Our report highlights some important lessons. First, we show that in the era of global music sales platforms it is impossible to understand the economics of music streaming without international data harmonization and advanced surveying and sampling. Paradoxically, without careful adjustments for accruals, market shares in jurisdictions, and disaggregation of price and volume changes, the British industry cannot analyze its own economics because of its high level of integration to the global music economy. Furthermore, the replacement of former public performances, mechanical licensing, and private copying remunerations (which has been available for British rightsholders in their European markets for decades) with less valuable streaming licenses has left many rightsholders poorer. Making adjustments on the distribution system without modifying the definition of equitable remuneration rights or the pro-rata distribution scheme of streaming platforms opens up many conflicts while solving not enough fundamental problems. Therefore, we suggest participation in international data harmonization and policy coordination to help regain the historical value of music.

Our paper argues that fair competition in music streaming is restricted by the nature of the remuneration arrangements between creators and the streaming platforms, the role of playlists, and the strong negotiating power of the major labels. It concludes that urgent consideration should be given to a user-centric payment system, as well as greater transparency of the factors underpinning playlist creation and of negotiated agreements.

While the US have already taken steps to provide an integrated data space for music as of 1 January 2021, the EU is facing major obstacles not only in the field of music but also in other creative industry sectors. Weighing costs and benefits, there can be little doubt that new data improvement initiatives and sufficient investment in a better copyright data infrastructure should play a central role in EU copyright policy. A trade-off between data harmonisation and interoperability on the one hand, and transparency and accountability of content recommender systems on the other, could pave the way for successful new initiatives.

Elemzésünk a világ egyik legnagyobb kalóz könyvtárának az adataiból próbálja megérteni a tudományos könyvek világpiacát.

Az első magyar, szlovák, horvát és cseh zeneipari jelentések összehasonlítása a bolgár, litván, osztrák, örmény, szerb, szlovák és szlovén adatokkal és tapasztalatokkal.

A tanulmány azt mutatja be, hogy a magáncélú másolásnak hatalmas kulturális és jóléti hatása van, és általában véve hozzájárul minden horvát korosztály, de különösen a fiatalok jólétéhez. A tanulmány amelett érvel, hogy ezt a rendszert nem csak, hogy célszerű fenntartani, de annak jelentős pozitív externális hatása van a technológiai szektorra nézve is. A jogosított, otthon másolt zenei és audiovizuális tartalmak, az értékhézag első empirikus felmérése Horvátországban az üreshordozó díjrendszer átalakításához.

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.