We have started to retrospectively harmonize the Music Creators Earnigs survey for the the Digital Music Observatory. Because of the relatively large sample size (n=708) we believe that imporant comparisons can be made with our CEEMID surveys despite the bias of the sample and the lack of ex ante harmonization of survey.
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.
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.