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Page titleStandfirstBodyMethodology CreditThe CISAC Global Collections Report is based on domestic collections reported to CISAC by its member societies. We extend our sincere gratitude to everyone who contributed to the creation of this report.These are revenues collected by each society for the use of the repertoires it represents within its own country, or on a multi-territorial basis in certain cases (e.g., digital licensing in Europe). The figures in this report exclude revenues received from sister societies to avoid duplication. Collections are gross collections before deductions for administrative, cultural or social purposes.The Euro is the currency chosen for the report for consistency and comparison with previous years. 37% of collections declared to CISAC come from the Eurozone while 23% are expressed in US dollar, 9% in pound sterling and 6% in yen. Three-quarters of the global remuneration of creators for the use of their works are expressed in these four currencies.For the current year, collections are expressed or converted in Euro at an average rate for 2024. Previous year figures are converted into Euro using the average rate of the corresponding year. Year-by-year comparisons are impacted by currency variations. These play a role when dealing with global or aggregated data in Euros. This may also affect national comparisons, except when it is noted that local currencies have been used.Collection figures have been rounded up or down to the nearest million or thousands. Some totals may be affected and don%u2019t add up exactly to the sum of data because of the rounding effect. Percentages are calculated using the actual unrounded figures.In this 2025 report, country data from previous years may occasionally be corrected or re-stated in order to establish accurate like-for-like comparisons or to deal with the impact caused by changes in CISAC membership. When societies join CISAC and declare their income, this automatically increases revenues in their country. When societies stop being CISAC members, collections from their country appear to decrease compared to previous reports. US digital rights income flowing via the Mechanical Licensing Collective (MLC) are not included in this report as the MLC became a CISAC member in 2025.Alice Pont (Francofolies)Anna Klimczak (ZAiKS)Anna Neale (CISAC)Anthony Rival (Sacem)ATTIC Traduction (Translation)B%u00e9atrice Blades (CISAC)Benjamin Ng (CISAC)Bj%u00f6rn Ulvaeus (CISAC)Constance Herreman Follain (CISAC)Dean Ormston (APRA AMCOS)Eleonora de sa Barros (CISAC)Emmanuel Legrand (Writing)Gadi Oron (CISAC)Goodness Obioha (CISAC)Haude Hellio (Francofolies)Helen Lear (APRA AMCOS)H%u00e9l%u00e8ne Caruyer (Translation)H%u00e9loise Fontanel (Sacem)James Duvall (Futuresource)Jing Zhang (CISAC)Juliette le Gourrierec (CISAC)Laure Margerard (CISAC)Luisa Luna (CISAC)Marco Foley (652South)Margaux Ponthieux (CISAC)Marie-Mich%u00e8le Bouchard (Socan)Mila Ventura (UBC)Miriam Orozco (CISAC)Mitko Chatalbashev (CISAC)Neha Maheshwari (CISAC)Nicholas Pickard (APRA AMCOS)Orsolya Fussi-Nagy (CISAC)Paul Williams (Writing)Peter Strauss (UBC)Rafael Fari%u00f1as (CISAC)Rebecca Webster (CISAC)Samuel Sangwa (CISAC)S%u00e9bastien de Bombes (CISAC)Stacey Goebel (Design)Sylvain Piat (CISAC)Tiana Feng (Socan)Wee Wong (Proofreading)CISAC Forewords CISAC AI Fraud Highlights Market analysis Futuresource Collections by repertoire Collections by region Tables of collections Membership About the report Methodology82 83Forewords CISAC AI Fraud Highlights Market analysis Futuresource Collections by repertoire Collections by region Tables of collections Membership About the report Methodology Global Collections Report