’s free 56%
Ease of use 57% Ease of use 43%
That the sound is of high
quality
49% That the service is legal 38%
That the service is legal 46%
That I have access to all
the music I like
33%
That the music can be
easily used on multiple
devices and platforms
45%
That the sound is of high
quality
31%
Top 3 services
Top 5 drivers when choosing music service
Buy music
74%
56%
Gone to a
concert past 12
months
Average number
of concerts past
12 months
3,32
2,96
Sub-
scribers
Free/t
rial
Music downloads 34% 8%
CDs 25% 22%
Vinyl 11% 5%
Other formats 9% 3%
Don’t buy music 45% 66%
89% 44%
70% 90%
17% 7%
Subscribers Free/trials
Top 5 Statements
(agree/strongly agree)
RED: Premium subscribers/Bundles
GREY: Only Free version/trial version
The arrows show
significant variations between
the two user groups
31. 3131
C o n c e r t s
On average, Norwegian concertgoers attend more concerts than Danish, Swedish and Finnish concertgoers
Gone to a concert in
the past 12 months
Average number of concerts
the past 12 months
62%
(63%)
55%
(52%)
60%
(57%)
57%
(52%)
3,01
(3,20)
2,98
(3,20)
3,31
(3,19)
3,07
(3,27)
Q3 In the past 12 months, have you been to a
concert, music festival or other live music
event or musical performance?
Base: All
Significant changes
from 2015 to 2017
(2015)
(2017)
(2015)
(2017)
32. 3232
33%
9%
11%
12%
7%
5%
1%
2%
5%
15%
33%
12%
12%
12%
7%
5%
1%
2%
5%
13%
0% 20% 40% 60%
I heard it first on the radio
A friend played the song
I heard it first on YouTube
I heard it first on a streaming service…
I heard it first on TV
I discovered the song via Facebook,…
I heard it first at a concert
I heard it first on some other Internet site
Other
Don’t know
2017
2015
44%
9%
9%
8%
6%
5%
3%
2%
3%
10%
46%
9%
9%
7%
5%
3%
3%
2%
5%
12%
0% 20% 40% 60%
I heard it first on the radio
A friend played the song
I heard it first on YouTube
I heard it first on a streaming service…
I heard it first on TV
I discovered the song via Facebook,…
I heard it first at a concert
I heard it first on some other Internet site
Other
Don’t know
2017
2015
C h a n n e l s w h e r e a n e w s o n g w a s d i s c o v e r e d
The radio is the best way to discover new songs
32%
9%
12%
11%
7%
7%
3%
2%
4%
14%
36%
9%
10%
9%
8%
6%
3%
3%
4%
12%
0% 20% 40% 60%
I heard it first on the radio
A friend played the song
I heard it first on YouTube
I heard it first on a streaming service…
I heard it first on TV
I discovered the song via Facebook,…
I heard it first at a concert
I heard it first on some other Internet site
Other
Don’t know
2017
2015
37%
10%
15%
9%
6%
5%
2%
2%
5%
10%
41%
10%
12%
5%
5%
5%
2%
3%
5%
11%
0% 20% 40% 60%
I heard it first on the radio
A friend played the song
I heard it first on YouTube
I heard it first on a streaming service…
I heard it first on TV
I discovered the song via Facebook,…
I heard it first at a concert
I heard it first on some other Internet…
Other
Don’t know
2017
2015
Q21 Think back to the last time you
discovered a new song/piece of music you
really liked: how did you discover it?
Base: All
Significant changes
from 2015 to 2017
33. 3333
15%
22%
20%
19%
1%
11%
1%
0
25%
14%
16%
17%
4%
6%
1%
3%
29%
9%
23%
8%
6%
4%
3%
4%
45%
9%
17%
5%
5%
3%
1%
3%
52%
4%
7%
3%
8%
5%
4%
1%
I heard it first on the radio
A friend played the song
I heard it first on YouTube
I heard it first on a streaming
service dedicated to music
(not YouTube)
I heard it first on TV
I discovered the song via
Facebook, Instagram or
similar social media
I heard it first at a concert
I heard it first on some other
Internet site
12-17
18-29
30-39
40-49
50-65
12%
18%
21%
16%
4%
12%
5%
1%
21%
10%
15%
21%
9%
6%
3%
1%
32%
7%
15%
11%
6%
6%
1%
4%
45%
7%
10%
8%
5%
6%
4%
0%
41%
6%
6%
4%
10%
6%
3%
1%
I heard it first on the radio
A friend played the song
I heard it first on YouTube
I heard it first on a streaming
service dedicated to music
(not YouTube)
I heard it first on TV
I discovered the song via
Facebook, Instagram or
similar social media
I heard it first at a concert
I heard it first on some other
Internet site
17%
23%
23%
10%
2%
8%
2%
6%
22%
9%
13%
22%
5%
4%
1%
2%
30%
12%
11%
12%
8%
4%
1%
3%
34%
7%
10%
14%
6%
7%
3%
1%
46%
4%
8%
3%
10%
6%
1%
1%
I heard it first on the radio
A friend played the song
I heard it first on YouTube
I heard it first on a streaming
service dedicated to music
(not YouTube)
I heard it first on TV
I discovered the song via
Facebook, Instagram or
similar social media
I heard it first at a concert
I heard it first on some other
Internet site
C h a n n e l s w h e r e a n e w s o n g w a s d i s c o v e r e d – b y a g e
The radio is primarily used to discover new music by people over 40 years old. Young people discover new
music through friends, on streaming service, on YouTube and on social media
Q21 Think back to the last time you discovered a new song/piece of music you really liked: how did you discover it?
Base: All
10%
24%
19%
14%
4%
14%
1%
4%
36%
10%
10%
18%
5%
5%
2%
3%
38%
10%
13%
5%
4%
7%
4%
1%
54%
6%
8%
9%
6%
2%
3%
1%
59%
5%
3%
0%
10%
3%
2%
1%
I heard it first on the radio
A friend played the song
I heard it first on YouTube
I heard it first on a streaming
service dedicated to music
(not YouTube)
I heard it first on TV
I discovered the song via
Facebook, Instagram or
similar social media
I heard it first at a concert
I heard it first on some other
Internet site
34. 3434
P u r c h a s e o f m u s i c
Norwegians buy more music than to the other Nordic populations
Q6 In the past 12 months, have you purchased music downloads,
or music in a physical format, such as CDs or vinyl albums?
Base: All
2017 2015
Music downloads 15% 14%
CDs 15% 19%
Vinyl 7% 4%
Other formats 3% 2%
32%
65%
Yes [NET] No
2017 2015
Music downloads 20% 23%
CDs 20% 19%
Vinyl 8% 9%
Other formats 4% 4%
41%
55%
Yes [NET] No
2017 2015
Music downloads 13% 10%
CDs 22% 22%
Vinyl 6% 3%
Other formats 4% 2%
35%
65%
Yes [NET] No
2017 2015
Music downloads 15% 14%
CDs 16% 17%
Vinyl 7% 6%
Other formats 2% 3%
32%
65%
Yes [NET] No
(32%)
(64%)
(41%)
(54%)
(34%)
(64%)
(30%)
(67%)
Significant changes
from 2015 to 2017
35. 3535
43%
45%
40%
52%
16%
13%
16%
17%
12%
13%
15%
13%
9%
6%
8%
4%
5%
4%
4%
1%
15%
19%
18%
12%
0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%
Denmark
Sweden
Norway
Finland
Not at all To a slight extent To some extent To a great extent To a very great extent Don't know/not relevant
B u n d l e d m u s i c s e r v i c e s
Overall, few find it important to get music services included when they decide on a mobile or internet subscription. Danes find it
most important and Finns the least
14%
10%
12%
5%
Q10a To what extent did you find the possibility to get music services included
important, when you decided which mobile or internet subscription to buy?
Base: All
36. 3636
Agree/Strongly agree
2017: 45%
2015: 44%
Subscribers/bundlers: 50%
Free users/trialists: 41%
It would be fair if Facebook paid
some of their revenue to the
songwriters and performers of the
music you can find on Facebook.
❞
M u s i c o n F a c e b o o k
A ppro xi m ately, half o f the No rdi c po pu lati o n s (an d m o re Fi n n s) ag ree that i t w o u ld be f ai r f o r Facebo o k to pay so m e o f i ts reven u e to the
so n gw ri ters/perf o rm ers bei n g played o n Facebo o k. In Den m ark, an i n creasi n g n u m ber o f Dan es ag ree wi th the statem en t
Agree/Strongly agree
2017: 44%
2015: 39%
Subscribers/bundlers: 46%
Free users/trialists: 46%
Agree/Strongly agree
2017: 41%
2015: 39%
Subscribers/bundlers: 46%
Free users/trialists: 39
Agree/Strongly agree
2017: 55%
2015: 56%
Subscribers/bundlers: 61%
Free users/trialists: 51%
Q16 Do you agree or disagree with this statement?
It would be fair if Facebook paid some of their revenue to the songwriters and performers of the music you can find on Facebook
Base: All
Significant changes
from 2015 to 2017
Subscribers/bundlers vs.
free users/trialists
37. 3737
B a c k g r o u n d m u s i c i n r e s t a u r a n t s , c a f e s , p u b s , s h o p p i n g m a l l s , n i g h t c l u b s e t c .
Background music is by large perceived to contribute to the overall atmosphere in a positive way. Swedes and Finns have a
higher preference of hearing background hear music that they are already familiar with
Q25 Do you think background music in restaurants, cafes, pubs,
night clubs etc. contribute in a positive way to the overall
atmosphere of “a night out”?
Base: All
Q26 When background music is playing in restaurants, cafes,
pubs, shopping malls, night clubs etc. that you go to, do you
then prefer to hear music you are familiar with?
Base: All
23%
33%
25%
33%
53%
50%
50%
49%
15%
11%
16%
11%
8%
6%
9%
7%
0% 20% 40% 60% 80% 100%
Denmark
Sweden
Norway
Finland
Yes, very much so Yes, to some extent No Don’t know
Yes, very
much so
When background music is playing in restaurants, cafes, pubs,
shopping malls, night clubs etc. that you go to, do you then prefer to
hear music you are familiar with?
❞ Yes, to some
extent
No
15% 51% 20%
21% 53% 13%
17% 53% 17%
21% 55% 15%
39. 3939
84%
42%
39%
34%
17%
17%
15%
11%
4%
80%
31%
31%
33%
24%
11%
16%
8%
3%
Facebook
Instagram
Snapchat
LinkedIn
Google +
Pinterest
Twitter
Whatsapp
Tumblr
2017
2015
T o p 8 s o c i a l m e d i a u s a g e
Facebook is by far the largest social media in the Nordics. Since 2015 Instagram and Snapchat have grown significantly in all
four countries
81%
53%
50%
21%
20%
20%
16%
15%
6%
79%
46%
40%
25%
21%
20%
12%
9%
6%
Facebook
Snapchat
Instagram
Google +
LinkedIn
Twitter
Pinterest
Whatsapp
Tumblr
2017
2015
76%
49%
26%
25%
21%
18%
18%
15%
7%
74%
44%
17%
23%
20%
24%
21%
14%
9%
Facebook
Instagram
Snapchat
LinkedIn
Whatsapp
Google +
Twitter
Pinterest
Kik
2017
2015
75%
66%
37%
24%
19%
17%
17%
15%
5%
68%
52%
23%
26%
18%
8%
13%
10%
4%
Facebook
Whatsapp
Instagram
Google +
Twitter
Snapchat
LinkedIn
Pinterest
Tumblr
2017
2015
Q16a Do you currently use one or several of the following services?
Base: All
Significant changes
from 2015 to 2017
40. 4040
S t r e a m i n g g i g / c o n c e r t s o n s o c i a l m e d i a
Across the Nordics, 1 in 5 people have watched or shared a concert on social media. Facebook is, beyond comparison, the
preferred media to use watch or share a gig/concert
Ever watched or shared a live
streamed gig or concert on
social media
Q17 Have you ever shared video files or streams of live music performances on social networking services?
Base: All
Top 3 media to watch or share a gig/concert
78% 72% 63% 71%
17% 26% 35% 20%
17% 12% 33% 10%
Q18 On what services have you watched or shared a live streamed gig or concert?
Base: Have watched or shared live streamed gig or concert on social media
18% 19% 17% 22%
42. 4242
42%
18%
16%
13%
6%
2%
1%
33%
13%
9%
9%
Netflix
Viaplay
TV2 Play
HBO Nordic
C More
Dplay
Amazon Prime
2017
2015
D i g i t a l T V / m o v i e / s e r i e s p r o v i d e r s
Since 2015, digital services providing streaming of TV/ movies/series have increased significantly across all Nordic countries
48%
15%
15%
5%
2%
36%
8%
11%
Netflix
HBO Nordic
Viaplay
C More
Amazon Prime
2017
2015
37%
20%
12%
11%
2%
1%
30%
18%
6%
Netflix
Viaplay
C More
HBO Nordic
Dplay
Amazon Prime
2017
2015
31%
12%
8%
7%
6%
5%
22%
4%
3%
Netflix
Elisa Viihde
Viaplay
C More
HBO Nordic
Sonera Viihde
2017
2015
Significant chnages
from 2015 to 2017
Q11 Do you currently subscribe to one or several of the following digital services
providing TV and/or movie content?
Base: All
43. 4343
M u s i c o r T V c o n t e n t p u r c h a s e d o n s t r e a m i n g s e r v i c e s
Finns purchase less music and TV/video content than the other Nordic populations
Q13a Have you, within the last 12 months purchased music or TV/video content from the following services?
Base: All
14%
11%
10%
7%
4%
4%
14%
15%
4%
9%
14%
7%
17%
14%
6%
12%
10%
7%
8%
9%
8%
5%
46. 4646
M u s i c v i d e o / m u s i c o n F a c e b o o k - D e n m a r k
32%
68%
Daily or almost daily, weekly Less than weekly/No/don't knowQ7 In the past 12 months, have you personally used, or do you
currently use any of the following digital music services (for
music or music videos)?
Base: All
We’ll profile Danes who stream music on
YouTube at least weekly
1/3 of Danes use YouTube at least weekly for streaming music
Q8 How often do you use the following services (for music or
music videos)?
Base: Have used the service within last 12 months
45% pay for at least one music
service subscription
47. 4747
Significant demographic variations on
weekly+ YouTube music streamers
63%
31%
43%
29%
18%
12-17 y/o 18-29 y/o 30-39 y/o 40-49 y/o 50-65 y/o
Age
31%
Gender
36%
29%
24%
Less than 300.000 kr.
300.000 - 699.999 kr.
More than 700.000 kr.
Household income
Region
36%
33%
36%
28%
30%
Stream music on YouTube at least weekly – 32%
Occupation
32%
29%
41%
28%
31%
23%
Not active
Student/apprentice/trainee
Office worker
Skilled/unskilled worker
Self-employed
S t r e a m i n g P r o f i l e s - d e m o g r a p h i c s
Profile
Demographics:
Almost 2/3 of Danes aged 12-17 stream music on YouTube at least weekly – which are twice as
many among all Danes. There are fewer weekly YouTube streamers among those with high
household.
Behavior/attitudes:
Danes who stream music on YouTube at least weekly differ from the rest of the population on
behavior and attitude on the following:
- use more digital music services
- more people who agree that having access to all the music they like and that it’s free when
choosing a music service
- generally more people who agree on statements related to music streaming – but not on the
statement about the importance that artists should be compensated when their music are used
in online services
Profiles on YouTube music streamers - Denmark
48. 4848
S t r e a m i n g P r o f i l e s - b e h a v i o r
Profiles on YouTube music streamers - Denmark
67%
31%
30%
28%
28%
69%
20%
13%
18%
16%
I find it important that creators of music get a
compensation when their works are used in online…
There is adequate information on songwriters,
musicians, producers etc. on tracks and albums on…
I often find interesting music via social media
It should be easier to find domestic music on digital
music services
It is usually easy to know what kind of content I am
allowed to share online
That I have access to all
the music I like
57%
That I have access to all
the music I like
39%
That it’s free 42% That the service is legal 37%
That the sound is of high
quality
41%
That the sound is of high
quality
34%
That the service is legal 39% Ease of use 30%
Ease of use 37% That it’s free 30%
Top 3 music services
Top 5 drivers when choosing music service
Buy music
63%
61%
Gone to a
concert past 12
months
Average number
of concerts past
12 months
Top 5 Statements
(agree/strongly agree)
2,95
3,04
YouTube
Weekly+
Non
YouTube
Weekly+
Music downloads 14% 15%
CDs 13% 16%
Vinyl 9% 6%
Other formats 4% 2%
Haven’t bought music 68% 64%
100% 24%
47% 34%
22% 12%
YouTube
weekly+
Non YouTube
Weekly+
Significant variations – YouTube music streamers weekly+
vs. Non YouTube music streamers weekly+
Stream music on YouTube at least weekly
Don’t stream music on YouTube at least weekly
50. 5050
M u s i c v i d e o / m u s i c o n F a c e b o o k - S w e d e n
43%
57%
Daily or almost daily, weekly Less than weekly/No/don't knowQ7 In the past 12 months, have you personally used, or do you
currently use any of the following digital music services (for
music or music videos)?
Base: All
We’ll profile Swedes who stream music on
YouTube at least weekly
4 out of 10 Swedes use YouTube at least weekly for streaming music
Q8 How often do you use the following services (for music or
music videos)?
Base: Have used the service within last 12 months
53% pay for at least one music
service subscription
51. 5151
73%
54%
43%
39%
29%
12-17 y/o 18-29 y/o 30-39 y/o 40-49 y/o 50-65 y/o
Age
37%
Gender
51%
41%
40%
Less than 300.000 kr.
300.000 - 699.999 kr.
More than 700.000 kr.
Household income
Region
Stream music on YouTube at least weekly – 43%
Occupation
48%
40%
57%
37%
43%
57%
Not active
Student/apprentice/trainee
Office worker
Skilled/unskilled worker
Self-employed
S t r e a m i n g P r o f i l e s - d e m o g r a p h i c s
Profile
Demographics:
There are more weekly YouTube streamers among men than women in Sweden. Almost 3/4 of the
Swedes aged 12-17 stream music on YouTube at least weekly. There are therefore also
significantly more students who stream music on YouTube at least weekly. Furthermore,
significantly more Swedes with a household income less than 300.000 kr. stream music on YouTube
at least weekly.
Behavior/attitudes:
Swedes who stream music on YouTube at least weekly differ from the rest of the population on
behavior and attitude on the following:
- higher share of annual concert goers and the concert goers on average attend more concerts
- use more digital music service
- buy more music downloads
- when choosing a music service they put more emphasis on that the sound is of high quality,
that is free and that they have access to all the music they like
- generally more people who agree on statements related to music streaming
Profiles on YouTube music streamers - Sweden
38%
45%
45%
45%
42%
Significant demographic variations on
weekly+ YouTube music streamers
52. 5252
S t r e a m i n g P r o f i l e s - b e h a v i o r
Profiles on YouTube music streamers - Sweden
66%
36%
35%
33%
29%
62%
24%
15%
27%
15%
I find it important that creators of music get a
compensation when their works are used in online…
It should be easier to find domestic music on digital
music services
I often find interesting music via social media
There is adequate information on songwriters,
musicians, producers etc. on tracks and albums on…
I often follow and listen to shared or curated playlists
on online music services
That I have access to all
the music I like
53% Ease of use 42%
Ease of use 46%
That I have access to all
the music I like
39%
That the sound is of high
quality
39%
That the sound is of high
quality
29%
That is if free 33% That the service is legal 26%
That the music can be
easily used on multiple
devices and platforms
30%
That the music can be
easily used on multiple
devices and platforms
25%
Top 3 music services
Top 5 drivers when choosing music service
Buy music
59%
52%
Gone to a
concert past 12
months
Average number
of concerts past
12 months
Top 5 Statements
(agree/strongly agree)
3,26
2,75
YouTube
Weekly+
Non
YouTube
Weekly+
Music downloads 17% 13%
CDs 17% 15%
Vinyl 9% 5%
Other formats 2% 3%
Haven’t bought music 63% 66%
100% 31%
19% 9%
16% 5%
YouTube
weekly+
Non YouTube
Weekly+
Significant variations – YouTube music streamers weekly+
vs. Non YouTube music streamers weekly+
Stream music on YouTube at least weekly
Don’t stream music on YouTube at least weekly
54. 5454
M u s i c v i d e o / m u s i c o n F a c e b o o k - N o r w a y
45%
55%
Daily or almost daily, weekly Less than weekly/No/don't knowQ7 In the past 12 months, have you personally used, or do you
currently use any of the following digital music services (for
music or music videos)?
Base: All
We’ll profile Norwegians who stream music on
YouTube fat least weekly
Almost half of Norwegians use YouTube at least weekly for streaming music
Q8 How often do you use the following services (for music or
music videos)?
Base: Have used the service within last 12 months
56% pay for at least one music
service subscription
55. 5555
69%
53% 54%
35%
29%
12-17 y/o 18-29 y/o 30-39 y/o 40-49 y/o 50-65 y/o
Age
43%
Gender
55%
42%
46%
Less than 300.000 kr.
300.000 - 699.999 kr.
More than 700.000 kr.
Household income
Region
Stream music on YouTube at least weekly – 45%
Occupation
48%
39%
64%
39%
43%
53%
Not active
Student/apprentice/trainee
Office worker
Skilled/unskilled worker
Self-employed
S t r e a m i n g P r o f i l e s - d e m o g r a p h i c s
Profile
Demographics:
69% of Norwegians aged 12-17 stream music on YouTube at least weekly. There are therefore also
significantly more students who stream music on YouTube at least weekly.
Behavior/attitudes:
Norwegians who stream music on YouTube at least weekly differ from the rest of the population
on behavior and attitude on the following:
- higher share of annual concert goers
- use more digital music service
- It is more important to them that they have access to all music they like, it’s ease of use, that
the sound is of high quality and that the music can be used on multiple devices and platforms
- generally more people who agree on statements related to music streaming and on the
statement about the importance that artists should be compensated when their music are used
in online services
Profiles on YouTube music streamers - Norway
35%
43%
50%
49%
51%
Significant demographic variations on
weekly+ YouTube music streamers
56. 5656
S t r e a m i n g P r o f i l e s - b e h a v i o r
Profiles on YouTube music streamers - Norway
67%
41%
38%
36%
35%
55%
21%
28%
31%
24%
I find it important that creators of music get a
compensation when their works are used in online…
I often find interesting music via social media
It should be easier to find domestic music on digital
music services
It is usually easy to know what kind of content I am
allowed to share online
There is adequate information on songwriters,
musicians, producers etc. on tracks and albums on…
That I have access to all
the music I like
59%
That I have access to all
the music I like
41%
Ease of use 46% Ease of use 37%
That the sound is of high
quality
46% That the service is legal 32%
That the music can be
easily used on multiple
devices and platforms
37%
That the sound is high
quality
30%
That the service is legal 36%
That the music can be
easily used on multiple
devices and platforms
25%
Top 3 music services
Top 5 drivers when choosing music service
Buy music
64%
57%
Gone to a
concert past 12
months
Average number
of concerts past
12 months
Top 5 Statements
(agree/strongly agree)
3,19
3,43
YouTube
Weekly+
Non
YouTube
Weekly+
Music downloads 23% 18%
CDs 23% 17%
Vinyl 9% 8%
Other formats 3% 4%
Haven’t bought music 53% 56%
100% 30%
70% 43%
22% 12%
YouTube
weekly+
Non YouTube
Weekly+
Significant variations – YouTube music streamers weekly+
vs. Non YouTube music streamers weekly+
Stream music on YouTube at least weekly
Don’t stream music on YouTube at least weekly
58. 5858
M u s i c v i d e o / m u s i c o n F a c e b o o k - F i n l a n d
50%50%
Daily or almost daily, weekly Less than weekly/No/don't knowQ7 In the past 12 months, have you personally used, or do you
currently use any of the following digital music services (for
music or music videos)?
Base: All
We’ll profile Finns who stream music on YouTube
at least weekly
Half of Finns use YouTube at least weekly for streaming music
Q8 How often do you use the following services (for music or
music videos)?
Base: Have used the service within last 12 months
26% pay for at least one music
service subscription
59. 5959
84%
62% 61%
46%
28%
12-17 y/o 18-29 y/o 30-39 y/o 40-49 y/o 50-65 y/o
Age
49%
Gender
49%
49%
46%
Less than 40.499 euros
40.500 - 94.499 euros
More than 94.500 euros
Household income
Region
Stream music on YouTube at least weekly – 50%
Occupation
50%
43%
68%
46%
51%
35%
Not active
Student/apprentice/trainee
Office worker
Skilled/unskilled worker
Self-employed
S t r e a m i n g P r o f i l e s - d e m o g r a p h i c s
Profile
Demographics:
More than 8 out of 10 aged 12-17 years old stream music on YouTube at least weekly.
Behavior/attitudes:
Finns who stream music on YouTube at least weekly differ from the rest of the population on
behavior and attitude on the following:
- higher share of annual concert goers
- use more digital music service
- buy more music downloads
- It is more important to them that it’s free, ease of use and that they have access to all the
music they like
- generally more people who agree on statements related to music streaming
Profiles on YouTube music streamers - Finland
47%
50%
51%
53%
Significant demographic variations on
weekly+ YouTube music streamers
60. 6060
S t r e a m i n g P r o f i l e s - b e h a v i o r
Profiles on YouTube music streamers - Finland
77%
42%
41%
35%
35%
75%
15%
33%
27%
24%
I find it important that creators of music get a
compensation when their works are used in online…
I often find interesting music via social media
It should be easier to find domestic music on digital
music services
It is usually easy to know what kind of content I am
allowed to share online
There is adequate information on songwriters,
musicians, producers etc. on tracks and albums on…
That it is free 51% That the service is legal 39%
Ease of use 50% Ease of use 38%
That I have access to all
the music I like
43% That it’s free 38%
That the service is legal 40%
That I have access to all
the music I like
28%
That the service is of
high quality
39%
That the sound is of high
quality
28%
Top 3 music services
Top 5 drivers when choosing music service
Buy music
62%
52%
Gone to a
concert past 12
months
Average number
of concerts past
12 months
Top 5 Statements
(agree/strongly agree)
3,12
3,00
YouTube
Weekly+
Non
YouTube
Weekly+
Music downloads 17% 10%
CDs 26% 19%
Vinyl 8% 4%
Other formats 5% 4%
Haven’t bought music 58% 67%
100% 38%
58% 34%
12% 2%
YouTube
weekly+
Non YouTube
Weekly+
Significant variations – YouTube music streamers weekly+
vs. Non YouTube music streamers weekly+
Stream music on YouTube at least weekly
Don’t stream music on YouTube at least weekly
62. 6262
32%
30%
35%
12%
28%
55%
At least weekly
Monthly, occassionally,
have tried
No, never
40%
27%
27%
22%
34%
37%
At least weekly
Monthly, occassionally,
have tried
No, never
32%
33%
30%
20%
32%
43%
At least weekly
Monthly, occassionally,
have tried
No, never
H a v e w a t c h e d a m u s i c v i d e o o r a v i d e o t h a t c o n t a i n e d m u s i c o n F a c e b o o k o r I n s t a g r a m
Si n ce 201 5, the sha re o f peo ple who at least weekly u se Facebo o k to watch vi deos wi th m u si c co n ten t has i n creased si g n i f i can tly i n all
No rdi c co u n tri es. 1 i n 3 ha ve wa tched m u si c co n ten t o n In stag ram wi thi n the last 1 2 m o n ths (m o re Swedes an d No rweg i an s)
Q15a In the past 12 months, have you watched a music
video or a video that contained music via these?
Base: All
35%
33%
28%
19%
38%
37%
At least weekly
Monthly, occassionally,
have tried
No, never
2017
2015
Have tried within the last 12 months No, never
30% 37% 39% 32%
Significant changes
from 2015 to 2017
64. 6464
M u s i c v i d e o / m u s i c o n F a c e b o o k - D e n m a r k
35%
65%
Daily or almost daily, weekly Less than weekly/No/don't know
Q15a In the past 12 months, have you watched a music video or
a video that contained music via these?
Base: All
We’ll profile Danes who watch videos with music
content on Facebook at least weekly
1/3 of Danes watch music videos or video containing music on Facebook at least weekly
65. 6565
60%
52%
29%
26%
22%
12-17 y/o 18-29 y/o 30-39 y/o 40-49 y/o 50-65 y/o
Age
35%
Gender
40%
30%
34%
Less than 300.000 kr.
300.000 - 699.999 kr.
More than 700.000 kr.
Household income
Region
31%
36%
36%
34%
36%
Watch videos containing music on Facebook at least weekly – 35%
Occupation
34%
23%
61%
28%
36%
29%
Not active
Student/apprentice/trainee
Office worker
Skilled/unskilled worker
Self-employed
S t r e a m i n g P r o f i l e s – d e m o g r a p h i c s
Profile
Demographics:
More than half of the young Danes aged 12-29 watch videos containing music on Facebook at least
weekly. There are therefore also significantly more students who watch videos containing music at
least weakly. But there are no significant regional or gender difference.
Behavior/attitudes:
Danes who watch videos containing music on Facebook at least weekly stand out from the rest on
behavior and attitude on the following:
- are more frequent concert goers
- buy more music downloads
- stream more music on streaming services
- prefer to a higher degree to have access to the music they like and that the service is free
- generally agree more on statements related to music streaming – but not on the statement
about the importance that artists should be compensated when their music are used in online
services
Profiles on Facebook music streamers - Denmark
Significant demographic variations on
Facebook weekly+ streamers
66. 6666
S t r e a m i n g P r o f i l e s – b e h a v i o r
Profiles on Facebook music streamers - Denmark
66%
33%
29%
28%
28%
70%
10%
14%
21%
17%
I find it important that creators of music get a
compensation when their works are used in online…
I often find interesting music via social media
I often follow and listen to shared or curated playlists
on online music services
There is adequate information on songwriters,
musicians, producers etc. on tracks and albums on…
It should be easier to find domestic music on digital
music services
That I have access to all
the music I like
50%
That I have access to all
the music I like
42%
That it’s free 42% That the service is legal 37%
That the service is legal 39%
That the sound is of high
quality
36%
That the sound is of high
quality
38% Ease of use 31%
Ease of use 34% That it’s free 29%
Top 3 music services
Top 5 drivers when choosing music service
Buy music
65%
60%
Gone to a
concert past 12
months
Average number
of concerts past
12 months
Top 5 Statements
(agree/strongly agree)
3,46
2,76
Facebook
Weekly+
Non
Facebook
Weekly+
Music downloads 18% 13%
CDs 12% 16%
Vinyl 7% 6%
Other formats 3% 3%
Haven’t bought music 63% 66%
55% 44%
52% 30%
21% 12%
Facebook
Weekly+
Non
Facebook
Weekly+
Significant variations – Facebook music streamers
veekly+ vs. Non Facebook music streamers weekly+
Watch videos containing music on Facebook weekly+
Don’t watch videos containing music on Facebook weekly+
68. 6868
M u s i c v i d e o / m u s i c o n F a c e b o o k - S w e d e n
Also 1/3 of the Swedes watch music videos or video containing music on Facebook at least weekly
32%
68%
Weekly Less than weekly/No/don't know
Q15a In the past 12 months, have you watched a music video or
a video that contained music via these?
Base: All
We’ll profile Swedes who watch videos with
music content on Facebook at least weekly
69. 6969
36%
42%
30% 30%
25%
12-17 y/o 18-29 y/o 30-39 y/o 40-49 y/o 50-65 y/o
Age
33%
Gender
35%
31%
30%
Less than 300.000 kr.
300.000 - 699.999 kr.
More than 700.000 kr.
Household income
Region
31%
31%
30%
38%
29%
Occupation
31%
32%
44%
28%
32%
37%
Not active
Student/apprentice/trainee
Office worker
Skilled/unskilled worker
Self-employed
S t r e a m i n g P r o f i l e s – d e m o g r a p h i c s
Profile
Demographics:
Swedes aged 18-29 years old and students watch more videos containing music on Facebook at
least weekly
Behavior/attitudes:
There are generally not that much difference on Swedes who watch videos that contain music on
Facebook at least weekly and those who don’t in terms of their behavior and attitudes.
The Swedes who watch videos that contain music on Facebook at least weekly are however:
- higher share of annual concert goers and the concert goers on average attend more concerts
- stream more music on streaming services
- generally agree more on statements related to music streaming – but not on the statement
about the importance that artists should be compensated when their music are used in online
services
Significant demographic variations on
Facebook weekly+ streamers
Watch videos containing music on Facebook at least weekly – 32%
Profile on Facebook music streamers - Sweden
70. 7070
S t r e a m i n g P r o f i l e s – b e h a v i o r
Profile on Facebook music streamers - Sweden
64%
42%
39%
37%
33%
63%
15%
26%
26%
15%
I find it important that creators of music get a
compensation when their works are used in online…
I often find interesting music via social media
There is adequate information on songwriters,
musicians, producers etc. on tracks and albums on…
It should be easier to find domestic music on digital
music services
I often follow and listen to shared or curated
playlists on online music services
That I have access to all
the music I like
48%
That I have access to all
the music I like
43%
Ease of use 44% Ease of use 43%
That the sound is of high
quality
37%
That the sound is of high
quality
31%
That the music can be
easily used on multiple
devices and platforms
31% That the service is legal 28%
That it’s free 27% That it’s free 26%
Top 3 music services
Top 5 drivers when choosing music service
Buy music
60%
52%
Gone to a
concert past 12
months
Average number
of concerts past
12 months
Top 5 Statements
(agree/strongly agree)
3,36
2,78
Facebook
Weekly+
Non
Facebook
Weekly+
Music downloads 18% 13%
CDs 18% 15%
Vinyl 7% 6%
Other formats 4% 2%
Haven’t bought music 62% 66%
74% 59%
71% 56%
17% 11%
Facebook
Weekly+
Non
Facebook
Weekly+
Significant variations – Facebook music streamers
veekly+ vs. Non Facebook music streamers weekly+
Watch videos containing music on Facebook weekly+
Don’t watch videos containing music on Facebook weekly+
72. 7272
M u s i c v i d e o / m u s i c o n F a c e b o o k - N o r w a y
4 out of 10 Norwegians watch music videos or video containing music on Facebook at least weekly
40%
60%
Weekly Less than weekly/No/don't know
Q15a In the past 12 months, have you watched a music video or
a video that contained music via these?
Base: All
We’ll profile Norwegians who watch videos with
music content on Facebook at least weekly
73. 7373
64%
54%
35%
32%
28%
12-17 y/o 18-29 y/o 30-39 y/o 40-49 y/o 50-65 y/o
Age
39%
Gender
46%
37%
39%
Less than 300.000 kr.
300.000 - 699.999 kr.
More than 700.000 kr.
Household income
Region
48%
38%
37%
37%
46%
Occupation
41%
32%
65%
30%
38%
36%
Not active
Student/apprentice/trainee
Office worker
Skilled/unskilled worker
Self-employed
S t r e a m i n g P r o f i l e s – d e m o g r a p h i c s
Profile
Demographics:
2/3 of young Norwegians aged 12-17 and more than half of Norwegians aged 18-29 watch videos
that contain music on Facebook at least weekly. The only other significant variation is that many
are students as occupation, which of course is also correlated with age.
Behavior/attitudes:
Norwegians who watch videos containing music on Facebook at least weekly separates them from
the rest on the following:
- a higher share who goes to concerts at least once a year
- buy more music downloads, CD’s and vinyls
- when choosing a music service they put more emphasis on that the sound is of high quality and
that the music can be easily used on multiple devices and platforms
- generally agree more on statements related to music streaming – but not on the statement
about the importance that artists should be compensated when their music are used in online
services
Watch videos containing music on Facebook at least weekly – 40%
Profiles on Facebook music streamers - Norway
Significant demographic variations on
Facebook weekly+ streamers
74. 7474
S t r e a m i n g P r o f i l e s – b e h a v i o r
Profiles on Facebook music streamers - Norway
60%
50%
38%
35%
35%
61%
16%
28%
25%
18%
I find it important that creators of music get a
compensation when their works are used in online…
I often find interesting music via social media
It should be easier to find domestic music on digital
music services
There is adequate information on songwriters,
musicians, producers etc. on tracks and albums on…
I often follow and listen to shared or curated
playlists on online music services
That I have access to all
the music I like
53%
That I have access to all
the music I like
47%
Ease of use 44% Ease of use 40%
That the sound is of high
quality
43%
That the sound is of high
quality
33%
That the music can be
easily used on multiple
devices and platforms
35% That the service is legal 33%
That the service is legal 34% That it’s free 29%
Top 3 music services
Top 5 drivers when choosing music service
Buy music
65%
57%
Gone to a
concert past 12
months
Average number
of concerts past
12 months
Top 5 Statements
(agree/strongly agree)
3,33
3,30
Facebook
Weekly+
Non
Facebook
Weekly+
Music downloads 27% 15%
CDs 25% 17%
Vinyl 11% 7%
Other formats 4% 3%
Haven’t bought music 45% 62%
74% 54%
68% 47%
23% 12%
Facebook
Weekly+
Non
Facebook
Weekly+
Significant variations – Facebook music streamers
veekly+ vs. Non Facebook music streamers weekly+
Watch videos containing music on Facebook weekly+
Don’t watch videos containing music on Facebook weekly+
76. 7676
M u s i c v i d e o / m u s i c o n F a c e b o o k - F i n l a n d
1/3 of Finns watch music videos or video containing music on Facebook at least weekly
32%
68%
Weekly Less than weekly/No/don't know
Q15a In the past 12 months, have you watched a music video or
a video that contained music via these?
Base: All
We’ll profile Finns who watch videos with music
content on Facebook at least weekly
77. 7777
42%
45%
35%
28%
21%
12-17 y/o 18-29 y/o 30-39 y/o 40-49 y/o 50-65 y/o
Age
32%
Gender
32%
33%
25%
Less than 40.499 euros
40.500 - 94.499 euros
94.500 euros and more
Household income
Region
30%
29%
37%
32%
Occupation
31%
28%
44%
29%
33%
16%
Not active
Student/apprentice/trainee
Office worker
Skilled/unskilled worker
Self-employed
S t r e a m i n g P r o f i l e s – d e m o g r a p h i c s
Profile
Demographics:
Swedes aged 18-29 years old and students watch more videos containing music on Facebook at
least weekly
Behavior/attitudes:
Finns who watch videos containing music on Facebook at least weekly stand out from the rest of
the population the following behavior and attitudes:
- higher share of people who attend concerts annually
- buy more music downloads and vinyls
- use more digital music service – especially Spotify
- it’s more important for them that they have access to all the music they like and that the
sound is of high quality when choosing a music service
- generally agree more on statements related to music streaming – but not on the statement
about the importance that artists should be compensated when their music are used in online
services
Watch videos containing music on Facebook at least weekly – 32%
Profiles on Facebook music streamers - Finland
Significant demographic variations on
Facebook weekly+ streamers
78. 7878
S t r e a m i n g P r o f i l e s – b e h a v i o r
Profiles on Facebook music streamers - Finland
79%
50%
45%
38%
37%
75%
18%
33%
16%
26%
I find it important that creators of music get a
compensation when their works are used in online…
I often find interesting music via social media
It should be easier to find domestic music on digital
music services
I often follow and listen to shared or curated
playlists on online music services
There is adequate information on songwriters,
musicians, producers etc. on tracks and albums on…
Ease of use 48% That it’s free 46%
That I have access to all
the music I like
46% Ease of use 42%
That it’s free 41% That the service is legal 39%
That the sound is of high
quality
41%
That I have access to all
the music I like
30%
That the service is legal 39%
That the sound is of high
quality
30%
Top 3 music services
Top 5 drivers when choosing music service
Buy music
68%
52%
Gone to a
concert past 12
months
Average number
of concerts past
12 months
Top 5 Statements
(agree/strongly agree)
3,20
2,99
Facebook
Weekly+
Non
Facebook
Weekly+
Music downloads 19% 21%
CDs 25% 21%
Vinyl 8% 5%
Other formats 5% 4%
Haven’t bought music 56% 66%
76% 66%
61% 39%
14% 6%
Watch videos containing music on Facebook weekly+
Don’t watch videos containing music on Facebook weekly+
Facebook
Weekly+
Non
Facebook
Weekly+
Significant variations – Facebook music streamers
veekly+ vs. Non Facebook music streamers weekly+
80. 80
Meet Your Team
A b o u t Y o u G o v
Simon has worked within market research since 2014 and joined
YouGov in 2016. Simon is responsible for conducting quantitative
research projects and is responsible for handling the entire research
process from developing the questionnaire to the presentation of the
results. Simon is experienced with handling all sorts of research
projects on behalf of clients representing a wide array of sectors
such as FMCG, Retail, and NGO’s. Simon holds an MSc. from
Copenhagen Business School.
Simon Bugge Jensen
Research Consultant
E: simon.jensen@yougov.com
M: +45 4167 8025
Julie Sophie Schou
Senior Research Consultant
Julie joined YouGov in 2011. She has over 15 years of market research
experience and consultancy within a wide variety of industries such as
FMCG, TV/Streaming, Professional Organizations, Telecommunications
and Medical. Julie is very experienced when it comes to international
market research studies, social research, taste tests, product tests,
design tests, image and awareness analysis and a broad spectrum of
other quantitative analysis methods. Julie has a BA in Anthropology
from the University of Aarhus.
E: julie.schou@yougov.com
M: +45 2071 6318
81. 81
YouGov’s panel is the largest consumer panel in the Nordics
A b o u t Y o u G o v
Our Nordic panel consists of 180,000
people and broadly reflects the
population in each country.
72.703
26.77
5
18.566
66.357
We focus on high validity in the
panel. This is done by recruitment
through many different channels as
well as continuous quality control.
82. 82
Daily, we are in dialogue with your panelits
A b o u t Y o u G o v
Demographics
Politics
Media
Consumer &
lifestyle
Personality & health
Brand usage &
perception
We collect information from more
than four million respondents in
our panels worldwide.
The result is the world's most
comprehensive database with
information about everything from
demographics, lifestyle, brand
usage, social media etc.
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YouGov by the Numbers
A b o u t Y o u G o v
NUMBER OF PEOPLE WHO PARTICIPATE IN THE
YOUGOV PANEL WORLDWIDE
4million
NUMBER OF SURVEYS COMPLETED IN FISCAL YEAR
2016
21 MILLION
2000 YEAR YOUGOV FOUNDED IN UK
600NUMBER
OF YOUGOV
EMPLOYEES
WORLDWIDE
NUMBER
OF YOUGOV
OFFICES
WORLDWIDE
28
YOUGOV HAS A
PROPRIETARY PANEL
OF 4M PEOPLE
ACROSS 37
COUNTRIES
37
YOUGOV
IS NAMED
THE MOST
QUOTED
SOURCE
IN THE DK
#
1
>2,50
0
NUMBER OF POLITICAL,
CULTURAL &
COMMERCIAL CLIENTS
SERVED IN FY16
YOUGOV BY THE NUMBERS