Zhongxin.com client Beijing, May 7 (Ren Siyu) On the 6th, your music chart will release the quarterly report of the Chinese digital music industry in the first quarter of 2020. In the first quarter, the Chinese music scene shrouded in the shadow of the epidemic had fewer popular “explosions” than last year, but the “soothing” power exerted by the music was concentrated.
In general, the proportion of "Chinese style" music continues to rise, with the help of different fields of film and television and games, accounting for more than half of the non-pop songs; the offline performance market has been strongly affected, but the "online live" has unexpectedly Opportunities for development, platforms and performances are constantly trying new ways of playing; mainstream, traffic, and "Divine Comedy" continue a three-point battle, but the boundaries between each other are in the same pursuit of "quality", and there is a vague and quiet fusion. .
The number of hit songs decreased year-on-year
"Chinese style" continues to grow
In the first quarter of 2020, the number of songs included in your music list reached 447, a significant increase from the 381 songs in the same period last year. The frequency of replacement songs on the list has increased significantly, but due to the impact of the epidemic, the Chinese music market in Q1 in 2020 compared with last year ’s "Explosive songs" has decreased significantly.
The top three songs with consecutive titles in the first quarter are: Zhang Yixing's "Will Be Good", Deng Ziqi's "Final Period" and Cheng Xiang's "The World Is So Large or I Meet You", just representing the so-called "traffic" and "tradition" And the situation in the third quarter of the "Divine Comedy" continues.
Source: Q1 2020 Chinese Digital Music Industry Quarterly Report
Among the non-pop songs, "Chinese style" continues to grow, from 34% in Q4 in 2019 to 52% in Q1 in 2020, while EDM, hip-hop, and rock have experienced a strong rise in 2018-2019. Almost flat. As the role and influence of music in the pan-entertainment field such as film and television and games continue to rise, "Chinese style" music has also gained more attention in the stage of sound development of music marketing.
On the other hand, due to the impact of the epidemic on the film and television industry, OST music continued to show a downward trend in the overall market. Compared with the 33% share of Q1 in 2019, the share of Q1 in 2020 was only 19%. The OST works on the list are mainly focused on film and television drama works, and there are fewer movie OSTs. What is worthy of recognition is that in the market environment of specialization, the blindness of cooperation between film and television works and musicians is decreasing, and the value of "precise matching" is becoming more and more obvious.
Among the TOP10 OST songs in Q1 in 2020, Zhou Shen alone has 3 exclusive titles, becoming the OST market, especially the "core target cooperative singers" mainly based on costume movies and TV works. In addition, the charm of "bel canto" brought by the "Sound into the Heart" program is still in effect, and Zheng Yunlong and Ayunga have also won the favor of the OST market-this part of the singer may not be the top in terms of "traffic", but Good popularity, stable and diverse singing skills, and good popularity among the masses have made them favored by many rational, objective, and non-blind actors.
Source: Q1 2020 Chinese Digital Music Industry Quarterly Report
Under the epidemic, singers and musicians have published music to support frontline heroes. In the first quarter of 2020, the number of inspiring "anti-epidemic" songs that concerned about the epidemic from various angles reached 158, the number of participating artists reached 462, and the artists who sang anti-epidemic songs accounted for 26% of the total released artists.
Among the artists who published anti-epidemic songs, 12% after 70, 34% after 80, and 47% after 90. From the inspiring fighting spirit and the tribute to the most beautiful retrogressors in the severe period of the epidemic, to the unblocking of Wuhan and the blossoming of the spring, the three-month battle against the epidemic has made the musicians cheer on the front line with their own actions.
Offline performance stranded
"Online live" boutique becomes key
Affected by the epidemic situation, the performance industry had to abandon temporarily, it is estimated that more than 20,000 performances will be postponed or cancelled. Nevertheless, the current consumer retention rate for performance orders is as high as 66%. It is foreseeable that the performance market after the epidemic will be very crowded. Whether there is enough market demand to digest it remains to be seen.
The market demand for offline content is in urgent need of support. Online performing arts have been "forced" into a new window period. Various entertainment companies have made strategic adjustments. "Online live" has also ushered in new opportunities-opening up online and offline scenes. To find the sustainability of online performing arts on both the supply and demand sides, and to precipitate an effective business model will be the challenge of “live online” today and in the future.
The current "online live" has covered all kinds of audiovisual entertainment platforms such as video platforms, short video platforms, live broadcast platforms, digital music platforms, online karaoke platforms, etc. The content form can be roughly divided into: 1. Video content with the core of previous video materials; 2. Homemade content with individual recording as the core (home play, gourmet cooking, talk show, fitness, parent-child interaction, etc.); 3. It is presented as an "online live" brand content item, and the content is broadcasted in real time with the platform. "Cloud Music Festival, Yun Bangdi, sofa concerts, bedroom concerts ..." Various contents are coming in, and the key to whether the user experience provided is differentiated and refined.
Source: Q1 2020 Chinese Digital Music Industry Quarterly Report
Top 3 TOP10 list vs music critic recommended list
Focus preferences are still diverse
In the first quarter of 2020, the "best performance" for new songs covers the quarterly comprehensive index TOP10, quarterly popularity index TOP10 and quarterly TOP10 new singers:
In terms of the quarterly comprehensive index TOP10, some of the top ten singers are relatively unmainstream, but the number of songs played is really amazing. The sixth place is "Courage" and the eighth place is whether to buy food "The Fiery Sagrim". The collision and transformation of "popularity" and "quality" continue.
In terms of the quarterly popularity index TOP10, Zhang Yixing became the biggest winner, with "Good Meeting", "NAMANANA", "Junior Trip" and "The Most Beautiful Scenery" occupying the first, third, sixth and eighth places respectively, followed by modern brother Liu Yuning After that it occupied three seats.
The quarterly TOP10 new singers are almost occupied by the faces of popular music variety shows-Fu Ruqiao, Liu Baixin, Feng Xiyao, Super Vocal, Zhang Yu, Lu Xiaoyu, etc. These people have different qualifications and standards, but they all prove They have aroused some people's attention and confidence in "singing". The appearance of stylized singers such as CORSAK Hu Mengzhou, Cui Tianqi and Da Zi is a surprise.
Source: Q1 2020 Chinese Digital Music Industry Quarterly Report
In addition, this quarterly report specifically joined the music industry senior practitioners and media practitioners to participate in the selection, and finally selected 20 Chinese popular songs in the first quarter of 2020 that everyone recommends to enjoy.
In this list, Yi Xi Qianxi became a post-00 top stream representative who was unanimously recognized in the professional field. Young new generations such as Zhang Yuqi and Wen Zhaojie were also recognized. Tian Fuzhen, Liang Bo, Hua Chenyu, Li Ronghao, Liu Baixin, Zhao Lei The works of the Mesozoic generations who seek innovation and change are also valued. Su Huilun, Xiao Yaxuan and Wan Fang, the female singers of the Golden Age in Chinese music, have received more attention by keeping their past standards and paying attention to new works that keep pace with the times. In addition, Mayday's choral works with Tian Fuzhen, Li Keqin, and Zhou Shen also deserve attention. (Finish)