Music, Society and Citizenship

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Music, Society and Citizenship is the 3rd pillar of the planned European Music Observatory.

  • Education, training, personal development: We believe that in the majority of the member states the biggest development obstacle in the music industry is the lack of access to life-long learning for music professionals. Audience building in many member states is poor because of obsolete or low level of general education and music education activities of future audiences (see ⯈ education).
  • Audiences (music consumption, interaction, participation to music events, etc.) This topic is very well covered in CEEMID, because we had been providing a best practice of the ESSnet-Culture Technical Guidelines on measuring market-based (ticketed, licensed) and non-market (liturgical, home copying, illegal, etc.) forms of participation in the music scene. See Audiences and our ⯈ Use case: demography comparison of the EU28 concert audiences. We show also or AI model from the following, ⯈ Innovation pillar to predict the likelihood of concert visits for various European people.
  • Music and society (not-for-profit sector, associations, social inclusion, amateur music, heritage) This topic is very well covered in the CEE countries, where we have collected primary data, but partially covered from existing, re-usable EU data sources, too. (see more examples)

This pillar is closely associated with the Cultural Practices and Social Aspects of Culture

CEEMID examples[edit]

  • Central European Music Industry Report 2020[1], Chapter 2 The Audience of Music
  • The audience chapter of the Slovak Music Industry Report[2]
  • The audience chapter of Private Copying in Croatia[3]
  • The audience chapters of the public Hungarian music industry report [4] and the subsequent private versions of The Competition of Unlicensed, Licensed and Illegal uses on the Markets of Music and Audiovisual Works[5].
  • The Growth of the Hungarian Popular Music Repertoire: Who Creates It And How Does It Find An Audience [6] laid out the early data gathering concept of CEEMID for the demand side of the industry.
  • Creating Better National Cultural Statistics with Eurobarometer Datasets and ESSNet-Culture Technical Recommendations[7] was presented at the 40th anniversary of Pan European Surveying seminar in 2015. As an initiative born out of necessity, it aimed fill in the gaps of underdeveloped official cultural statistics by following the guidelines of Eurostat’s ESSNet guidelines.

References[edit]

  1. Daniel Antal: Central European Music Industry Report 2020. Published by CEEMID and Consolidated Independent. online version
  2. Daniel Antal: Správa o slovenskom hudobnom priemysle |https://doi.org/10.17605/OSF.IO/V3BE9.
  3. Daniel Antal: Private Copying in Croatia |https://www.zamp.hr/uploads/documents/Studija_privatno_kopiranje_u_Hrvatskoj_DA_CEEMID.pdf.
  4. Daniel Antal: A ProArt zeneipari jelentése |http://zeneipar.info/letoltes/proart-zeneipari-jelentes-2015.pdf.
  5. Daniel Antal: The Competition of Unlicensed, Licensed and Illegal uses on the Markets of Music and Audiovisual Works [A szabad felhasználások, a jogosított tartalmak és az illegális felhasználások versenye a zenék és audiovizuális alkotások hazai piacán], 2017, 2018, 2019. Artisjus. Business confidential.
  6. The Growth of the Hungarian Popular Music Repertoire: Who Creates It And How Does It Find An Audience. In Made in Hungary, 1st ed. Studies in Popular Music. New York, NY: USA: Routledge. ISBN 978-1-138-91587-9
  7. Daniel Antal: Creating Better National Cultural Statistics with Eurobarometer Datasets and ESSNet-Culture Technical Recommendations. Köln:Germany. http://www.gesis.org/fileadmin/upload/events/EB-Symposium/Poster/Antal_Poster.pdf