Central European Music Industry Report 2020

From CEEMID Documentation
Jump to navigation Jump to search

The Central European Music Industry Report 2020 [1] is a summary of the Hungarian [2], Slovak[3] and Croatian[4] in-depth reports.

Data sources by Chapters[edit]

Our report follows a business or economics-oriented logic, and instead of the pillars of the European Music Observatory, it follows the three income streams model presented in subchapter 3.3, which is essentially the standard US and EU model of the music industry (see further details).

Chapter 2: Audience of Music[edit]

CEEMID analyses the audience of music with standardized survey data that show us the prevalence of entertainment devices and various use information. CEEMID uses a more market-oriented approach than the Feasibility Study of the European Music Observatory, therefore we are grouping data topics a bit differently. This chapter deals with the demand drivers of music, which relate to the Pillar 1 and the Pillar 3 of the European Music Observatory.

  • The data of the EU CAP Survey 2013 as a Cultural Access and Participation survey. The chart shows a loess smoothed line chart of respondent age and annual concert visits. The annual concert visits are specified from the categorical data with estimates from the Hungarian and Slovak CAPs. The Slovak, Hungarian and Croatian Reports more in-depth, national CAPs were commissioned by CEEMID. The Hungarian non-public reports use another important data source, the Kantar TGI database
  • Concert interest seasonality is measured by Google Trends data with loess smoothing. We have created a custom R code that relies on the CRAN gtrends library to retrieve data in a consistent manner from Google Trends. We have shown in the non-public Hungarian film industry report that actual ticket searches and ticket purchase transactions are extremely closely correlated.
  • Penetration of Online Music Devices is in this case measured by annually updated surveys carried out by the national statistical offices[5].
  • The 'availability of licensed streaming services' is not shown on a chart. We measure this with various proprietary data, i.e. data reported to CEEMID users as collective management organizations and music distributors.

Chapter 3: The Creation of Music[edit]

Mapping the music industry follows the guidelines of the standard US model which was adopted to the EU[6], and further adopted by CEEMID to less developed markets. This chapter relates to the Pillar 1 of the European Music Observatory.

  • The map of the Croatian music industry is taken from our projects in Croatia. A similar map is available in the more details Hungarian and Slovak reports.
  • "only 5-10% of the artists have a publishing agreements" are taken from our Music professional surveys
  • Mixed Career Routes: Primary And Secondary Roles ([1])is calculated from our Music Professionals Survey 2019. Similar charts were created for various music and film professional surveys since 2015. (Read more about how we are describing the professional roles of music professionals.)
  • Relative Importance of Income Streams by Country is calculated from the Music Professionals Survey 2019.
  • Relative income levels: difficulty of paying bills among musicians and the general population is calculated from Music Professionals Survey 2019 (n=553, only respondents to this optional question) and the Eurobarometer 90.3[7].
  • Digital Revenue Gap is a comparison between digital revenues reported in the Global Music Report 2018[8] and the household recreational and cultural spending in the EU[9].

Chapter 4: Market & Distribution[edit]

This chapter relates to the Pillar 1 of the European Music Observatory.

  • Private expenditures: concert, cinema, theatre
  • Mobile internet users who pay for music and film
  • Comparison of CEE Median ticket prices - median value of reported typical concert ticket prices in the Music Professionals Survey 2019, excluding prices above 40 euros and free events.
  • Reported concert audiences - from the Music Professionals Survey 2019
  • Total streams and income from the typical (median) song - from the CEEMID-CI Streaming Index Database
  • Total streams and income from the successful song - from the CEEMID-CI Streaming Index Database
  • Ratio of individually managed and collectively managed revenues in various regions of Europe - the data is taken from the Global Music Industry Report[8]

Chapter 5: Music Export and Music Import (Music Diversity and Circulation)[edit]

This chapter mainly relates to the Pillar 2 of the European Music Observatory.

Chapter 6: Conclusions, Policy & Business Strategy Recommendations[edit]

This chapter relates to the innovation pillar of the European Music Observatory.

  • Relative income levels: difficulty of paying bills among musicians and the general population - data sources are the Music Professionals Survey 2019 and the Eurobarometer 90.3[7]
  • Availability of Grants in Select Countries - Music Professionals Survey 2019 based on the responses of music professionals who responded to grant applications questions (n=692).
  • Percentage of Online Purchasers Paying for Music or Film - is calculated from the Internet purchases by individuals[10]
  • The Full Market Model to Set Prices for Private Copying, Value Transfer or Broadcasting, Randomized Excerpt from Our Hungarian Model

References[edit]

  1. Central European Music Industry Report 2020 | html, pdf, epub versions
  2. A ProArt Zeneipari jelentése 2015 - Hungarian Music Industry Report 2015 | presentation and link to full version
  3. Správa o slovenskom hudobnom priemysle - Slovak Music Industry Report 2019. access to full version and presentations
  4. Private Copying in Croatia - Studija: Naknade za privatno kopiranje (BTL) u Hrvatskoj drastično ispod prosjeka EU, 2019. pdf version
  5. Individuals - devices used to access the internet isoc_ci_dev_i
  6. Leurdijk, Adnra, and Nieuwenhuis Ottilie. 2012. Statistical, Ecosystems and Competitiveness Analysis of the Media and Content Industries. The Music Industry. 25277 EN. Edited by Jean Paul Simon. Luxembourg: Publications Office of the European Union, 2012: Joint Research Centre Institute for Prospective Technological Studies (IPTS).
  7. 7.0 7.1 Eurobarometer 90.3 (2018) 10.4232/1.13438
  8. 8.0 8.1 IFPI Global Music Report 2018. London, United Kingdom: International Federation of the Phonographic Industry, 2019.
  9. Mean consumption expenditure of private households on cultural goods and services by COICOP consumption purpose cult_pcs_hbs
  10. Internet purchases by individuals isoc_ec_ibuy