The objective of this study, carried out by EMO with the support of the DGX, was to throw light on the difficulties and obstacles experienced by professionals operating in Europe. These difficulties impede both the circulation of repertoires, productions and artists on European territory, and the distribution of European music on the international market.

The assessment report presented here emphasises a certain number of problems mainly concerning live performances and recorded music publishing. Together with music publishing, they currently represent the major vehicles for the circulation of repertoires. The report also mentions the problems facing the manufacturers of musical instruments, crucial protagonists in both professional and amateur musical practice

This report does not aim to indicate solutions to the problems raised, which are very diverse in character and to a large extent come under the responsibility of the member States. They can also stem from the specificity of each market in the European Union, or again, are dependent on negotiations on an international scale.

Its sole purpose is to draw the attention of the Commission to the nature of the problems encountered by music professionals in their attempts to develop their activities at a European level, within a unique culturally identifiable market. The report aims to obtain the support of the Commission in the possible solution, on a case by case basis, of one or more of these problems.

This assessment was carried out by the European Music Office in the form of consultations based on questionnaires, work groups involving professionals in the sectors concerned, and interviews with representatives of the industry.

The field covered is not exhaustive, as the study concentrated mainly on problems encountered by promoters and record producers. But this preliminary investigation will at least serve as an initial stage in a process of reflection, involving all players in the world of music, on the construction of a real European music market.

This report is likely to be enriched by the different reactions which it is bound to inspire, the exchanges which it might help to stimulate, and the contributions which may be suggested to complement it.

September 1996

Table of Contents:

1. The live performance

a) Tax regimes in force in the countries of the European Union
b) Social security systems in the countries of the European Union
c) Labour laws in the countries of the European Union
d) Performing rights in the countries of the European Union
e) Insurance regulations in the countries of the European Union
f) Health and safety regulations in the countries of the European Union
g) Estimates by professionals of the heaviest costs in the organisation of tours
h) Financial aid for tours available in the countries of the European Union

2. Recorded music publishing

a) Record distribution in Europe
b) Piracy and parallel imports in the E.U.
c) VAT on Records

3. VAT on musical instruments

4. Conclusion