After some programming changes, CEEMID again features Google Trend analytics. We are comparing Google searches on the web and YouTube over time, countries, regions and cities.
An important aspect of the relatively week CEE markets is the very strong seasonality aspect. Ljubjlana, Zagreb, Budapest and Prague are full with life and concerting opportunities in December, but the difference in interest for concerts among peak months and low month can be as much as 40%, about the double of the all-year Viennese market. Summer festivals obviously alter the picture, but it is essential for tour organizers as well as concert promoters to understand seasonality and to build longer tour seasons in these countries. Cultural spending is not necessarily low in off-peak season but may be diverted to cinema, theatres or outdoor activities.
We use R program code to retrieve concert, cinema, theatre and other relevant search information from web searches and Youtube. We produce data that is comparable across the whole CEE region. We make time-series, forecasting, benchmarking and other data analytics applications on the data. The main use is forecasting, because tickets sales are known when searched for and not after sales are reported. The granularity of the data can help to understand seasonality of months, weeks, best time for touring, for cinema scheduling.
Our Google Trend Analytics is included in our private and public reports. Google Trends is an interesting toy if you use it interactively. Combined with regular, programmatic data extraction and surveys it is an extremely powerful tool to provide timely forecasts and to give your surveys an extra granularity in time, or down to city level. For example, combining seasonality analytics with demographic analysis can explain most of the difficulties of market development in the Czech Republic, Croatia, Hungary, Poland or Slovakia.
New updates were added to our CEEMID data catalog on 16 October. Apart from new visualizations, we made inroads into economic impact assessment with value-added and employment multipliers. The biggest advocacy advantage of the music industry is that it has a vast impact on employment. In the CEE region, where the automotive industry is preferred by economic policy makers, we can show that a fraction of the investment into creative industries can create many times bigger employment. Especially among young people who are extremely hit by lack of work experience and a sustainable entry into the European labor markets.
Because multiplier calculations and input-output economics is hard too, and it is a very specialized field, we made all the CEEMID program codes open source. They will be part of the ROpenGov packages, and will be subject to peer review to avoid potential mistakes and increase usability.
Live music creates more than a half of musician revenues and account for probably 90% of the music industry jobs. The ability to play regularly paid concerts is the most important factor in the professional development and financial feasibility of shows.
After analyzing the cultural participation schemes of about 60,000 people in Europe we see striking differences in audience demography across Europe. The best live music markets have many visitors in their middle ages when their income level is peaking, and a life-long commitment to participating in music.
We use nationally representative, standardized consumer surveys that can be compared across Europe, and can be compared with 5 yearly EU-mandated research. We recompile data from different questionnaires in scientific research and business research. If you follow our method, you not only get proven, best practice market research information but also international comparison, that local pollsters will not offer to you. Our data can be used for benchmarking and as evidence for tariffs.
The Central European markets are characterized by the youngest audiences in Europe. The lack of strong, middle-aged buyers makes the purchasing power on these markets rather weak. We have made several analysis in Hungary and Slovakia to come up with policies that can help increasing audience sizes up to 40%.
Our surveys can help to understand piracy, home copying and provide evidence for the differences among royalty tariffs.
Being visible in the world is always difficult in the Central and Eastern European region. Made in Hungary is the first book in the Popular Music Studies series of Routledge from the region. A description of our first datasets, the motivation of the research and the CEEMID concept is laid out as a closing, quantitative chapter in the book.
Emília Barna, Tamás Tófalvy from the Department of Sociology and Communication of the Budapest University of Technology and Economics put a lot of enthusiastic work into editing this book. I hope that in the future we will find a research and educational cooperation with their great team in Budapest.
Daniel Antal presented the preliminary findings of the Croatian music industry research in the International Authors’ and Creators’ Conference (Međunarodna autorska kreativna konferencija, #MAKK2015) in Zagreb on 24 November 2015. The presentation was largely based on analysis of various CEEMID databases.
The Central European music industry, as shown by processing the data of more than 2000 musicians in the region is even more reliant on live performances than the British music industry. Even though Croatia appears to be more similar to the UK than the region, a deeper analysis of the data reveals that this is not the case. The most important difference between mature markets and emerging markets is the lack of good distribution and monetization strategy for recorded music.
Collecting and analyzing industry data is very important for small, national music industries that do not have a large enough repertoire that can be easily promoted on global platforms such as Spotify, Deezer or YouTube. New digital platforms produce relatively low income for Central and Southeastern European artists and labels, but they are growing at a rate similar to mature markets with a short, 1-5 years lag. Understanding the different strategies of global service providers, forthcoming liberalization and data-driven analytics are very important to maintain the share of domestic music in the radio and television channels and further expand it in the new channels.
More insights will be published on our blog and the forthcoming Regional music industry report. To be involved in the data collection and sharing of the Croatian national industry report please contact HDS-ZAMP, ZAPRAF, HGU or Unison in Croatian or CEEMID in English.
Country and industry specific data about the music, audiovisual and film industries in Central Europe.
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