Creative Economy

Thu, 06 Oct 2022 14:40:00 +0200

In the case of Pillar 1 – Music & Economy, we are usually able to locate the source of the data, and we have some experience in processing the data and bringing it to light. We have mapped many perceived data gaps to the various data harmonization projects of GESAC and CISAC, and we will seek cooperation with these organizations and their members to find a secure and voluntary way to retrieve the data.

Within the OpenMuse project, we will demonstrate the capacity of improved data to increase artist revenues within a short- to medium-term timeframe. This pilot project will directly build upon results of CEEMID and other prior projects undertaken by Artisjus, SOZA, and Reprex. The partners will replicate a full market model used to measure the use of recorded music in Hungary and Slovakia. Artisjus and SOZA will revise and validate this full market model using fully standardised data, collected and harmonised via the OpenMusE music data software ecosystem.

By bringing the model into line with the standards of Open Policy Analysis, open science, and open-source software development, the consortium will enable its transfer to the Bulgarian market with partner Musicautor. In all three countries, the Consortium will generate replicable, detailed “live policy documents” including gross value added, employment, and other important economic variables which will be integrated into a precise valuation of all uses of recorded music within the national context. These valuations will depend on standardised data from GESAC, CISAC, and potentially from IFPI, Aepo-Artis, and SCAPR, and provided via partners Artisjus, SOZA, and MUSICAUTOR. Because the “live policy documents” will be generated semi-automatically using the software ecosystem introduced above, similar documents could be created nearly instantly for any GESAC/CISAC/IFPI national member organisation that provided comparable data on recorded music within their national context. The OpenMusE Report on the European Music Economy will be published as a “live policy document” including the Bulgarian, Hungarian, and Slovakian valuations, as well as valuations for any national market in which a representative organisation consents to provide data.

In other cases, we will rely on on the 2019/1024/EU Open Data Directive to access, process, document, and disseminate the data.

The music.dataobservatory.eu monitors the music markets with an economic methodology: we not only measure market volumes and prices, but we also measure both demand- and supply side indicators so that we can forecast future market volumes or prices. (See Innovation pillar — 4.2 Forecasting)

Music is not a purely market activity. Music and music services have consumers who pay for it one way or another, but there are non-market forms of music (for example, in liturgy) and music markets are overshadowed by a very large illegal market. Therefore, instead of “music consumption” we use the more appropriate statistical terms of access and participation. we do measure non-market form,s but currently we do not address teh data gap the “impact of the non-profit sector”.

Pillar 1 - Music Economy
Topic	Description
pillar	problem	availability	feasibility
Pillar 1	Value of music sector	One-off	EY study on the cultural and creative industries (2015)
Pillar 1	Value of music sector	One-off or one recast	CEEMID studies on national music economies
Pillar 1	Employment	One-off	EY study on the cultural and creative industries (2015)
Pillar 1	Employment	One-off or one recast	CEEMID national music industry reports
Pillar 1	Employment	Annual	Eurostat, lacking granularity
Pillar 1	Employment	Data gap	Absence of granularity on the employment of the various sub-sectors, in particular in defining the roles of the various sub-sectors and the importance of the not-for-profit sector in terms of employment.
Pillar 1	Employment	Data gap	HU, SK pilot successful to add granularity.
Pillar 1	Value of music sector	Data gap	No EU-level assessment since 2015
Pillar 1	Strucutre of the market	Data gap	Absence of pan-European data detailing the number of companies, employees, revenues for the sector and the subsectors.
Pillar 1	The impact of the not-forprofit sector on the overall economy of the music sector	Data gap	No data available on the specific impact of the not-for-profit sector, especially in the live music sub-sector
Pillar 1	Recorded music	Subject to partnership with IFPI	IFPI
Pillar 1	Authors and publisher’s stream	CISAC partnership	CISAC
Pillar 1	Authors and publisher’s stream	GESAC	GESAC
Pillar 1	Recorded music stream - performer rights	Data gap	No aggregated data on neighbouring rights collections Partner with AEPO-ARTIS and SCAP.
Pillar 1	Music publishing	Data gap	No aggregated data on the music European music publishing business
Pillar 1	Synchronisation rights	Data gap	IFPI data available on the recorded music side but not on the publishing side.
Pillar 1	Independent music companies	Data gap	No aggregated data on the independent music sector (value, number of companies, employees, etc.)
Pillar 1	Live music	Data gap	Some data is compiled by Live DMA, ETEP or Yourope, but there is no aggregated data on the pan-European live music sector listing the value of the market, the number and size of venues and shows, number of festivals, share of European artists, among other data points.
Pillar 1	Exports	Data gap	No pan-European data on the export flows between EU countries and outside the EU.
Pillar 1	Exports	Data gap	Embedded cultural tourism export.
Pillar 1	Music retail	Data gap	Granular data on some countries via retail associations (UK, France, Germany) but no pan-European aggregated data.
Pillar 1	Financing of the music sector	Data gap	No aggregated data on how the sector is financed (from investment fund to bank loans and subsidies).
Pillar 1	Live music regulation	Data gap	No aggregated information available on the various legal and tax systems within the EU applied to the live music sector.
Pillar 1	Copyright regulations and evolution of copyright regimes	Data gap	Although many copyright laws applicable in Europe originate from the Commission, there are few instruments available to monitor the state of copyright regulation across the EU

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Creative Economy