Reprex's project, the automated Demo Music Observatory will be represented by Daniel Antal, co-founder of Reprex among other building bridges projects. This project offers a different approach to the planned European Music Observatory based on the principles of open collaboration, which allows contributions from small organizations and even individuals, and which provides higher levels of quality in terms of auditability, timeliness, transparency and general ease of use.
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.
I was selected into 2021 Fellowship program of JUMP, the European Music Market Accelerator. Jump provides a framework for music professionals to develop innovative business models, encouraging the music sector to work on a transnational level. The European Music Market Accelerator composed of MaMA Festival and Convention, UnConvention, MIL, Athens Music Week, Nouvelle Prague and Linecheck support him in the development of our two, interrelated projects over the next nine months.
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. Preprint of our article with copyright researchers.
The article utilizes the our reproducible datasets created with our regions package that provides to provides high quality indicators for the creative industries on provincial, state, regional and metropolitan area level, and builds on many years of expertise in empirical research on the field of music and audiovisual piracy, home copying and private copying compensation.
People usually discover new music in their young age as they are forming their own personal identity with their peer group. The size of the music discovery population has changed dramatically across Europe in the last 30 years. We placed the data in the Demo Music Observatory.
The Feasibility Study on the European Music Observatory was published on 13 November. We created a Demo Music Observatory to provide a practical guidance on the decisions facing the European stakeholders, and to answer the questions that were left open in the Feasibility Study --- particularly on data quality, time to build, and costs.
The making of an automated and reproducible data tool for the music industry. A short video and a brief explanation.
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.
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.