Data Memos and Reports
We have a huge amount of qualitative and quantitative data that we have collected through interviews, a large-scale survey, and financial case studies. Instead of issuing one enormous report, we have been examining the data through various lenses:
Specific revenue sources
- Off The Charts: Examining Musicians’ Income from Sound Recordings
- Artists, Brand and Revenue
- Orchestral Recordings and Performer Payments
- Does Organizational Membership Matter?
- Does Radio Airplay Matter?
- Where We Live: The Impact of Location
- Teams, Time Allocation and Technology
- Musicians’ Teammates and their Effect on Earnings
- Are Musicians Benefiting from Music/Tech?
- Mythbusting: “musicians are rich”
- Mythbusting: “musicians make all their money from touring/shows”
- Mythbusting: “musicians don’t make any money selling music”
- Mythbusting: “musicians make all their money from t-shirts/merchandise”
Six Financial Case Studies
As part of this project, a handful of full-time musicians granted us access to their musician-related financial records. Our case studies illustrate each musicians’ income and expenses year-by-year.
- Indie rock composer/performer
- Contemporary chamber ensemble
- Jazz bandleader
- Jazz sideman
- Professional orchestra player
- Background vocalist
- How many musicians are there?
- Are musicians making more or less money?
- Why “I don’t know” is an acceptable answer
- Leverage: how much or little control musicians have over how – and how much – they are paid
Sign up for our monthly newsletter to learn about upcoming releases on income from live performance, whether membership matters, music cities, income for songwriters/composers, or the revenue streams or session musicians, and more.
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.