음악 라이선싱 시장 : 점유율 분석, 업계 동향 및 통계, 성장 예측(2026-2031년)

According to Mordor Intelligence, the music licensing market size is projected to expand from USD 8.92 billion in 2025 and USD 9.73 billion in 2026 to USD 14.84 billion by 2031, registering a CAGR of 8.81% between 2026 to 2031.

This report is Segmented by Rights Type (Performance, Mechanical, Synchronization, Print Music, and More), Usage Platform (Streaming Audio, Video Streaming, Social Media Platforms, Live Events, Video Games, and More), End-User (Content Creators and Digital Media Companies, Film and Television Production Companies, and More), and Geography. The Market Forecasts are Provided in Terms of Value (USD).

Global Music Licensing Market Trends and Insights

Expansion Of Streaming Platforms: Licensing Volume Scales with Subscriber Growth

Streaming has made licensing volume move more directly with subscriber growth, which gives the music licensing market a wider and more repeatable royalty base. Paid streaming subscribers reached 837 million globally in 2025, which shows how much licensed music use now depends on platform scale rather than one-off transactions. Spotify paid more than USD 11 billion to the music industry in 2025, which highlights how large digital services now sit at the center of the music licensing market. Streaming revenues passed USD 22 billion in 2025 and represented 69.6% of recorded music income, which means each rise in listening activity feeds a larger pool of performance, mechanical, and sometimes synchronization claims. MENA and South America already derive more than 88% of recorded music revenue from streaming, so the music licensing market has clear room to deepen monetization in regions where digital use is already dominant. Paid subscription streaming grew 8.8% in 2025, which shows the music licensing market is still adding monetized listeners rather than only shifting free users across plan tiers.

Rising Synchronization Demand: New Channels Broaden Sync Revenue Beyond Traditional Media

Synchronization demand is expanding beyond film and television, which is widening the commercial reach of the music licensing market across short-form video, branded campaigns, and platform-native content. In the United States, synchronization revenue represented 24% of total music publishing income in 2025, which shows that sync already sits well beyond a niche role in the music licensing market. The shift matters because creator-led advertising and commercial social content need pre-cleared music, and that raises licensing demand even when content is produced outside traditional studio systems. The music licensing market is therefore seeing sync move closer to an always-on workflow that supports daily brand publishing and platform circulation rather than only campaign-based uses. This broadening demand profile should keep synchronization one of the more responsive growth areas within the music licensing market through the forecast period.

Royalty Fragmentation Across Rights Holders and Territories: Multi-Framework Complexity Constrains Collection Efficiency

Royalty fragmentation remains a real drag on the music licensing market because one song can generate performance, mechanical, synchronization, and neighboring rights income through different systems. ASCAP paid out a record USD 1.76 billion in 2025, but that scale still sits inside a broader environment where multiple organizations and legal frameworks handle different parts of the same asset. SoundExchange's expansion to more than 90 international agreements shows that cross-border recovery often depends on many separate counterparties before royalties can move back to the original rights holder. The UK Intellectual Property Office also pointed to delays between release and metadata submission, which means fragmentation is not only legal and institutional, it is also operational. The music licensing market will continue to lose efficiency until rights ownership, usage reporting, and collection pathways align more closely across territories and rights classes. This issue weighs most heavily on independent creators and smaller catalogs because they usually lack the internal teams needed to manage fragmented claims at scale.

Other drivers and restraints analyzed in the detailed report include:

1. Greater Use Of Real-Time Licensing Data: Uncollected Royalties Drive Matching Infrastructure Investment
2. Growth Of Direct Licensing: Publishers Seek Better Economics and Faster Collection
3. Metadata Inaccuracy and Usage-Tracking Gaps: Data Gaps Channel Royalties Into Unallocated Accounts

For complete list of drivers and restraints, kindly check the Table Of Contents.

Segment Analysis

Performance rights held 46.23% of the music licensing market share in 2025, which made them the largest rights type in the category. This position reflects the broad reach of performing rights organizations across radio, broadcast, live performance, and streaming environments where public performance claims remain central. ASCAP paid out a record USD 1.76 billion to songwriters and publishers in 2025, which shows how large-scale collection networks still underpin a major part of the music licensing market. Mechanical rights remained an important part of the category, but publisher economics came under pressure as large digital platforms adjusted how subscription bundles affect royalty allocation. Print music rights and other smaller rights streams stayed niche, though physical music momentum gave them a firmer base than in prior years.

Synchronization rights are projected to expand at an 10.12% CAGR through 2031, which makes them the fastest-growing rights type in the music licensing market size mix over the forecast period. In the United States, sync represented 24% of total music publishing revenue in 2025, which shows that the segment already carries material weight before its faster growth is fully reflected. The mix is shifting because commercial creator content, social advertising, and branded digital media use more music that needs active rights clearance. That makes synchronization one of the clearest expressions of how the music licensing industry is moving toward faster, more repeatable clearance workflows across digital content formats. As platforms, agencies, and rights owners standardize these workflows, synchronization should continue gaining strategic importance inside the music licensing market.

Complete Report Scope:

• By Rights Type
  • Performance Rights
  • Mechanical Rights
  • Synchronization Rights
  • Print Music Rights
  • Other Rights Type
• By Usage Platform
  • Streaming Audio
  • Video Streaming
  • Social Media Platforms
  • Live Events and Venues
  • Video Games
  • Other Usage Platforms
• By End-User
  • Content Creators and Digital Media Companies
  • Film and Television Production Companies
  • Advertising and Marketing Agencies
  • Broadcasters
  • Other End-Users
• By Geography
  • North America
    • United States
    • Canada
    • Mexico
  • South America
    • Brazil
    • Argentina
    • Chile
    • Rest of South America
  • Europe
    • Germany
    • United Kingdom
    • France
    • Italy
    • Spain
    • Rest of Europe
  • Asia-Pacific
    • China
    • Japan
    • India
    • South Korea
    • Australia
    • Rest of Asia-Pacific
  • Middle East
    • Saudi Arabia
    • United Arab Emirates
    • Qatar
    • Rest of Middle East
  • Africa
    • South Africa
    • Egypt
    • Nigeria
    • Rest of Africa

Geography Analysis

North America held 41.61% of the music licensing market share in 2025, which made it the largest regional contributor. The United States publishing ecosystem generated USD 7.3 billion in 2025, with performance royalties contributing 52%, synchronization 24%, and mechanical 19%, which shows the scale and balance of revenue streams supporting the region. North America also remains the main testing ground for direct platform arrangements and faster royalty administration, which gives the music licensing market a commercial model that other regions may increasingly follow. Europe remained the second-largest region because it combines mature collecting societies, strong online usage, and established publishing infrastructure, even as the music licensing market continues shifting toward digital-first channels. South America, while smaller by absolute revenue, stands out for strong digital monetization because streaming represented 88.1% of recorded music revenue in the region in 2025.

Asia-Pacific is projected to expand at an 9.91% CAGR through 2031, which makes it the fastest-growing regional segment in the music licensing market. JASRAC reported a record fiscal 2025 distribution of JPY 151.86 billion, which was equivalent to USD 1.01 billion using the reported conversion basis in the source material. Japan returned to growth at 8.9% in 2025, which supports the region's importance as both a mature market and a base for rights administration scale. China became the world's fourth-largest recorded music market in 2025 after 20.1% year-on-year growth, which signals rising cross-border licensing demand in the region. India remained the world's second-largest streaming market by volume, which suggests a large future licensing base as paid models and formal rights systems deepen over time.

The Middle East and Africa are the highest-growth emerging geographies in the music licensing market, with MENA and Sub-Saharan Africa each recording 15.2% revenue growth in 2025. Streaming accounted for 97.5% of MENA music revenue, which shows how fully digital use now shapes the region's licensing opportunity. South Africa represented 78.1% of Sub-Saharan African music revenue, but neighboring rights infrastructure is widening as international collection agreements extend into more territories. SoundExchange added new agreements in markets including Kenya in February 2026, which shows the music licensing market is building stronger collection pathways in regions that were once harder to monetize at scale.

1. Sony Music Publishing LLC
2. Universal Music Publishing Group Inc.
3. Warner Chappell Music Inc.
4. Kobalt Music Group Ltd.
5. BMG Rights Management GmbH
6. Reservoir Media, Inc.
7. Concord Music Publishing LLC
8. Downtown Music Holdings LLC
9. SESAC Holdings, Inc.
10. Broadcast Music, Inc.
11. American Society of Composers, Authors and Publishers
12. PRS for Music Limited
13. Society of Composers, Authors and Music Publishers of Canada
14. SoundExchange, Inc.
15. Mechanical Licensing Collective
16. APRA AMCOS Limited
17. GEMA Gesellschaft fur musikalische Auffuhrungs- und mechanische Vervielfaltigungsrechte
18. JASRAC
19. SACEM
20. Peermusic

Additional Benefits:

• The market estimate (ME) sheet in Excel format
• 3 months of analyst support

TABLE OF CONTENTS

1 INTRODUCTION

• 1.1 Study Assumptions and Market Definition
• 1.2 Scope of the Study

2 RESEARCH METHODOLOGY

3 EXECUTIVE SUMMARY

4 MARKET LANDSCAPE

• 4.1 Market Overview
• 4.2 Market Drivers
  • 4.2.1 Expansion of Streaming and Short-Form Audio Monetization
  • 4.2.2 Rising Synchronization Demand Across Film, TV, Advertising, and Gaming
  • 4.2.3 Greater Use of Real-Time Royalty Analytics and Automation
  • 4.2.4 Growth of Direct Licensing and Creator-First Monetization Models
  • 4.2.5 Cross-Border Catalog Monetization Through Improved Collective Management
  • 4.2.6 Higher Enforcement and Compliance Pressure on Unlicensed Music Use
• 4.3 Market Restraints
  • 4.3.1 Royalty Fragmentation Across Rights Holders and Territories
  • 4.3.2 Metadata Inaccuracy and Usage-Tracking Gaps
  • 4.3.3 Slow Reconciliation Cycles and Payout Delays
  • 4.3.4 Rising Legal Complexity Around AI-Generated and Derivative Music
• 4.4 Industry Value Chain Analysis
• 4.5 Impact of Macroeconomic Factors on the Market
• 4.6 Regulatory Landscape
• 4.7 Technological Outlook
• 4.8 Porter's Five Forces Analysis
  • 4.8.1 Threat of New Entrants
  • 4.8.2 Bargaining Power of Suppliers
  • 4.8.3 Bargaining Power of Buyers
  • 4.8.4 Threat of Substitutes
  • 4.8.5 Competitive Rivalry

5 MARKET SIZE AND GROWTH FORECASTS (VALUE)

• 5.1 By Rights Type
  • 5.1.1 Performance Rights
  • 5.1.2 Mechanical Rights
  • 5.1.3 Synchronization Rights
  • 5.1.4 Print Music Rights
  • 5.1.5 Other Rights Type
• 5.2 By Usage Platform
  • 5.2.1 Streaming Audio
  • 5.2.2 Video Streaming
  • 5.2.3 Social Media Platforms
  • 5.2.4 Live Events and Venues
  • 5.2.5 Video Games
  • 5.2.6 Other Usage Platforms
• 5.3 By End-User
  • 5.3.1 Content Creators and Digital Media Companies
  • 5.3.2 Film and Television Production Companies
  • 5.3.3 Advertising and Marketing Agencies
  • 5.3.4 Broadcasters
  • 5.3.5 Other End-Users
• 5.4 By Geography
  • 5.4.1 North America
    • 5.4.1.1 United States
    • 5.4.1.2 Canada
    • 5.4.1.3 Mexico
  • 5.4.2 South America
    • 5.4.2.1 Brazil
    • 5.4.2.2 Argentina
    • 5.4.2.3 Chile
    • 5.4.2.4 Rest of South America
  • 5.4.3 Europe
    • 5.4.3.1 Germany
    • 5.4.3.2 United Kingdom
    • 5.4.3.3 France
    • 5.4.3.4 Italy
    • 5.4.3.5 Spain
    • 5.4.3.6 Rest of Europe
  • 5.4.4 Asia-Pacific
    • 5.4.4.1 China
    • 5.4.4.2 Japan
    • 5.4.4.3 India
    • 5.4.4.4 South Korea
    • 5.4.4.5 Australia
    • 5.4.4.6 Rest of Asia-Pacific
  • 5.4.5 Middle East
    • 5.4.5.1 Saudi Arabia
    • 5.4.5.2 United Arab Emirates
    • 5.4.5.3 Qatar
    • 5.4.5.4 Rest of Middle East
  • 5.4.6 Africa
    • 5.4.6.1 South Africa
    • 5.4.6.2 Egypt
    • 5.4.6.3 Nigeria
    • 5.4.6.4 Rest of Africa

6 COMPETITIVE LANDSCAPE

• 6.1 Market Concentration
• 6.2 Strategic Moves
• 6.3 Vendor Positioning Analysis
• 6.4 Company Profiles (includes Global Level Overview, Market Level Overview, Core Segments, Financials as available, Strategic Information, Products and Services, Recent Developments)
  • 6.4.1 Sony Music Publishing LLC
  • 6.4.2 Universal Music Publishing Group Inc.
  • 6.4.3 Warner Chappell Music Inc.
  • 6.4.4 Kobalt Music Group Ltd.
  • 6.4.5 BMG Rights Management GmbH
  • 6.4.6 Reservoir Media, Inc.
  • 6.4.7 Concord Music Publishing LLC
  • 6.4.8 Downtown Music Holdings LLC
  • 6.4.9 SESAC Holdings, Inc.
  • 6.4.10 Broadcast Music, Inc.
  • 6.4.11 American Society of Composers, Authors and Publishers
  • 6.4.12 PRS for Music Limited
  • 6.4.13 Society of Composers, Authors and Music Publishers of Canada
  • 6.4.14 SoundExchange, Inc.
  • 6.4.15 Mechanical Licensing Collective
  • 6.4.16 APRA AMCOS Limited
  • 6.4.17 GEMA Gesellschaft fur musikalische Auffuhrungs- und mechanische Vervielfaltigungsrechte
  • 6.4.18 JASRAC
  • 6.4.19 SACEM
  • 6.4.20 Peermusic

7 MARKET OPPORTUNITIES AND FUTURE OUTLOOK

• 7.1 White-Space and Unmet-Need Assessment