{"id":11252,"date":"2026-08-05T17:05:39","date_gmt":"2026-08-05T17:05:39","guid":{"rendered":"https:\/\/interspacemusic.com\/blog\/le-japon-est-le-deuxieme-marche-musical-mondial-et-a-progresse-de-89-en-2025-il-reste-a-moitie-physique\/"},"modified":"2026-08-05T17:05:39","modified_gmt":"2026-08-05T17:05:39","slug":"le-japon-est-le-deuxieme-marche-musical-mondial-et-a-progresse-de-89-en-2025-il-reste-a-moitie-physique","status":"publish","type":"post","link":"https:\/\/interspacemusic.com\/blog\/fr\/le-japon-est-le-deuxieme-marche-musical-mondial-et-a-progresse-de-89-en-2025-il-reste-a-moitie-physique\/","title":{"rendered":"Le Japon est le deuxi\u00e8me march\u00e9 musical mondial et a progress\u00e9 de 8,9 % en 2025. Il reste \u00e0 moiti\u00e9 physique."},"content":{"rendered":"<p>L&#8217;IFPI, la F\u00e9d\u00e9ration internationale de l&#8217;industrie phonographique, a publi\u00e9 en mars son <a href=\"https:\/\/www.ifpi.org\/global-music-report-2026-global-recorded-music-revenues-grow-6-4-as-record-companies-drive-innovation\/\">Rapport mondial sur la musique 2026<\/a>. Les revenus mondiaux de la musique enregistr\u00e9e ont progress\u00e9 de 6,4 % pour atteindre 31,7 milliards de dollars. Le Japon a enregistr\u00e9 une croissance de 8,9 %, sup\u00e9rieure \u00e0 la moyenne du march\u00e9, et conserve sa place de deuxi\u00e8me march\u00e9 mondial de la musique enregistr\u00e9e derri\u00e8re les \u00c9tats-Unis.<\/p>\n<p>Le d\u00e9tail que la plupart des articles ont ignor\u00e9 : la croissance des revenus physiques a d\u00e9pass\u00e9 celle du num\u00e9rique dans le monde pour la deuxi\u00e8me fois seulement, et le Japon en est la raison.<\/p>\n<h2>Le Japon refuse de passer au streaming d&#8217;abord<\/h2>\n<p>Partout ailleurs, le streaming a d\u00e9vor\u00e9 le march\u00e9. Au Japon, il l&#8217;a divis\u00e9. Les formats physiques repr\u00e9sentent encore la majorit\u00e9 des revenus de la musique enregistr\u00e9e, environ les deux tiers ces derni\u00e8res ann\u00e9es selon <a href=\"https:\/\/soundcharts.com\/en\/blog\/japan-music-market-overview\">Soundcharts<\/a>.<\/p>\n<p>Le Japon est le plus grand march\u00e9 physique, ou de packages, au monde, et l&#8217;Asie dans son ensemble a repr\u00e9sent\u00e9 45,1 % des revenus physiques mondiaux en 2025 selon l&#8217;IFPI. Le vinyle a progress\u00e9 de 13,7 % dans le monde l&#8217;ann\u00e9e derni\u00e8re, une hausse que <a href=\"https:\/\/www.musicbusinessworldwide.com\/10-quick-and-crucial-takeaways-from-ifpis-global-music-report-2026\/\">Music Business Worldwide<\/a> attribue en grande partie \u00e0 la demande japonaise.<\/p>\n<p>La raison est structurelle, pas nostalgique :<\/p>\n<ul>\n<li>L&#8217;\u00e9conomie des idoles. Les CD singles sont vendus avec des billets d&#8217;\u00e9v\u00e9nement, des cartes photo et des droits de vote, ce qui pousse les fans \u00e0 acheter plusieurs exemplaires du m\u00eame disque.<\/li>\n<li>Le classement Oricon. Il propose un classement combin\u00e9 des singles qui int\u00e8gre les ventes physiques, les t\u00e9l\u00e9chargements et les streams, de sorte qu&#8217;une vente de CD compte toujours dans le chiffre qui importe commercialement.<\/li>\n<li>La culture de collection. Les emballages en \u00e9dition limit\u00e9e conservent une valeur que le streaming ne peut pas offrir.<\/li>\n<\/ul>\n<p>C&#8217;est pourquoi une sortie \u00e0 la mani\u00e8re d&#8217;AKB48 peut dominer le classement physique tandis qu&#8217;un tout autre groupe d&#8217;artistes m\u00e8ne les classements en t\u00e9l\u00e9chargement et en streaming.<\/p>\n<h2>La moiti\u00e9 streaming que les distributeurs se disputent r\u00e9ellement<\/h2>\n<p>L&#8217;autre c\u00f4t\u00e9 du march\u00e9 \u00e9volue rapidement. Le streaming repr\u00e9sente environ 34,5 % des revenus de la musique enregistr\u00e9e au Japon et progresse, les abonnements audio et le streaming vid\u00e9o financ\u00e9 par la publicit\u00e9 ayant tous deux augment\u00e9 de plus de 100 % en une seule ann\u00e9e r\u00e9cente, selon Soundcharts.<\/p>\n<p><a href=\"https:\/\/luminatedata.com\/blog\/japan-is-the-growth-story-to-watch-in-global-premium-streaming-music\/\">Luminate<\/a> qualifie le Japon de leader incontest\u00e9 de l&#8217;adoption du streaming premium en Asie-Pacifique, repr\u00e9sentant pr\u00e8s d&#8217;un flux premium sur trois dans la r\u00e9gion. C&#8217;est l\u00e0 que les distributeurs mondiaux se livrent concurrence, et o\u00f9 la plupart ne couvrent que la moiti\u00e9 du terrain.<\/p>\n<p>La r\u00e9partition des parts de march\u00e9 des DSP, c&#8217;est-\u00e0-dire des fournisseurs de services num\u00e9riques, au Japon ne ressemble pas \u00e0 celle du reste du monde. Selon des donn\u00e9es r\u00e9centes compil\u00e9es par <a href=\"https:\/\/create.routenote.com\/blog\/largest-music-streaming-services-in-japan-with-market-share-numbers\/\">RouteNote<\/a>, la r\u00e9partition est approximativement la suivante :<\/p>\n<ul>\n<li>Spotify : environ 24 %<\/li>\n<li>Apple Music : environ 21 %<\/li>\n<li>LINE Music : environ 13 %<\/li>\n<li>AWA : environ 10 %<\/li>\n<\/ul>\n<p>En additionnant LINE Music et AWA, on obtient un bloc local de la taille de Spotify. Ajoutez RecoChoku, le service v\u00e9t\u00e9ran de t\u00e9l\u00e9chargement et de streaming, et environ un quart du march\u00e9 japonais \u00e0 la demande se trouve sur des plateformes que la plupart des distributeurs tourn\u00e9s vers l&#8217;Occident ne desservent pas.<\/p>\n<h2>Ce que cela signifie pour un label qui se lance au Japon<\/h2>\n<p>Si la couverture japonaise de votre distributeur se limite \u00e0 Spotify, Apple Music, Amazon et YouTube, vous vous battez pour la part internationale du pays et ignorez la part locale. LINE Music, en particulier, est int\u00e9gr\u00e9 \u00e0 l&#8217;application de messagerie LINE que la plupart des Japonais utilisent quotidiennement, ce qui en fait un moteur de d\u00e9couverte, pas seulement un lecteur.<\/p>\n<p>La liste de contr\u00f4le pratique pour toute sortie au Japon :<\/p>\n<ul>\n<li>V\u00e9rifiez que votre distributeur livre \u00e0 LINE Music, AWA et RecoChoku, et pas seulement aux trois plateformes mondiales.<\/li>\n<li>Demandez comment les m\u00e9tadonn\u00e9es sont trait\u00e9es. Les DSP japonais exigent des champs d&#8217;artiste et de titre propres en japonais et en romaji, et une livraison n\u00e9glig\u00e9e enterre les sorties.<\/li>\n<li>Consid\u00e9rez le physique comme un levier de classement, pas comme une relique. L&#8217;\u00e9ligibilit\u00e9 au classement Oricon d\u00e9termine encore la mani\u00e8re dont les m\u00e9dias et la distribution japonais traitent une sortie.<\/li>\n<\/ul>\n<p>DDEX, c&#8217;est-\u00e0-dire Digital Data Exchange, est la norme de livraison qui permet \u00e0 une sortie d&#8217;\u00eatre transmise proprement \u00e0 une longue liste de DSP en une seule fois, y compris les plateformes locales. Un pipeline natif DDEX fait la diff\u00e9rence entre atteindre l&#8217;ensemble du march\u00e9 du streaming japonais et n&#8217;atteindre que les deux plateformes sur lesquelles tous les autres artistes sont d\u00e9j\u00e0 pr\u00e9sents. InterSpace Distribution achemine vers cette carte \u00e9largie et r\u00e8gle les r\u00e9partitions de mani\u00e8re transparente.<\/p>\n<p>Le Japon n&#8217;est pas un march\u00e9 difficile parce qu&#8217;il r\u00e9siste au streaming. C&#8217;est un march\u00e9 difficile parce qu&#8217;il a maintenu deux \u00e9conomies en parall\u00e8le, et seuls les distributeurs con\u00e7us pour couvrir l&#8217;ensemble du territoire peuvent livrer dans les deux.<\/p>\n","protected":false},"excerpt":{"rendered":"Le Japon a progress\u00e9 de 8,9 % en 2025 pour conserver sa place de deuxi\u00e8me march\u00e9 musical mondial, et le physique surpasse encore le streaming. Les distributeurs mondiaux livrent \u00e0 Spotify et Apple Music, mais ignorent LINE Music, AWA et RecoChoku, o\u00f9 se concentrent encore une grande partie de la d\u00e9couverte et des paiements au Japon.","protected":false},"author":7,"featured_media":7871,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"csco_display_header_overlay":false,"csco_singular_sidebar":"","csco_page_header_type":"","csco_page_load_nextpost":"","csco_post_video_location":[],"csco_post_video_location_hash":"","csco_post_video_url":"","csco_post_video_bg_start_time":0,"csco_post_video_bg_end_time":0,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[6952],"tags":[13903,13906,11326,6666,6672,7151],"class_list":["post-11252","post","type-post","status-publish","format-standard","has-post-thumbnail","category-industry-trends-fr","tag-apple-music-fr","tag-j-pop-fr","tag-japan-fr","tag-music-en-fr","tag-spotify-en-fr","tag-streaming-fr","cs-entry","cs-video-wrap"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Le Japon est le deuxi\u00e8me march\u00e9 musical mondial et a progress\u00e9 de 8,9 % en 2025. 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Il reste \u00e0 moiti\u00e9 physique.\" \/>\n<meta property=\"og:description\" content=\"L&#039;IFPI, la F\u00e9d\u00e9ration internationale de l&#039;industrie phonographique, a publi\u00e9 en mars son Rapport mondial sur la musique 2026.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/interspacemusic.com\/blog\/fr\/le-japon-est-le-deuxieme-marche-musical-mondial-et-a-progresse-de-89-en-2025-il-reste-a-moitie-physique\/\" \/>\n<meta property=\"og:site_name\" content=\"The InterSpace Daily.\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/facebook.com\/interspacemusic\/\" \/>\n<meta property=\"article:published_time\" content=\"2026-08-05T17:05:39+00:00\" \/>\n<meta name=\"author\" content=\"Daniel Obembe\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@interspacegroup\" \/>\n<meta name=\"twitter:site\" content=\"@interspacegroup\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Daniel Obembe\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":[\"Article\",\"BlogPosting\"],\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/fr\\\/le-japon-est-le-deuxieme-marche-musical-mondial-et-a-progresse-de-89-en-2025-il-reste-a-moitie-physique\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/fr\\\/le-japon-est-le-deuxieme-marche-musical-mondial-et-a-progresse-de-89-en-2025-il-reste-a-moitie-physique\\\/\"},\"author\":{\"name\":\"Daniel Obembe\",\"@id\":\"https:\\\/\\\/interspacemusic.com\\\/blog\\\/#\\\/schema\\\/person\\\/dfda45c52f01072dd0d297096b799422\"},\"headline\":\"Le Japon est le deuxi\u00e8me march\u00e9 musical mondial et a progress\u00e9 de 8,9 % en 2025. 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