The problem of the music industry is not too little, but too much data. Music is drowning in numbers, and it has too little resources to turn much data into valuable information. We have shown that we open collaboration is the key to success.
We will present to the audience the Central European Music Industry Report 2020 on the CCS Ecosystems: FLIPPING THE ODDS” Conference – a two-day high-level stakeholder event jointly organized with the European Commission, DG Education and Culture.
HAIL and its regional partners are organizing an closed workshop as a side-event of BUSH to discuss the latest market challenges for independent labels in the region. I am going to make the opening presentation and start the discussion. The event is …
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.
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.
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. …
We see common threats and common opportunities with the national implementations of the DSM Directive. While it is not addressing private copying, it is aiming to re-arrange the power balance between users and rightsholders of certain unlicensed, or not fully-licensed and compensated uses. Users will use this opportunity to keep as much as possible from the value transfer to their media platforms, and hardware manufacturers will try to freeze very low private copying remuneration levels in the region. Or worse still: to reduce them.
CEEMID had the honor to participate in the third panel of CEEMP in Warsaw together with Ben McEwen from ICE; Jules Parker from Spotify and Dominic Houston from Netflix, and Chris Butler from Music Sales, who is also the chairperson of ICMP. Our panel was moderated by Nigel Elderton from peermusic, who is also the new chairperson of PRS in the UK.
Optimize pricing or review regulated prices