Music Diversity & Circulation
Indicators related to the diversity of music made and listened to in Europe and its circulation
WP2 Music diversity and circulation will culminate in a pilot project conducted in Slovakia, Lithuania, and Ukraine by SOZA, MXF, and MEU.
The WP2 pilot project will demonstrate the feasibility of increasing local artist representation in radio and streaming, via trustworthy AI and evidence-based regulatory policy. In the “Listen Local” project, partners SOZA and Reprex created the Slovak Demo Music Database (SDMDb) as a reference database to measure the market share of Slovak music in radio and streaming, and created a prototype of a recommendation system that meets trustworthy AI criteria and is able to achieve similar cultural diversity goals as laid out by Slovak media legislation in 2015: i.e., to achieve 15% “Slovak” market share in radio playlists.
The WP2 pilot project will complete the SDMDb with GDPR-compliant write-in, opt-in, and opt-out mechanisms piloted with SOZA in Slovakia. The SCMDb will be harmonised (upon rightsholder approval) with SOZA’s databases about all Slovak music works, as well as open-source music databases (e.g., MusicBrainz and Wikipedia artist pages). This will serve as a reference database to measure the market share of Slovak music within Slovak radio play, using SOZA’s collective management system for public performance – as well as within streaming, using the big data sampling software contained within the OpenMusE music data software ecosystem. Based on the SDMDb, the Consortium will create a Ukrainian Comprehensive Music Database as write-in systems that can be actualised, upon request, by Lithuanian and Ukrainian CMOs, using our open-source, user-friendly data collection software and tools. These databases and reports will be created in accordance with Open Policy Analysis and open-source scientific software development standards, which means the Consortium will be able to scale up our market share reporting to any EU member state in which a CMO provides consent for data access.
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Pillar 2 - Circulation & Diversity |
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Topic |
Description |
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| 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
Founder of the Digital Music Observatory and co-founder of Reprex.