CEEMID has collected since 2014 about 2019 music industry business and policy indicators. In 2020 we decided to launch a Demo Music Observatory in the world’s 2nd ranked university-backed incubator program, the Yes!Delft AI Validation Lab following the structure laid out in the Feasibility study for the establishment of a European Music Observatory.
The Demo Music Observatory Pillars:
We believe that the many of the “missing data” in the Feasibility Study is illusory.
Challenge us: we may find it for you, and place it among the weekly updated,
freely downloadable, fully documented indicators.
Our aim is to show that a better data map, a better organizational model, examples of research automation and other data integration innovation that can reduce the budgetary needs of the European Music Observatory by 80-90% and provide far more timely, accurate, and relevant service than most data observatories in Europe.
Reproducible (automatically refreshing) advocacy reports, valuation and grant assessment reports, regulatory filings
We want reduce data inequalities within Western and Eastern, Northern and Southern Europe, and contribute to a transparent data observatory that is inclusive for all.
Demo Music Observatory highlights from our blog
For our daily blog, please visit Data & Lyrics
The topic of the paper is Library Genesis (LG), the biggest piratical scholarly library on the internet, which provides copyright infringing access to more than 2.5 million scientific monographs, edited volumes, and textbooks. The paper uses advanced statistical methods to explain why researchers around the globe use copyright infringing knowledge resources. The analysis is based on a huge usage dataset from LG, as well as data from the World Bank, Eurostat, and Eurobarometer, to identify the role of macroeconomic factors, such as R&D and higher education spending, GDP, researcher density in scholarly copyright infringing activities.
This report outlines the emergence of private and public sector support for the music industries in Wales since the pandemic commenced; examines the advice given to the music industries concerning roadmaps out of the pandemic; reviews the industry and academic research that has emerged since the pandemic started and finally, compares Welsh Government support packages tonations in other parts of the world.
The results of the first Hungarian, Slovak, Croatian and Czech music industry reports are compared with Armenian, Austrian, Bulgarian, Lithuanian, Serbian and Slovenian data and findings.
This study argues that the cultural and welfare benefits of this private copying regime are enormous and important to create a good quality of life in Croatia for all age groups, but especially for young people, and it must be maintained. Furthermore, it is very advantageous for the tech sector, because their products are mainly used with unlicensed music and film copies, given that only a very small portion of the population pays for downloads, or subscribes to services like Spotify, Deezer or Netflix. The first measurement of licensed use of music, audiovisual content, home copying and value transfer to media platforms in Croatia for a practical update of the private copying remuneration in the country.
Slovakia’s first music industry report. Following the three income streams model from creation till audience, we summarized for the the number of works that were created, recorded, staged in Slovakia in a year. We calculated their revenues, their value added, their employment effect and the investments of the recording industry. There is an extensive business development and policy conclusions chapter in the 227-pages report, which follows a similar Hungarian report.
Being visible in the world is always difficult in the Central and Eastern European region. Made in Hungary is the first book in the Popular Music Studies series of Routledge from the region. A description of our first datasets, the motivation of the research and the CEEMID concept is laid out as a closing, quantitative chapter in the book.