Music Economy of Europe

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Music Economy of Europe is a pillar of the planned European Music Observatory.

Macro-economic patterns and trends (e.g. employment, revenue): CEEMID over 5 years mapped data sources and create open source software to integrate thousands of indicators from EU research archives, Eurostat & ECB data warehouses and other sources. We are analysing trends with automated reproducible research techniques, and many of our indicators are forecasted for 5 years.

Value chain mapping and analysis (e.g. characteristics of music companies, copyright collection, remuneration of artists, spill-over effects): We started building CEEMID with adopting the US & EU value-chain mapping to less developed markets, so that we can analyse the value chain in any EU country. The value chain analysis is our standard method to create national music development programs (Czechia, Hungary, Slovakia), or detailed policy and ex ante grant evaluations. Example: Income-breakup of Musicians in 9 Countries. In 2019 we started experimenting with expanding our model to even less developed neighbourhood and potential candidate countries, such as Bosnia-Herzegovina, Kosovo, Moldova & Armenia.

Legal models (e.g. tax, labour laws, social security, contracts). In the Legal models we believe that the comparative legal analysis requires so different data, or rather information acquisition and integration strategies that we concentrate only on numeric, measurable information, such as tax levels and tax burdens. While our rich data and comprehensive understanding of the value chain was used to advocate changes in laws and model contracts, this may be the only aspect of the proposed Four Pillars that is not well covered in CEEMID.

CEEMID examples[edit]

  • The Slovak Music Industry Report 2019[2] provides business and policy advice to increase the employment and value added in the Slovak economy by strengthening creative and cultural industry, and particularly the music industry.
  • Private Copying in Croatia[3] shows the market competition between licensed and non-licensed music and audiovisual works and argues for a better private copying remuneration and empirically estimates the value gap for Croatia.
  • The audience chapters of the first public Hungarian music industry report by ProArt[4] provides business and policy advice to increase the employment and value added in the Slovak economy by strengthening creative and cultural industry, and particularly the music industry. The subsequent private versions of The Competition of Unlicensed, Licensed and Illegal uses on the Markets of Music and Audiovisual Works[5] show the competition between licensed and non-licensed music and audiovisual works and estimates the consumer benefit from private copying. These reports empirically estimate the value gap for Hungary.
  • 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 supply side of the industry.

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 (2019) |https://doi.org/10.17605/OSF.IO/V3BE9.
  3. Daniel Antal: Private Copying in Croatia (2019) |https://www.zamp.hr/uploads/documents/Studija_privatno_kopiranje_u_Hrvatskoj_DA_CEEMID.pdf.
  4. Daniel Antal: A ProArt zeneipari jelentése (2015)|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