Music Diversity & Circulation
Indicators related to the diversity of music made and listened to in Europe and its circulation
We will address the music circulation problems with our WP big data. Together with our leading statistical experts, data scientists, and reproducible research experts we will create sampling techniques that allow to make representative indicators from streaming data. Streaming data is largely accessible, but not in a representative manner. Using advanced statistical methodologies like inverse reverse sampling—which is often used in quantitative finance to analyze large problems—we will create representative data following our pioneering work made in the Central European Music Industry Report and later the Digital Music Creators’ Project initiated by the UK Intellectual Property Office.
Pillar 2 - Circulation & Diversity | |||
|---|---|---|---|
Topic | Description | ||
| pillar | problem | availability | feasibility |
| Pillar 2 | Streaming activity - volumes | Data gap | Due to the huge volumes of streaming data and the difficulties of accessing this data, monitoring streaming activity could be a challenge. However, the recent announcement by ielsen that they are now providing a global streaming chart, but also national streaming charts, should provide EMO with a potential tool to monitor this activity. |
| Pillar 2 | Live music cross-border activity | Data gap | At this stage there are no pan-European tools that allow for analysis of the cross-border activity of European artists. Listings from Liveurope, ETEP and other exchange programmes will be a good place to start, but these are far from geographically comprehensive and it will be necessary to build a tool to monitor the circulation of European artists. |
| Pillar 2 | Streaming activity - prices | Data gap | Due to the huge volumes of streaming data and the difficulties of accessing this data, monitoring streaming activity could be a challenge. However, the recent announcement by ielsen that they are now providing a global streaming chart, but also national streaming charts, should provide EMO with a potential tool to monitor this activity. |
| Pillar 2 | Streaming activity - exports | Data gap | Due to the huge volumes of streaming data and the difficulties of accessing this data, monitoring streaming activity could be a challenge. However, the recent announcement by ielsen that they are now providing a global streaming chart, but also national streaming charts, should provide EMO with a potential tool to monitor this activity. |
| Pillar 2 | Live music cross-border audiences | Data gap | At this stage there are no pan-European tools that allow for analysis of the cross-border activity of European artists. Listings from Liveurope, ETEP and other exchange programmes will be a good place to start, but these are far from geographically comprehensive and it will be necessary to build a tool to monitor the circulation of European artists. |
| Pillar 2 | Live music cross-border revenues | Data gap | At this stage there are no pan-European tools that allow for analysis of the cross-border activity of European artists. Listings from Liveurope, ETEP and other exchange programmes will be a good place to start, but these are far from geographically comprehensive and it will be necessary to build a tool to monitor the circulation of European artists. |
We will address diversity issues with recycled and harmonized surveys.
Daniel Antal
Data Scientist & Founder of the Digital Music Observatory
My research interests include reproducible social science, economics and finance.