Projects | CCSI Data Observatory

Data Observatory Labs

Thu, 02 Mar 2023 13:40:00 +0100

Check out our slides. We are still looking for certain partners.

DataInnoLab is a cooperation of 6 innovative SMEs and startups, a non-profit cultural venue and non-profit cultural heritage organization and ESCP, a leading European Business school which aims to support two important Creative Europe strategic objectives.

DataInnoLab wants to increase the competitiveness and economic potential of the cultural and creative sectors, in particular the audio-visual sector, in a way that mainstreams environmental and social sustainability management.
We also want to help the development and promotion of European cooperation on cultural diversity and heritage in a way that removes institutional, technical, and semantic barriers between the cooperation of the commercial music and audiovisual industry and the music and audiovisual heritage organizations and their supporting institutions.

The DataInnoLab Consortium aims to provide business development tools for the music and audiovisual industry and its supporting heritage and other organizations to leverage the existing instruments of the Culture and Media Strand of the Creative Europe program and the broader New European Bauhaus instruments with higher market revenues and better access to green financing, green investments and insurance.

Our innovators bring into this project early stage products, prototypes, and open source software that can be further developed, packaged into services which are tested in multiple European markets, and eventually scaled for the entire EU internal market and beyond.

In this project, European innovative startups and SMEs will work with the ESCP Business School, a transnational business school for higher education with urban campuses in Germany, France, Great Britain, Italy, Spain and Poland, and its prestigious Blue Factory, its transnational start-up incubator. Established in 1819, ESCP is the world’s oldest business school and celebrated its 200th anniversary in 2019. ESCP Business School has particular expertise in three key academic areas, namely sustainability, entrepreneurship and digitalisation with a foundation of international management.

Our Proposal Data: Open Innovation Labs

Project Acronym: DataInnoLab
Call: CREA-CROSS-2023-INNOVLAB
Funding scheme: CREA-PJG
Proposal ID: SEP-210944562

Table of Contents

WP 1 Coordination

WP 2 Sustainability

WP 3 Competitiveness

WP 4 Open Data

WP 5 Scaling Up

Potential partners

Creative enterprises with good YouTube (+Vimeo and other) distribution and rights management track record.
Market research, particularly survey based in film and television.
Services for private collections/collectors.

Who are we?

In 90 secs: conceptual introduction

⚙️/ subtitles/ 🇳🇱 🇬🇧 🇧🇦 🇨🇿 🇭🇺 🇩🇪 🇱🇹 🇫🇷 🇸🇰 🇪🇸 🇹🇷 + Catalan.

OpenMuse Consortium

Sun, 06 Nov 2022 17:52:00 +0100

OpenMuse brings together music industry stakeholders and researchers from 12 European countries. Our partners represent the diversity of the industry, as well as the shared need to find financially, socially, and environmentally sustainable policy and business models in multiple, sometimes-fragmented streams (e.g., live music, composers/publishers, and recordings with producers and performers).

OpenMuse is centerred around the Digital Music Observatory as an open, scholarly data infrastructure that can be used both commercially and non-commercially. We want to replicate our success story in music in the broader creative and cultural industries.

Trustworthy AI

Sat, 03 Sep 2022 13:37:00 +0200

Human agency and oversight

AI systems should empower human beings, allowing them to make informed decisions and fostering their fundamental rights. At the same time, proper oversight mechanisms need to be ensured, which can be achieved through human-in-the-loop, human-on-the-loop, and human-in-command approaches

Technical Robustness and Safety

AI systems need to be resilient and secure. They need to be safe, ensuring a fall back plan in case something goes wrong, as well as being accurate, reliable and reproducible. That is the only way to ensure that also unintentional harm can be minimized and prevented.

Privacy and Data Governance

Besides ensuring full respect for privacy and data protection, adequate data governance mechanisms must also be ensured, taking into account the quality and integrity of the data, and ensuring legitimised access to data.

Transparency

The data, system and AI business models should be transparent. Traceability mechanisms can help achieving this. Moreover, AI systems and their decisions should be explained in a manner adapted to the stakeholder concerned. Humans need to be aware that they are interacting with an AI system, and must be informed of the system’s capabilities and limitations.

Diversity, Non-Discrimination and Fairness

Unfair bias must be avoided, as it could could have multiple negative implications, from the marginalization of vulnerable groups, to the exacerbation of prejudice and discrimination. Fostering diversity, AI systems should be accessible to all, regardless of any disability, and involve relevant stakeholders throughout their entire life circle.

Societal and Environmental Well-Being

AI systems should benefit all human beings, including future generations. It must hence be ensured that they are sustainable and environmentally friendly. Moreover, they should take into account the environment, including other living beings, and their social and societal impact should be carefully considered.

Accountability

Mechanisms should be put in place to ensure responsibility and accountability for AI systems and their outcomes. Auditability, which enables the assessment of algorithms, data and design processes plays a key role therein, especially in critical applications. Moreover, adequate an accessible redress should be ensured.

Application Development

Tue, 30 Aug 2022 13:52:00 +0200

We are building and ecosystem of open data, open software and trustworthy algorithms around our data observatories. We collaborate with scientific software developers, and their communities, such as rOpenGov. Our software tools have many thousand users, but they require coding skills. We will soon start to deploy more user-friendly applications that can be used by sustainability reporting professionals, or lawyers preparing factual green disclosures.

The first application is developed in our Eviota project, which builds a multi-language reporting interface for preventing greenwahsing. It will have a user-frontend for our environmental (and economic) impact assessment software tool, iotables. The iotables R package implements most of the functionality laid out in the economic and environmental input-output analysis features in the Eurostat and the respective UN statistical technical guidance on the topic.

Please stay tuned – we will showcase our first app soon.

Music Eviota

Thu, 09 Jun 2022 09:40:00 +0100

Reporting the impacts of the entire value chain.

Our minimum viable product will create sustainability reports (or report components) for greenhouse gases and sustainable water use with applying the Global GHG Accounting & Reporting Standard for the Financial Industry and EFRAG’s proposed concept on connecting European accounting standards and information with sustainability. We will help small music organizations in their sustainability reporting, where detail data and reporting standards are only available for greenhouse gas emissions. The Music Eviota project is supported by the MusicAIRE.

Open collaboration

Our project is based on open collaboration. Our proposal, if funded, will provide us with resources to supply further music businesses, music civil society organizations and researchers with high-quality data (during the duration of the project for free.) We are already looking for interested parties to put our data and research projects into use and validate their usability and quality in real-life policy or business development scenarios.

Why are we developing this service?

The European Green Deal, which includes the proposed Corporate Sustainability Reporting Directive, and the sustainable finance package, aims to set the European economy on a permanent decarbonization and sustainability increasing path with adjusting the rules how economic activities are financed by bank loans, insurance, investments, and direct subsidies. From 2023, it will be cheaper to get loans, insurance, and other types of funding for organizations that can prove that they follow the environmental, social and governance path set out in the Paris Agreement and other UN, OECD, and EU agreements.

Requirements for connecting financial and sustainability reporting.

Correct and reliable sustainability management will come with many financial advantages and increased responsibility. The European Financial Reporting Advisory Board is currently preparing the new combined financial and sustainability reporting standard that will be used in banks, insurance, investment, granting, and the large companies of Europe in their entire supply and purchaser chain. The European Commission estimates that compliance costs until the end of 2023 will amount to 4 billion euros, with reporting and auditing costs mounting 10,000 euros per organization. While music small and medium sized organizations (MSMEs) and limited liability civil society organizations (CSOs) will be exempted from mandatory sustainability management and audited reporting, they can still comply in a non-audited and voluntary way.

Our solution benefits the music MSMEs and CSOs in several ways:

It provides them with a size adequate sustainability management and reporting tool that helps first the management of greenhouse gas emissions, and later sustainable water use, pollutions, biodiversity, and recycling in their entire value chain (for example, it flags environmental risks in the supply base of a festival including equipment rentals, transport, security firms, catering facilities, etc.) by connecting standard accounting documents of the MSME with SNA and EEA science based benchmarks.
Our system will be extendible to management of social sustainability. Our previous research shows that particularly the live music industry that needs a large workforce, suffers from underuse of, and discrimination of female workers in various technical and even managerial roles. Our system will be able to flag risks of gender paygap and related issues in the entire value chain and of course, provide good benchmarks for internal activities.

Why Eviota?

We named Eviota after a small fish that lives symbiotically among the tentacles of the mushroom coral. It not only rhymes with our software, iotables, but it refers to the fragile ecosystem of coral reefs: miraculous and beautiful forms of life under threat from global warming. The first step of saving our planet is to objectively detect where your organization’s stakeholders – suppliers, buyers, workers, technology – leave an impact on the environment.

Our review of the environmental, social and governance risk management (ESG sustainability management) suggests that complying with ESG standards is not only a pre-requisite to get cheaper loans (less important) and cheaper insurance (very important in live music), but also a requirement by corporate sponsors of events, and even a large part of the audience. While some music organizations already provide sustainability reporting, they are not standardized and are less factful as they are not connected to accounting information at every point. Our solution aims to give much credibility to both the sustainability reports and non-financial disclosures of the financial reports (which are not mandatory for MSMEs but increase their trustworthiness on an elective basis if they are included.)

Growing interest for ESG in select countries.

Green Recovery in the Music Sector

Co-funded by the European Union

The objectives of the MusicAIRE GREEN recovery program is increasing the music sector’s environmental sustainability and ecological awareness with a view to greening the music industry, in particular live acts, festivals and touring, as well as supporting innovative start-ups aiming at decreasing the environmental footprint of online data storing and music distribution.

Co-funded by the European Union

Surveyharmonies

Thu, 09 Jun 2022 09:40:00 +0100

More data is collected by adding comparative answers from open datasets. You pay for one fieldwork and receive the output of many fieldworks.

Surveyharmonies is a joint project of Reprex and Sinus. Reprex integrates open-source surveying tools, open-source software as a service, and open data as a service. SINUS carries out survey design, fieldwork, and analysis on demand to maximize the value of survey recycling and the reuse of open data. Surveyharmonies unleashes the benefits of research automation, open science, and open data: you get more responses, higher quality datasets, and better documentation for less money. Surveyharmonies is an offering of Reprex with Sinus.

Value proposition

Surveyharmonies increase the value of your surveying work, whether self-managed or outsourced.

Unleash the power of open and linked data: more data is collected by adding comparative answers from open datasets. You pay for one fieldwork and receive the output of many fieldworks.
More information, more robust and valuable inference: compare your respondent’s answers with responses collected in other regions or earlier years. You gather data in one timeframe and region but receive data from more timeframes and many regions.
Better connection, more users: We make your work more usable and more citable with standardized metadata. Your data products are easy to find, import, reuse, and cite.
Higher data quality: our data products are easier to review. We offer more tailored and cheaper quality control than proprietary survey providers. We use transparent, open, peer-reviewed algorithms.
Apply the best practices of open science or open government recommendations.

Our services

Outsource services where you have no competitive in-house capacity. We aim to use only open-source components, so you can insource as much of the workflow as you can carry out in high-quality in-house. We integrate high-value survey design, fieldwork, data processing, analysis, and documentation services.

While we thrive on being fully open-source, at this stage, we are still looking for good open-source solutions for carrying out fieldwork tasks. We support some widely used and inexpensive fieldwork applications like LimeSurvey or SurveyMonkey, or the fieldwork software of your choice. We support using Google Forms for simple activities because it is easy to use and free for end-users.

Offering

For commercial partners and NGOs: we offer the best value for money with survey recycling. We unleash the power of open data and add already collected responses from taxpayer-funded research in the European Research Area or the United States. With a more limited offering, we work in other regions.
For research consortia and projects: we help you carry out your social sciences or digital humanities surveying tasks with the best value for money. For larger tasks, as consortium partners, and for smaller tasks (and retrospective data processing from pre-existing sources) as subcontractors.
Data altruism: we offer limited free services when our partners are willing to make the results open.

Recreo Consortium

Sat, 06 Nov 2021 16:00:00 +0000

The Scuola Superiore di Studi Universitari e di Perfezionamento Sant’Anna and Università degli Studi di Trento (Italy); University of Glasgow (United Kingdom); Universiteit van Amsterdam and Stichting Europeana from the Netherlands; the National University of Ireland Maynooth (Ireland); Tartu Ulikool (Estonia); Szegedi Tudományegyetem (Hungary); Fundacion Santa Maria La Real del Patrimonio Historico from Spain; the Katholieke Universiteit Leuven, (Belgium); Culture Action Europe AISBL and IDEA Strategische Economische Consulting (Belgium) and Reprex created the REshaping CCSI REsearch: Open data, policy analysis and methods for evidence-based decision-making consortium consortium, which will mainly develop new policy evidence in the field of innovation and inclusiveness for the creative and cultural sectors, industries. The Consortium applies for a Horizon Europe grant with the HORIZON-CL2-2021-HERITAGE-01-03 Cultural and creative industries as a driver of innovation and competitiveness call of the European Commission.

Policymakers face challenges when trying to implement a strict evidence-based approach to decision-making in the field of cultural and creative sectors and industries (CCSI). This is mostly due to four phenomena:

Evidence dissonances in mapping, measuring and analysis of key indicators, which lead to improper generalizations and gaps in decisionmakers’ knowledge and stakeholders’ awareness
Fragmentation of hubs of production and concentration of platforms, which create statistical biases and have features that hardly fit with traditional impact assessment methods;
Datafication, which is revolutionizing CCSI but remains difficult to investigate, thus broadening knowledge gaps; and
Stakeholders’ fragmentation and conflicting interests, which hinders their engagement, awareness-raising and uptake of policy inputs.With its cross-disciplinary consortium of academics, practitioners and a strong network of stakeholders, engaged via participatory research strategies, RECREO will help policymakers and stakeholders tackling such challenges, by generating new knowledge and methods to fill in knowledge and awareness gaps. RECREO will achieve this goal through four actions.

First, it will generate a wide array of horizontal and sector-specific datasets, made openly accessible via the CCSI Data Observatory and the Evidence Synthesis Platform. Second, it will offer an unprecedented EU and comparative mapping and impact assessment of key regulatory and policy measures relevant for CCSI, made available on the Law and Policy Observatory. Third, it will develop innovative methods to measure and assess CCSI innovation, competitiveness and spill-over effects, emphasizing inclusiveness, diversity and sustainability. Last, it will offer policy recommendations and best practices aimed at supporting the sustainable growth and competitiveness of culturally diverse CCSI, and their cross-fertilization with cultural heritage promotion and preservation.

CEEMID

Wed, 27 Feb 2019 00:00:00 +0000

The Feasibility study for the establishment of a European Music Observatory (in short: EMO Feasibility Study)[1] has identified four critical data gaps related to the diversity and circulation of European music. This is a key business planning and policy problem, and of course, a serious shortcoming for better music research in Europe.

According to the EMO Feasibility Study, “there is already an existing pool of data that would allow the European Music Observatory to start compiling information about the European music sector. Various potential sources and providers of data are … [available, such as our Digital Music Observatory.]. Many of these providers have already indicated support for a future European Music Observatory, and are willing to collaborate and provide data. However, some data is not collected or is not aggregated in a way that it can be compared across Europe[2].

From CEEMID to the Digital Music Observatory

The Digital Music Observatory (formerly CEEMID) has been identified among these data sources[3]. CEEMID was originally an acronym for a data integration project that aimed to Create a Regional Music Database to Support Professional National Reporting, Economic Valuation and a Regional Music Study[4]. According to the European Commission’s feasibility study, “CEEMID can transfer thousands of indicators that are reproducible and verifiable, open-source software that creates them to a European Music Observatory. In particular, CEEMID provides a useful and interesting approach to harnessing the possibilities of open data in Europe in relation to the music sector, which should be further explored by the European Music Observatory in its start-up phase.”[5]

The Digital Music Observatory is built on the gradual, and open extension of the original CEEMID consortium, and builds on practical research and innovation that contributed to many music policy goals in an increasing number of countries since 2014. The original CEEMID consortium delivered the first Hungarian music industry studies (followed by several subsequent ones), the Slovak national music industry study, Private Copying in Croatia, and eventually the regional Central European Music Industry Report.[6] All of these industry studies addressed the problem of shrinking competitiveness in of the small language repertoire in the streaming era.

Historically CEEMID started out as the Central and Eastern European Music Industry Databases out of necessity following a CISAC Good Governance Seminar for European Societies in 2013, and eventually grew out of an abandoned GESAC project. The adoption of European single market and copyright rules, and the increased activity of competition authority and regulators required a more structured approach to set collective royalty and compensations tariffs in a region that was regarded traditionally as data-poor with lower quantity of industry and government data sources available.

The EMO Feasibility Study is built on the consensus of many European music organizations around a shared understanding “that a European Music Observatory should act as a centralised music data and an intelligence hub at European level.” However, as a pilot project and policy brief carried out in Finland[7], or the CEEMID project in Central and Eastern Europe has shown, has its limits. We believe that the existing data availability is better than that described in the Feasibility study, and since the creation of this report, it has only got better.

Since 2014, the Digital Music Observatory (former CEEMID) successfully piloted data collection, standardization and harmonization procedures that can fill all the data gaps identified in the music diversity and circulation pillar of the future European Music Observatory. CEEMID was transformed into a “Demo Music Observatory” on 15 September 2020[8] and eventually named Digital Music Observatory in 2021. Its policy relevance was also recognized in the United Kingdom after Brexit[9].

The Digital Music Observatory follows the Open Policy Analysis Guidelines[10] The OPA Guidelines give practical guidance on how to improve the transparency, replicability, and as a result, the reusability of the policy-making work with a scientific underpinning.

The EMO Feasibility Study acknowledges the importance of open data. The “EMO should also take advantage of open data where possible. Open data is data that can be freely used, re-used and redistributed by anyone. […] Using some form of open source software where relevant would allow an EMO to access a continuous peer-review of data ingestion, processing, corrections and indicator creation by statisticians, data scientists and academics.”[11]

As stated in this final report, the 2019 Open Data Directive further extended the availability of re-usable public sector information (PSI) with open science data. . In both PSI, as open government data, and in open science data, there is a huge potential to fill in the data gaps without new data collection—the fact that data can be reused instead of being recollected is the main aim of the directive. However, open data does not mean public data. Open data means that taxpayer-funded research data can be repurposed, reprocessed, and reused—the Digital Music Observatory is an expert on such data science techniques.

The Digital Music Observatory is not an alternative to the future European Music Observatory, just its open source, open data driven voluntary, based on open collaboration with music industry stakeholders, music policy makers and users, academic researchers, individual and citizen scientists, and individual artists. Because we create fully automated research tools that are creating open datasets, and open source software, even our research infrastructure can be fully transferred to a future European Music Observatory[12].

The Central European Music Industry Report 2020 concluded the CEEMID project showing that building meaningful statistical indicators for the live performance, recording and publishing sides of the music industry is possible even in seemingly data poor emerging and future markets. Our Report was presented as a best practice by the European Commission and the Geothe Institute in 2020.

We are not planning to make a competing data observatory. We want to provide a minimum viable model of creating at least a hundred useful indicators—selected from hundreds of indicator-candidates with user feedback— that goes through the unit-testing of data science and computer science, the peer-review of open-source scientific algorithm/software development, the methodological peer-review of science, and eventually user verification from music industry users. This will make sure that the indicators can be reproduced, refreshed, and placed in a future European Music Observatory with at least as good data quality as one would expect from a governmental statistical source or Eurostat.

The aim of the Digital Music Observatory is to maximize transparency by introducing to the policy context of Music Moves Europe, and the wider European music ecosystem the Open Policy Analysis framework. (See Open Collaboration, Open Policy Analysis, and Open Data.)

Open Collaboration, Open Policy Analysis, and Open Data

We aim to maximize transparency by introducing to the policy context of Music Moves Europe, and the wider European music ecosystem the Open Policy Analysis framework. (BITSS 2019; Hoces de la Guardia, Grant, and Miguel 2020b).

Our policy tools will make possible the first, large scale European application of the Open Policy Analysis, which grew out from several initiatives in research transparency, such as the Berkeley Initiative for Transparency in the Social Sciences, the Data Access and Research Transparency (DA-RT) group, the Center for Open Science and their TOP Guideline, the Meta-Research Innovation Center at Stanford University. Globally, the World Bank promotes this framework (Hoces de la Guardia, Grant, and Miguel 2020b; Berkeley Initiative for Transparency in the Social Sciences et al. 2020) and they are fully in line with the Open Science objectives of the European Union (Commission et al. 2020).

Our ambition to increase transparency with introducing the Open Policy Analysis into the European music policies and collaborative data use in the European industry.

We believe that existing data availability is better than that described in the Feasibility study. As stated in this final report, the 2019 Open Data Directive further extended the availability of re-usable public sector information (PSI) with open science data. In both PSI, as open government data, and in open science data, there is a huge potential to fill in the data gaps without new data collection—the fact that data can be reused instead of being recollected is the main aim of the directive. These open data sources are legally open but are not accessible without further investment, and our Consortium wants to make this investment, and produce about 50% of all the data needs of the future European Music Observatory.

It also mentioned the work CEEMID, a bottom-up initiative originally started by three collective management societies, and eventually joined by more than 60 stakeholders in 12 European countries to fill in some of these gaps with a) voluntary data integration among partners b) open data re-processing c) co-financed data collection. Our proposal wants to put the former CEEMID, currently named Digital Music Observatory, a more solid scientific and methodological foundation, to make it more user-friendly, and to exploit state-of-art statistical, data science and computer science methods to provide more comprehensive, timely, and accurate services for the European music sector.

References

Antal, Daniel. 2015. “A Proart zeneipari jelentése. [The Music Industry Report of Proart].” ProArt Szövetség a Szerzői Jogokért Egyesület. http://zeneipar.info/letoltes/proart-zeneipari-jelentes-2015.pdf.

———. 2017. “The Growth of the Hungarian Popular Music Repertoire: Who Creates It And How Does It Find An Audience.” In Made in Hungary, 1st ed. Studies in Popular Music. New York, NY: USA: Routledge.

———. 2019a. “Private Copying in Croatia.” https://www.zamp.hr/uploads/documents/Studija_privatno_kopiranje_u_Hrvatskoj_DA_CEEMID.pdf.

———. 2019b. “Slovak Music Industry Report [Správa o slovenskom hudobnom priemysle].” https://doi.org/10.17605/OSF.IO/V3BE9.

———. 2020. “Central And Eastern European Music Industry Report 2020.” CEEMID, Consolidated Independent. https://doi.org/10.13140/RG.2.2.21450.31686.

Artisjus, HDS, SOZA, and Candole Partners. 2014. “Measuring and Reporting Regional Economic Value Added, National Income and Employment by the Music Industry in a Creative Industries Perspective. Memorandum of Understanding to Create a Regional Music Database to Support Professional National Reporting, Economic Valuation and a Regional Music Study.”

Berkeley Initiative for Transparency in the Social Sciences, Aleksandar Bogdanoski, Carson Christiano, Joel Ferguson, Fernando Hoces de la Guardia, Katherine Hoeberling, Edward Miguel, Emma Ng, and Lars Vilhuber. 2020. “Guide for Accelerating Computational Reproducibility in the Social Sciences.” Berkeley Initiative for Transparency in the Social Sciences. https://bitss.github.io/ACRE/intro.html.

BITSS. 2019. “Guidelines for Open Policy Analysis.” Berkeley Initiative for Transparency in the Social Sciences. http://www.bitss.org/wp-content/uploads/2019/03/OPA-Guidelines.pdf.

Commission, European, Directorate-General for Research, Innovation, L Baker, I Cristea, T Errington, K Jaśko, et al. 2020. Reproducibility of Scientific Results in the EU : Scoping Report. Edited by W Lusoli. Luxembourg: Publications Office of the European Union. https://doi.org/doi/10.2777/341654.

EUR-Lex. 2019. “Directive (EU) 2019/790 of the European Parliament and of the Council of 17 April 2019 on Copyright and Related Rights in the Digital Single Market and Amending Directives 96/9/EC and 2001/29/EC (Text with EEA Relevance.).” Official Journal of the European Union OJ L (130): 92–125. http://data.europa.eu/eli/dir/2019/790/oj.

European Commission, Directorate-General for Education, Youth, Sport and Culture, M Clarke, P Vroonhof, J Snijders, A Le Gall, B Jacquemet, et al. 2020. Feasibility Study for the Establishment of a European Music Observatory : Final Report. Publications Office of the European Union. https://doi.org/doi/10.2766/9691.

Hoces de la Guardia, Fernando, Sean Grant, and Edward Miguel. 2020b. “A framework for open policy analysis.” Science and Public Policy 48 (2): 154–63. https://doi.org/10.1093/scipol/scaa067.

———. 2020a. “A framework for open policy analysis.” Science and Public Policy 48 (2): 154–63. https://doi.org/10.1093/scipol/scaa067.

Osimo, David, Pujol Priego Laya, Turo Pekari, and Ano Sirppiniemi. 2019. “A Symphony, Not a Solo. How Collective Management Organisations Can Embrace Innovation and Drive Data Sharing in the Music Industry.” Teosto. https://www.teosto.fi/app/uploads/2020/10/27134714/a-symphony-not-a-solo-policy-brief-final-09012019.pdf.

state51 Music Group. 2020. “Written Evidence Submitted by The state51 Music Group. Economics of Music Streaming Review. Response to Call for Evidence.” UK Parliament website. https://committees.parliament.uk/writtenevidence/15422/html/.

[1] Feasibility study for the establishment of a European Music Observatory (European Commission et al. 2020).

[2] Feasibility study for the establishment of a European Music Observatory (European Commission et al. 2020, pp31–34).

[3] Our observatory is mentioned to be ablet to participate with “data collection and integration system based on open data, opensources and online surveys” in all pillars of the future European Music Observatory, including Diversity & Circulation (European Commission et al. 2020, p40.)

[4] The original aim of CEEMID was Measuring and Reporting Regional Economic Value Added, National Income and Employment by the Music Industry in a Creative Industries Perspective Three national collective management societies and their consultant signed Memorandum of Understanding about this in 2014 (Artisjus et al. 2014).

[5] Feasibility study for the establishment of a European Music Observatory (European Commission et al. 2020, pp147–148).

[6] A ProArt zeneipari jelentése (Antal 2015) and The Growth of the Hungarian Popular Music Repertoire: Who Creates It And How Does It Find An Audience (Antal 2017); Správa o slovenskom hudobnom priemysle (Antal 2019b), Private copying in Croatia (Antal 2019a), Central Euroepan Music Industry Report (Antal 2020).

[7] See the Policy Brief A Symphony, not a Solo (Osimo et al. 2019).

[8] Antal-Szentirmay: Launching Our Demo Music Obervatory (blogpost)

[9] Written evidence submitted by The state51 Music Group. Economics of music streaming review. Response to call for evidence (state51 Music Group 2020).

[10] The Open Policy Analysis Guidelines which grew out from several initiatives in research transparency, such as the Berkeley Initiative for Transparency in the Social Sciences, the Data Access and Research Transparency (DA-RT) group, the Center for Open Science and their TOP Guideline, the Meta-Research Innovation Center at Stanford University (BITSS 2019; Hoces de la Guardia, Grant, and Miguel 2020a).

[11] In the EU, open data is governed by Directive (EU) 2019/1024 on open data and the re-use of public sector information (EUR-Lex 2019), which replaced the Public Sector Information Directive, also known as the ‘PSI Directive’ which dated from 2003 and was subsequently amended in 2013. Feasibility study for the establishment of a European Music Observatory (European Commission et al. 2020, p38).

[12] In other words, our aim, fully in line with the intentions of the Commission expert who were encouraging us to make this proposal, and with the Feasibility Study, is to create open source scientific/statistical software and pilot open data that can be utilized in 4/4 identified data gaps related to music diverstiy and circulation in the European Music Observatory.