Below is an excerpt of a paper[Note 1] by Peter DiCola that describes the methodology and data of the Artist Revenue Streams project’s Money from Music Survey.
The Money from Music Survey is part of the larger Artist Revenue Streams Project. The project includes three main parts: (1) qualitative interviews with dozens of musicians about the ways they generate revenue from music; (2) even more detailed case studies in which several musicians allowed a member of our team to have access to their financial and accounting records from recent years; and (3) this Internet-based survey.[Note 2] Future of Music Coalition (“FMC”), which is a nonprofit education, research, and advocacy organization based in Washington, D.C., coordinated the Artist Revenue Streams Project.
More than 6,700 eligible musicians took at least part of the survey in September and October of 2011. A … Read More »
A recent series of blog posts about musicians, music, and income have found various writers claiming – each with a level of certainty – that musicians are making more money/less money today than in years past.
In the “musicians are making less money” camp are writers who focus on the disruptions in the sound recordings sales market. They not only point to the problems with piracy, but also the shift away from album sales to singles sales, both of which have diverted consumer dollars away from physical CD sales. Simple math suggests that musicians are making less on recorded music sales because an increasing amount of royalty payments are based on sales of 99 cent singles, not $15 albums. Or, even worse, consumers aren’t paying anything at all. We have written … Read More »
How many musicians are there in the United States? There is no reliable answer. This blog post describes the difficulty in counting the number of musicians in the US, and the challenges this presents for researchers who seek to measure the creative class now and over time. We discuss the difficulty in defining who a “musician” is, the lack of reliable, centralized data sources, and the methodological choices we made when defining the population of study for the Artist Revenue Streams project.