Digital witness – June 2024
One of the key drivers of the Music360 project (360-degree Perspective on the Value of Music) is to contribute to a sustainable music ecosystem. When we discuss the music ecosystem, we are not only referring to a complex network of relations between different interested parties (i.e. musicians, authors, producers, streaming services, users of music and consumers of music) but also to an ecology of music data sustained by different databases (IPD, VRDB, RDx, CMO’s local systems), industry standards and choreographies (DDEX) of data exchange and validation.
Data plays a central role in the music industry at all stages, from documenting the creation and fixation of phonograms to creating and identifying music audiences, engaging musicians with their fan base to distributing royalties, documenting creative entities, and nurturing the cultural memory of music artefacts. Data is a vital process element, central to each interested party’s ability to create an appropriate value.
Two data use cases clearly illustrate the centrality of data in the music ecosystem:
1 – The music recommendation systems. It dramatically influences a music artefact (phonogram or a live show) ‘s ability to create and find its audience. This process is susceptible to the metadata of music (who performed a specific instrument, who the composer is, how the music is named), to the knowledge regarding the dynamic preferences of the music consumer, and the relation between the music artefact and its individual and social consumption.
2—The distribution of the royalties collected for music usage in public spaces. Data is not only critical; it is the process. When discussing the distribution of the royalties process, we are, at its core, discussing the capture, transformation, enrichment, interconnection, and data creation. The distribution of royalties collected by the usage of music in venues is a process that the collective management organization follows by identifying the following: 1. Identify the music used by the venue; 2. Identify the intensity of usage of each one of the pieces of music used; 3. split the royalties collected by the music used assuming the different usage intensities; 4. identify the right holders of each piece of music; 5. Split the royalties each music generates to the right stakeholders, assuming the split agreement between different parties, and 6. Communicate and pay the revenues obtained by each right holder.
As we can see, discussing the music ecosystem and its sustainability also involves examining data and data quality.
The MUSIC 360 project is developing a decentralized data sharing, data aggregation, and data insights extraction platform that, if it succeeds, will play a central role in the music data ecosystem and, by doing so, in the music ecosystem.
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