Stage 1: Access Of The Public To Music - Introduction and table of contents -

This report constitutes the first section of the initial stage of the EMOB Study Music In Europe: From the Creation Stage to the Audience. The title of this stage is Access Of The Public To Music.

The further stages of Music In Europe are:
Stage II: Music in the Digital Economy (published in 1999)
1. A new technological and regulatory environment
2. The impact of the digital economy on the music sector
3. Towards new business models: the views and strategies of the traditional players
4. The emerging business models
5. Winning in the digital economy

For more information, please go to Music in the Digital Economy

Stage III : Employment and training in the context of the industry's development (not yet completed)
1. Development of activities
2. Development of the different professions
3. Development of supply and demand in terms of jobs

Stage 1
Access of the public to music
The principal aim of this stage of the study is to provide an overview of the various aspects of the music sector in Europe. To do this, the staff and the board of directors of the European Music Office (EMO) / European Music Observatory (EMOB) drew up a list of the sub-sectors of musical activity in Europe. After much discussion, sixteen areas were identified, ranging from the composers to the organisers of trade fairs and industry seminars. These sixteen sub-sectors constitute chapters 1 to 16 of this document.

Within each sub-sector, it was decided by EMO/EMOB to invite a relevant or typical representative organisation to provide a statement of the activities and role of the professionals within each area. In addition, individuals working within each area were also invited to participate in the study. These individuals were chosen by the staff of EMOB from lists supplied by members of the board of EMO and other experts who were requested to nominate organisations and individuals from their country as potential interviewees. A prime consideration in the choice of interviewees was that they should be drawn from as many member states of the European Union as possible, as well as from Norway and Switzerland, the additional states of the European Economic Area. The interviews were carried out between June and September 1999. Because some of those invited to be interviewed were not available or (in a very few cases) declined to be interviewed, the geographical 'spread' was not as wide as had been intended. However, the final report contains interviews from every member state with the exception of Portugal.

The interviewees were first sent details of the aims of EMOB and of the Study. They were also sent a list of eight questions, which were to form the basis of the interviews.

The basic questions to be asked were as follows:

1. What does your job (or that of your organisation) consist of?
   
2. What skills are needed for your job?
   
3. What problems do you face in your work?
   
4. What is needed to solve the problems?
   
5. Which other sub-sectors of the industry do you work with ?
   
6. What links do you have with other European countries and with the rest of the world?
   
7. How do you see the future development of your sector?
   
8. Is there anything else you wish to add ?
   

Some of those who participated replied by e-mail or facsimile but most interviewees agreed to speak over the telephone. These interviews were tape-recorded and edited for publication. It has only been possible to include short extracts from most interviews in this report and fuller transcripts of many interviews have been prepared as a separate Annex to this report. This Annex and others- which include full, specially commissioned analytical descriptions of the European music industry and the full statements of various music sector organisations- are available on request.

November 1999

Table of Contents:

Introduction
1. Composers & Songwriters
2. Musicians & Singers
3. Collection Societies
4. Music Publishers
5. Record Companies & Recording Studios
6. Managers & Agents
7. Opera Companies, Festivals & Symphony Orchestras
8. Concert Promoters & Support Staff
9. Manufacturing & Distribution
10. Musical Instrument Manufacture
11. Music Education; Training & Research
12. Radio, Media & Music Television Programmes
13. Amateur Participation & Music As A Tool For Social Integration
14. Anti-Piracy & Copyright Protection
15. Trade Fairs & Seminars
16. Conclusions
17. Appendix: Statements From Industry Organisations And Other Documents