Posts

Documenting CEEMID For Open Data Use

The Central European Music Industry Report 2020 was updated with a technical annex that points out to the new wiki documentation website of CEEMID to make our work more accessible for designing the European Music Observatory.

An Empirical Approach To Modernizing The Cultural and Creative Occupations and Skills Classifications

CEEMID has a large enough answer pool for an empirical clustering of occupations. We are able to perform clustering of job descriptions, earnings, educational levels, and work output (such as films, documentaries, TV programmes, live music performances, music compositions, etc) to empirically create groups with a “set of jobs whose main tasks and duties are characterised by a high degree of similarity” in terms of economic activity and work output.

Programatic Approach To Work With European Regional Data Panels

My open source program code was released within the 3.6.1 version of eurostat R package, making the painful boundary alignment with frequent region border changes, and resulting data imputation work automatic and less error-prone. As a result, more and more of my work, and particularly the music indicators of CEEMID are becoming available on provincial/regional level.

CCS Ecosystems: Evidence-Driven CCI Policy & The Central & Eastern European Music Industry Report

The Central & Eastern European Music Industry Report 2020 was presented as a case-study on national and comparative evidence-based policymaking in the cultural and creative sector.

Budapest Showcase Hub & Conference 2019

We had a very interesting discussion day on the Budapest Showcase Hub with the regional independent labels in the workshop hosted by HAIL and with some concert promoters and music educators in the main conference program.

Czech Music Development Program & Comparative Market Research

A Progress Report on the Czech Music Development Program and problems in an international context. We would like to invite any Czech stakeholders, or even individuals to join our Research Consortium, because in the music sector, all organization are microenterprise or small enterprise sized, they usually have no significant market research, innovation and strategic HR management capacities. We hope to give them in each country useful tools.

Private Copying in Croatia

My study, Private Copying in Croatia, argues for an overhaul of the Croatian private copying remuneration scheme and gives some empirical evidence for the transposition of the DSM Directive. Even for those who are not interested in royalties, the first 3 chapters offer a very interesting introduction on how people listen to music, how musicians make music and how people copy it in the 21st century.

Central European Music Industry Report Presentation

We had the first public and panel discussion of the forthcoming Central European Music Industry Report. After mapping and analysing in depth the music industries of several CEE countries, I put together with the help of Consolidated Independent and state51 a regional report in previously unseen detail.

Streaming Market Growth on European Markets

Total national sales reflect the growing number of subscribers, the price, the exchange rate, and many factors that are not important for an artists or music label. Instead we design indexes that show the real growth for a typical domestic or foreign rightsholder in a country. The aim is to provide useful sales and performance guidance for smaller countries, genres and exporting destinations.

National Market Shares on Spotify Hitlists

Which are the European countries that can successfully export songs on a streaming platform? What are the differences in cross-border hits from the UK, France, Germany, the Netherlands and Sweden?