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KEA and Panteia start off a new Study in the frame of Music Moves Europe

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KEA and Panteia start off a new Study in the frame of Music Moves Europe

KEA and Panteia have been commissioned by the European Commission DG Education and Culture to conduct a study in the scope of the Preparatory Action Music Moves Europe. The 12-month study is structured in two intertwined parts: European Music observatory, and funding needs.

The goal of the first part is to assess the feasibility of a European Music observatory. It will investigate the possible future establishment of a data collection organisation, as a strategic resource to evidence-based policies and actions for the music sector.

The objective of the second part of the study, is to provide robust justification for future music support at European level and help developing the right funding instruments, in complementarity with existing national schemes.

We are very pleased to work in the framework of the Music Moves Europe preparatory action, which will shape a strategic approach to European support to the music sector for 2021-2027.

Contact persons: Paul Vroonhof (p.vroonhof@panteia.nl), Arthur Le Gall (alegall@keanet.eu).


Music Moves Europe is the preparatory action to set a framework for the upcoming European Commission’s initiatives and actions in support of the European music sector in order to promote creativity and innovation, safeguard and expand the diversity of European music, also through increased cross-border mobility of artists and music, and to help the music sector to adapt and to benefit from digitization.

Panteia is a company that carries out qualitative and quantitative research with a special focus on issues related to transport, economy and the social and cultural domain with a team of around hundred experts. Panteia carries out some 400 research and consultancy projects each year for a large variety of clients. Our clients can be found in all types of government and government institutions in the Netherlands, the EU, foreign governments, branch organizations, non-profit institutions and companies. We have a wide range of services and have experience with various research methods, such as policy research and market research. Panteia also runs the European Expert Network on Audiovisual and Culture (www.eenca.eu).

Join Panteia on Facebook and LinkedIn. Follow Panteia on Twitter and take a look at their website.

KEA European Affairs is an international policy design research centre specialised in culture and creative industries, economics and sports. Since 1999, KEA has been a pioneer in the field of cultural and creative industry policy. KEA advises territories, organisations and people to unlock the potential of culture and creative industries.

KEA manages the b.creative network, a unique community of 2,500 creative entrepreneurs, incubators, hubs, networks and associations, in 100 countries. Join our groups: KEA Creative Europe on Facebook and LinkedIn. Follow @KEATweets, KEA facebook page.

 

Comments

  • Anita Debaere

    Comment on illegal secondary ticketing as a serious issue for the music sector:

    Since several years, concert organisers, concert halls, opera houses and other live performance organisations are struggling with the unauthorised resale of tickets by online secondary ticketing platforms.
    This is harmful for artists, for the organiser of an event as well as for the concert-goer/consumer who buys tickets for a much higher price than face value.
    The money secondary ticketing platforms are making is ‘lost money’: it doesn’t increase the revenue of the artist, it will not be re-invested by an organiser in live performances and the consumer will have less money available for other cultural consumptions.
    Recently, the review of the Unfair Commercial Practices Directive addressed the use of bots in the context of secondary ticketing: The text includes a provision prohibiting the use of bots for the resale of event and sports tickets.
    However, it doesn’t solve the complex problem that organisers, artists and consumers face in the context of secondary ticketing.
    One of the biggest challenges is enforcement: Online platforms selling tickets are mostly based outside the EU and in most of the times, EU law doesn’t reach beyond its borders.
    Within the EU, there is no harmonised set of consumer protection regulation; in a number of Member States, legislative measures against the illegal resale of tickets were introduced in recent years, in others there is no legislation in place.
    A harmonised approach of EU Member States, exchanges of practices of the live performance sector and awareness raising campaigns of consumers are needed, to effectively tackle the problem.

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