Collaborative reproducible research in the music industry
Our new R package, Eurobarometer, helps the creation of data panels and regionalized statistics from the Pan-European survey’s microdata. This allows the creation of many new statistical indicators for the CEEMID Music Observatory and for many market and policy research tasks.
In the preparation to make the CEEMID available as an open-source data integration platform and as a source of open data for the European Music Observatory, the first regional dataset was published today.
The Central & Eastern European Music Industry Report 2020 was presented as a case-study on national and comparative evidence-based policymaking in the cultural and creative sector.
A Progress Report on the Czech Music Development Program and problems in an international context. We would like to invite any Czech stakeholders, or even individuals to join our Research Consortium, because in the music sector, all organization are microenterprise or small enterprise sized, they usually have no significant market research, innovation and strategic HR management capacities. We hope to give them in each country useful tools.
My study, Private Copying in Croatia, argues for an overhaul of the Croatian private copying remuneration scheme and gives some empirical evidence for the transposition of the DSM Directive. Even for those who are not interested in royalties, the first 3 chapters offer a very interesting introduction on how people listen to music, how musicians make music and how people copy it in the 21st century.
We had the first public and panel discussion of the forthcoming Central European Music Industry Report. After mapping and analysing in depth the music industries of several CEE countries, I put together with the help of Consolidated Independent and state51 a regional report in previously unseen detail.
In Europe, there is a big difference between the use of electronic entertainment devices in richer and poorer countries. Nevertheless, the real difference is between the number of people who sometimes and who never pay for downloaded music, films and software.
CEEMID had the honor to participate in the third panel of CEEMP in Warsaw together with Ben McEwen from ICE; Jules Parker from Spotify and Dominic Houston from Netflix, and Chris Butler from Music Sales, who is also the chairperson of ICMP. Our panel was moderated by Nigel Elderton from peermusic, who is also the new chairperson of PRS in the UK.
In our survey, we ask musicians about the most important milestones of their career and their achievement in the past 12 month. So far we have surveyed more than 2000 music professionals and 900 film production professionals in Croatia, Hungary and Slovakia.
Daniel Antal presented the preliminary findings of the Croatian music industry research in the International Authors’ and Creators’ Conference in Zagreb on 24 November 2015. The presentation was largely based on analysis of various CEEMID databases.
The report was compiled with joining data and knowledge from collective management agencies for composer, producer and performer royalties, and market leading companies Sziget (organizer of Sziget festival and many more festivals), WMMD music distribution company, market-leading Schubert Music Publishing and A38, Hungary’s leading music club, together with producer and audience survey data, tax authority data and other government sources.