Category: What We’re Learning
On Tuesday, April 24, 2012, Artist Revenue Streams co-director Kristin Thomson took part in the ReThink Music Conference in Boston, MA. She was joined onstage by musician and Berkman Fellow Erin McKeown. Drawing upon Money from Music survey findings and artist interviews, she presented some findings about musicians’ teams, time allocation and technology.
On Tuesday, April 10, 2012, Artist Revenue Streams co-director Kristin Thomson delivered a luncheon lecture called “All You Need is Love…(and a manager, an accountant and a web designer). Making it as a Musician in an Increasingly Networked World” hosted by the Berkman Center for Internet and Society at Harvard University. She was joined by musician and Berkman Fellow Erin McKeown.
The focus of the lecture was examining the question of whether emerging technologies have made it possible for musicians to “do it all themselves”, and the impact that various intermediaries can have on a musician’s career and earning capacity.
On Saturday, March 25, 2012, Artist Revenue Streams co-director Kristin Thomson took part in the 30th annual Canadian Music Week in Toronto. Drawing upon Money from Music survey findings and artist interviews, she presented some top level data about musicians’ careers and their earning capacity.
She started the presentation by describing the project’s methodology. The research involves three data collection methods: in person interviews with about 80 different US-based musicians and composers, financial case studies based on verifiable bookkeeping data, and a widely distributed online survey.
She also underscored that this study is not about label market share, or consumer spending, or measuring an artists’ social graph. It’s about individual musicians’ earning capacity. It’s about what they end up putting in their pocket, and how it’s changing over time.
US-based orchestras have a rich history of making sound recordings of classical repertoire. Have you ever wondered if and how the performers are paid when those sound recordings are sold?
This question came up while we were working on a case study of a young professional orchestra player. While categorizing his income streams, we realized we didn’t know how sound recording revenue flowed back to performers. Was it a profit split with all current members? What about the money generated from legacy recordings that are still sold?
Below is a description of how it works for unionized orchestras, in other words, the orchestras where the performers are members of the American Federation of Musicians (AFM). This includes all of the major professional orchestras in the US.
If an AFM orchestra goes … Read More »
On Monday, February 13, 2012, FMC’s Kristin Thomson participated in the tenth San Fran MusicTech Summit in San Fransisco, CA. Drawing upon Money from Music survey findings and artist interviews, we presented some data about the impact of music/technologies on musicians’ careers and their earning capacity.
We started the presentation by describing the project’s methodology. The research involves three data collection methods: in person interviews with about 80 different musicians and composers, financial case studies based on verifiable bookkeeping data, and a widely distributed online survey.
We also underscored that this study is not about label market share, or consumer spending, or measuring an artists’ social graph. It’s about individual musicians’ earning capacity. It’s about what they end up putting in their pocket, and how it’s changing over time.
As we roll out the results of our work, there’s sometimes a curious reaction to pie charts that include a significant number of musicians/composers who answered “I don’t know” to any given question. Take this one, for example:
Some think these are just disorganized musicians that aren’t on top of their game. But, after conducting many interviews, running nearly a dozen financial case studies, and testing this survey for months prior to launch, and thinking about it ourselves, we know that “I don’t know” is an acceptable answer, for at least three reasons: (1) a gap in respondent knowledge, (2) insufficient access to information or (3) a reflection of the intricacies of income transfer.
This is a complex world, full of new revenue streams with confusingly similar names. How many musicians know the difference between an interactive stream and a non-interactive … Read More »
The Money from Music survey was open from September 6 – October 28, 2011. The survey was built by project staff using SurveyMonkey’s premium level services.
The survey was open to all musicians, composers and performers aged 18 years or older who were US citizens or residents.
Here are some top-level statistics about the survey participants.
On Monday, January 30, 2012, FMC’s Kristin Thomson participated in Visionary Monday at the annual MIDEM conference in Cannes, France. Drawing upon data from both Money from Music survey findings and artist interviews, we explained the changing relationship between artists, brands and earnings.
The FMC team spent some time with the Network of Music Career Development Officers at their annual meeting on Thursday, January 11, 2012 at the Manhattan School of Music in New York City. Here are some slides from our presentation, which look at some of the survey results with respect to conservatory and music school graduates.
In this presentation we looked at the characteristics of the 2,728 musicians and composers who said they graduated from a conservatory of music school. The top regions for this group were New York, Boston, Washington DC, Long Beach/LA, San Francisco, Denver, Chicago, Detroit, Madison, Minneapolis, Nashville, Cincinnati, Atlanta, Dallas/Fort Worth and Rochester.
We found that music school or conservatory graduates were more likely to be earning more, working more, and were more likely to have … Read More »
FMC was at the Association of Performing Arts Presenters annual conference, speaking on Sunday, January 8, 2012 on the panel, “Platforms that Move Jazz Forward.” Here are three slides from our presentation, based on data collected in the Money from Music Survey.
First, some quick context for these slides. More than 850 of the 5,000+ survey respondents said they generate the most money from the Jazz genre. These respondents came from 45 states and the District of Columbia. The top fourteen cities represented were New York, Los Angeles, San Francisco, Boston, Chicago, DC, Seattle, Dallas, Houston, Philadelphia, Detroit, New Orleans, Minneapolis and Denver.