Mr Bernard BROCHAND, Mr President, Mr Paul ZILK, Mr Director, Mr Bruno CROLOT, Ladies and Gentlemen,

It is a great pleasure to meet you again today at
the occasion of this 46th edition of the Midem, which I had the honor
to inaugurate a few moments ago, for the third year

I know the diversity of meetings, the richness of exchanges at
which lends itself to this formidable crucible, whose formula I welcome so
cleverly renewed.

This international reference meeting was held in
the perfect place to welcome the signing of an agreement
history for the music industry, the birth certificate of the Centre
of the music that brings us together today.

I’ll come back to that in a moment, but let me first
to rejoice with you in the prospects that the
the very sensitive growth of digital music, which represents
now almost 25% of the market, even if it is not enough
still to offset the decline in the physical market.

For public authorities, these promising results
are particularly encouraging; they show that our
committed efforts to support the renewal of the music industry
bear fruit.

In fact, the projects completed in 2011 were numerous and
very dense.

While Hadopi has just made a positive assessment of the
work of the charter «13 engagements pour la musique en ligne»,
signed a year ago, I would like to commend the collective mobilization
in order to have online music services
innovation, based on a variety of models – services that
will be precisely the drivers of the growth of the
music and better remuneration for creators.

We know the uncertainties of this phase of
transformation of economic models; at a time when
online music services attract a growing audience
many in the adult public, we also know the
difficulty they encounter to conquer the young audiences again
far removed from legal offers, and for which free
remains a well-established reflex; we experience this with
Music card operation for 12-25 year olds.

This united front, in the general interest of the sector, for the financing
of creation and the value of music on
opened the way for the National Music Centre, which
we launch today.

Among the important advances of the past year is the
and the strengthening of IFCIC’s staffing, which
the size of the fund at nearly €20 million, notably allowing
provide increased support for the development of the legal
online music.

The fund’s capacity for action is doubly strengthened: a
given company will now be eligible for an advance
maximum of €1,500,000 versus €800,000
previously; on the other hand, publishers of music services
will be able to access quasi-equity in the form of
participating advances benefiting from terms of
reimbursement better suited to their needs.

To date, FAIM has granted 14 million euros in advances
Repayable in support of 44 million investments made
67 independent music companies.

The competitiveness of digital music players is
also a priority project, through the search for a
revision of the Community framework for VAT on
cultural goods and services online. The work of conviction that
we lead under the leadership of the President of the Republic and
with the support of Jacques Toubon begins to bear fruit
to the European Commission and our partners, but
is clear that mobilization, made more difficult by the context
current economic situation, must continue, in order to
the application of a reduced rate for all goods and services
cultural - including music.

At a time when the most recent studies confirm us once
again the effectiveness of the “graduated response”, I would say, and
perhaps above all, to salute the remarkable work of the Hadopi and
its courageous teams in the face of the relentless bad faith of
some of his opponents.

According to the Nielsen study, the Hadopi law led to a
26% drop in piracy as part of peer-to-peer, almost
2 million users who have stopped this activity since sending
the first warnings in October 2010.

Investigations also show that piracy is falling more and more
France than in the other countries and since the entry into force
Hadopi, the legal sites count two million visitors in

In fact, the dynamism of the legal offer of online music, and the
spectacular rise of some sites is no longer to
demonstrate, I think for example of Deezer, who through his
partnership with Orange, has nearly one and a half million
of subscribers.

I am also pleased that Hadopi, whose competence
is not limited to any particular technology, having seized the
issue of the "streaming" and direct download sites of
illegal content, which are very often - the recent example of
Megaupload is of course the most striking example - of
scandalously successful business ventures. The High
Authority prepares an economic and technological expertise of the
phenomenon, as well as an assessment of legal and
existing legislation, with a view to proposing their
adaptation to make them more effective. I hope that
everyone takes responsibility in this area; I think
intermediaries that trade with these sites. To
the image of the very firm response of the judicial authorities
I hope that 2012 will mark the end of impunity for
streaming sites.

Because the borderless space of the Internet is not satisfied
no purely national approaches that, even when they are
convergent, remain too fragmented and come up against
digital paradise» uncooperative, it is clear that a
enhanced European international cooperation is necessary,
especially in the judicial sphere. That is the whole meaning of the dynamic
policy successfully initiated by the President of the Republic
at the Avignon Cultural Summit on 17 and 18 November
the future of creation, in the presence of 19 ministers of culture and
of intellectual property.

Who can doubt in this context the determination of the
government to promote a responsible Internet,
relevance of the approach consistently carried out by the President of
the Republic since the Elysée Accords, combining
copyright protection pedagogy, firm
absolute support for commercial piracy, resolute support for growth
of the legal offer, and defense of the remuneration of creation?

Who can seriously challenge the merits of a
regulation of copyright protection and
promotion of the legal offer on the internet?

For it is indeed one of the major advances of Hadopi to have
anchored for a long time the absolute necessity of an institution
regulation in this field, in the image of audiovisual regulation
that the APF embodies today.

So I am surprised that some - after it is true palinodia force,
Vagueness and contradictions - lawyers today
real deregulation in the protection of rights
of creators, against the current of so many countries
foreign nationals, sometimes considered very liberal, who are part of the
in the United States, in the United Kingdom, in
Spain, in Korea...

Beyond the ambiguities cleverly maintained, I am surprised to
this questioning of the very foundations of the
the creation.

Can we build the indispensable unity of the musical sector in
denying creators' basic rights, the right to authorize or
ban the main uses of their works, and
determine fair compensation?
Can we claim to promote the legal offer while legalizing the
piracy, which would mark the death of music sites in
French line, now booming?

The defense of those who invent, those who compose, and
those who take the risk of creation deserve convictions,
clear commitments, it deserves, so to speak, the courage of
the clarity.

The government, for its part, has not lacked clarity in its
commitments throughout this five-year period.

There was also no lack of reactivity, when it was necessary, through a
urgent legislative intervention that I have brought before Parliament,
prevent the collapse of the private copying system at the end of
last year, and thus safeguard such an essential mechanism
for the fair remuneration of authors, performers and
producers of music, and for the vitality of creation
french art.

Included in compensation commitments
creators, I also count the significant increase in the
equitable compensation, which has been almost 30% since 2007.

In keeping with commitments made here last year,
the exhibition of musical diversity in the media will have
also marked by very interesting advances.

I am thinking, of course, of the new contract for
France Télévisions, which includes significant improvements
concerning the exhibition of music in the programs of
group’s antennae, notably through the creation of
magazines, at least one of which lasts 52 minutes, broadcast at
Prime Time, with an essential place
young French artists, or the promotion of new
talent in France’s recurring entertainment shows
2 and France 3 with a high audience devoted to music.

I am also thinking of the new measures for a
increased exposure of original French songs
announced by the APF, be it the change in hours
significant listening or consideration of only titles
whose broadcast time will be at least two minutes.

However, it is clear that the issue of diversity exposure
music in traditional media but also on the Internet
part of the projects to be deepened in the coming months; I there
on the basis of a reliable observation of the
musical programming.

The projects undertaken and completed over the past year have therefore been
however, I will not be satisfied with these achievements,
as essential as they are.

I know the threat of the unprecedented crisis
by the sector weighs on musical diversity and
balance of the entire sector.
I know that despite the existing arrangements, the music industry, if
hard hit economically, remains today
the cultural industry least supported by public authorities.

I also know – because we need to face the truth together
– that the music professionals you are constitute
a sector historically fragmented, and which has not always been able to
gather sufficiently on what makes the common interest of its
different components.

We also know the extent to which large
benefit from the presence of musical works on the
without contributing, or hardly contributing, to their financing, then
that listening to music is the preferred cultural practice
of French on the internet.

These are the reasons that led me to open here in Cannes the year
last, the work of musical diversity in the digital age.

These are the issues that bring us together today to
foundations of this National Music Centre that we
let us all take our best wishes,

All this would of course not have been possible without the work
remarkable achievement by Alain Chamfort, Franck Riester, Marc
Thonon, Daniel Colling and Didier Selles, with the support of Jean-
Baptiste Gourdin, from the Media and
cultural industries and the Creative Industries Branch
This mission has led more than a hundred auditions
which showed that a very broad consensus existed among
professionals in the sector, all businesses combined, on the
principle and need for such a public service instrument.

I also greet the energy and efficiency with which Didier
Saddles and his team led the prefiguration mission that I
entrusted them.

I will not go into the details of the commitments to which we
this morning concerning the missions, the
resources and governance of the National Music Centre; they
are precisely described in the framework agreement.

However, I want to assure you that the
governments will be implemented with determination, so that
the Centre can start its action this year and at most
The European Parliament, the European Parliament and the Council have already taken the necessary steps.

In accordance with the wishes of the President of the Republic, a
first step will be taken in the coming weeks, at
through the creation of an association to foreshadow the Centre
music that will take over, with means and
increased legal opportunities, from the current mission of

I welcome the stated ambition of a revival of musical creation
French and French speakers, in its diversity, so that
to express the young talents so badly beaten by the crisis of the sector.

I also welcome the attention paid to the
new support arrangements entrusted to the NJC promote access
from the public to all aesthetics and repertoires
musical, including the least exposed.

I am also very sensitive to their taking into account the
necessary irrigation of the territories and that they strengthen, in all
the domains, the plurality of the actors - fundamental pledge of the
cultural diversity.

The NJC’s interventions must therefore make it possible to support
production, publishing, distribution and distribution
distribution, training and professional integration of artists;
they will thus make an essential contribution to
the development of employment and French know-how.

The CNM, federating body and mediator, will also
mission to defend the common interests of the sector, in France
and the world, and to unite it on issues that are
its own, while contributing to the adaptation of its actors to
technological challenges and changes in usage.

By the way, the new forms of support
implemented by the NJC - as is the case for the
cinema - are not in my mind exclusive of maintaining the
tax credit for phonographic production: I will therefore put
everything in order to extend and adapt the device, and what
challenge in the current environment. Our
major argument is above all the formidable impact of credit
tax support for creation and renewal
of talents.

Through the founding pact ratified today, we commit to
firm and irreversible constitution of the National Centre for
the music.

This founding moment has a historical significance, as does the law
of 1985 on copyright and related rights. It
also a new round of advocacy
of the sector, in the face of changing uses that we
and in the face of technological innovations that
high speed profiles.

The National Music Centre will be a point of support
important in the strategy we are working on together,
in particular within the framework of the
literary and artistic, to understand the challenges related to the cloud
computing, the future of private copying, and to continue, more
reflection on the contribution of digital players
the financing of creation - I am thinking in particular of manufacturers
of electronic terminals.

Yes, we can be proud of the progress made in the past year.
Authors, composers, performers, producers of
recorded music or variety shows, publishers
music, managers, distributors, radios, platforms
music online, you can be proud of the
consensual mobilization that you have demonstrated for
defend this historic project, which some mistakenly believed could
hinder or mock, and others, if opportunely, believe
be able to rally at the end of the race, at the very moment when they deny
the creators respect their most basic rights.
I therefore welcome your contribution and support so essential to the
National Music Centre.

Before I conclude, I would like to tell you how much attention I pay
to the extremely difficult situation that many
small labels in particular as a result of the
distributor DISCOGRAPH. Some of these labels have me
personally alerted.

So I asked my services to quickly assess the
possibility of exceptional financial support
quickly, in line with the initiatives that the sector itself will want

Thank you for your attention, and I propose to the signatories
to gather for a photo that will allow us to mark
in the History the unity finally realized from the musical branch.