We want to create open indicators that business users, music organizations, evidence-based policy makers can trust as much as data from Eurostat, U.S. federal agencies, or premium market research companies. Using similarly rigorous statistical standards, open data, open science, and the innovations of data science we want to fill the data gaps of the European music industry with timely, easy-to-import, visualized, documented, high-quality data.
Our Digital Music Observatory contributed to the Music Creators’ Earnings in the Streaming Era project with understanding the level of justified and unjustified differences in rightsholder earnings, and putting them into a broader music economy context. The entire research paper is published by the UK Intellectual Property office, and we made the details of our analysis available in a joint publication.
If open data is the new gold, why even those who release fail to reuse it? We created an open collaboration of data curators and open-source developers to dig into novel open data sources and/or increase the usability of existing ones. We transform reproducible research software into research- as-service.
Our Digital Music Observatory contributes to the Music Creators’ Earnings in the Streaming Era project with understanding the level of justified and unjustified differences in rightsholder earnings, and putting them into a broader music economy context.
Live music is the breadwinner of most music professionals, artists, technicians, and managers alike, and it is a very local business. To analyze the live music economy, and its connection with the recorded music business, we need to create indicators on regional, provincial, or metropolitan area level. We just made another step to localize our Digital Music Observatory.
Open data is like gold in the mud below the chilly waves of mountain rivers. Panning it out requires a lot of patience, or a good machine. I think we will come to as surprising and strong findings as Bellingcat, but we are not focusing on individual events and stories, but on social and environmental processes and changes.
101 Dalmatians was released in 1985 and 1991 which made thousands of families (in the U.S.) want to adopt one. The American Kennel Club reported that the annual number of Dalmatian puppies registered skyrocketed from 8,170 animals to 42,816.
The idea behind Listen Local is simple: we want machine learning algorithms of Spotify, YouTube, or other services to learn more about Slovak music. In order to make machines learn about Slovak music, we have to make machine-readable tables of Slovak music for AI learners