Up until now the music industry, unlike the movie, audio-visual and multimedia industries, has not been the target of institutional recognition on the part of the European Union. This despite the importance of the inherent economic, social and cultural stakes linked to its activities. Such lack of recognition is a serious handicap in promoting the interests of the music sector.

Consequently a certain number of professional European organisations, representing the interests of different sectors of the music industry, decided in April 1995 to open the European Music Office in Brussels.

EMO's first initiative was to propose that a study be undertaken, which would offer the various European and national institutional partners an enhanced understanding of the nature and diversity of music sector-related activities. It would also offer an understanding of the considerable role they play in economic, cultural and social domains throughout Europe.

The European Commission (DGX), in providing its support, enabled this study to be implemented. The study is in itself unique, as it takes into account all music business sectors in all the States of the European Union.

After describing the way in which the music industry functions, the first part of the study is devoted to an economic analysis of all the different sectors: recorded music, royalties and neighbouring rights, live performances, musical instrument markets, the median education and the financial backing of the various institutional partners. This analysis clearly shows that music-related turnover is more than twice that generated by the cinema and video sectors.

The second part of the study mainly focuses on the way developments in musical cultures interact with broader cultural developments and processes in society.

Six critical articles by well-known scholars in the field of popular music studies (based on sociology, aesthetics, musicology and communication), deal with the specific cultural roles music plays in modern life. They examine the way it is consumed by Europeans and the way musicians compose and play music, thereby mediating a whole range of contemporary experiences.

These essays are followed by five reports on exemplary cases demonstrating the role music can play in the present socio-cultural context.

As with all first attempts, this study did have its share of difficulties. In certain sectors, statistics and data are available from professional organisations and government departments.
However, in other areas, such as employment and live performances, there would appear to be a need to follow up and clarify the work undertaken by this study.

September 1996

Table of Contents:

Part one: THE ECONOMIC IMPORTANCE OF MUSIC IN THE EUROPEAN UNION

Background to the Research
Executive Summary
Introduction to the Music Industry
1. Recorded Music
2. Performing and Mechanical Rights
3. Concerts and Other Live Performances
4. Musical Instrument and Consumer Audio Markets
5. Broadcasting
6. Music in Education
7. Subsidy and Sponsorship
8. Conclusions

Part two: MUSIC, CULTURE AND SOCIETY IN EUROPE

1. Global Sounds and Local Brews. Musical Developments and Music Industry in Europe. Paul Rutten
2. Popular Music and Processes of Social Transformation: The Case of Rock Music in former East Germany. Peter Wicke
3. Music and Identity among European Youth. Keith Roe
4. Popular Music Policy and the Articulation of Regional Identities: The Case of Scotland and Ireland. Simon Frith
5. Latin Lovers. Salsa musicians and their audience in London. A small dance boom, or in defence of the trivial. Vicenzo Perna
6. Music industry and music lovers, beyond Benjamin. Antoine Hennion
7. La Friche Belle de Mai. Myriam Tekaia
8. Hip Hop Rap in Europe. Marie-Agnès Beau
9. The Charm of Activity as the Essence of Musical Expression. An Interview with Henk Hofstede. Paul Rutten
10. The non-profit music organisation in partnership with the commercial field. Jari Muikku
11. The Traditional Music in Europe. Jany Rouger (FAMDT)
12. About the Authors