1 Who We Would Like To Work in 2020?

After years of preparation, in the summer of 2019 CEEMID & Consolidated Independent formed a research consortium with SoundCzech to understand the market development problems of the Czech music industry. In the context of this program, we invited partners from the live music, recorded music and publishing sector to join our consortium and share their development ideas, expected changes in their working environment and form a joint development agenda. According to the plans, the partners were supposed apply for a large grant at the Technologická agentura ČR to put these proposals into practice.

Unfortunately SoundCzech decided a few days later that the original timeline is not feasible, and the workshop participants have not received until know the documents.At this point we would like to go on with any interested partners to finalize this work. We would kindly like to ask you to give your comments to this document in email, or with this simple form where you can easily choose the section of this work that you would like to comment or join.

The best way to review the proposed program is in the online Gitbook format, because there are many-many cross-references.

With the download sign you can also download this document in pdf and epub format if you want to read it on your tablet, e-book reader or other device. There is a simple Word file, too, but it does not retain all graphical elements. It can be used to make suggestions to the text if somebody prefers the use of a word processor.

Beware that document numbers differ in each format. Please refer to the program elements with their short code, i.e. From ‘free’ festivals to ‘paid’ festivals with the (MB1-1).

1.1 How To Contribute To This Document?

The warning sign shows that program elements are missing. If you are an expert in the topic, please, give some suggestions.

The following parts require some attention:

  • Increasing Active Participation in Music 4.5.2, i.e. programs outside the education system to increase the use of instruments, learning to sing and play. I think that this is an area where venue operators, NGOs could really start to show good examples with almost no investment and earn credits. Please suggest ideas and make pledges.

  • Increasing Participation in Live Music 4.5.2, i.e. programs outside the education system to bring in new audiences to concerts or backstages. I think that this is an area where venue operators, NGOs could really start to show good examples with almost no investment and earn credits.

  • There are two warnings for 10.2, because the potential losses from bad regulation in the coming month can cap composer, producer and performer royalties for a decade. This is the single most important threat.

  • Changing VAT regulation 10.5.2, because this tax reform is already under way, and the likely losses from wrong regulation are larger than from the lack of good grants.

The important sign shows that your personal cooperation is needed. We would need quotable testimonies, opinions with name, organization name, and a short quote to give credibility to program.

In the workshop, we particularly were missing the impact that you hope to achieve in your own personal career or in the development of your organization or enterprise if the suggested changes would take place. The Consultant would like to ask you to contribute in the following way. (This is just an example with made up names about something we talked about a bit on the workshop.)

Karolína Pavlova, tour manager, Tours s.r.o: In the workshop we talked about various countries’ concert demographies, and the missing middle-aged audience in Czechia. Whenever we tour in Germany, we see more diverse audiences in the club, besides young fans we often see people with grey hair. I completely agree that we should not allow our fans to stop visiting concerts when they are only 35, we are losing people who can actually spend on tickets and merchandise.

Jan Svoboda, concert promoter, Concerts s.r.o: The ticket prices in Czech clubs, especially in the smaller towns are ridiculous. We need a bus driver, security, help with the merch, a team for sound and light, and at least a stage hand to put our band of four artists on stage. If you sell 100 tickets for 200 korunas, that 1800 koruna for each crew member after we have paid the VAT and local taxes. These people spend their whole day and whole night preparing the event. And they need to pay for travel costs, accommodation, pension contributions, social security and taxes. We end up with maybe 50 koruna per hour - if we are lucky to sell the 100 tickets. Of course, nobody mentioned the hours spent on rehearsals to the show, preparing the promotion on social media and locally, contracting the location, getting insurance and the rest.

In fact, all program elements require such examples, and they are best when they can be attributed to a professional who works in the market.

  • Testimonies that give a credible professionals’ name, position who believes that the text is correct and should be taken seriously.

  • Expected positive impact that show how the proposed change and program elements would help indeed a music enterprise or a professional career.

  • Especially ‘soft’ elements, such as music education should be endorsed by businesses, such as concert promoters, startups, etc.

  • Some participants were very young, with little work experience, they should emphasise what they want to learn in 6. They should add their views for ??.

The will go the repeating part Program Considerations / Impact On Artists, Professionals & Enterprises . See examples here, and 3.1.1 for music education, 4.1.1 for market building, 5.1.1 for foreign tours, record sales and synch, ?? for joint HR and professionalization, 8.1.1 on better cooperation with radios, TVs, film producers, 9.1.1 on more suitable grants and better grant design and harmonization.

You can give your opinion, comments or testimonies in email or in this simplified feedback form: https://www.surveymonkey.com/r/czdev_2019_feedback_form. Alternatively, you can leave your comments in the Google Doc version of this document, but access to the document requires an authentication. If this is your preferred method, please ask access from Daniel Antal.

And at last, each Program (i.e. chapter in this document) requires dedicated professionals, artists, enterprises, organizations and volunteers to make it happen. Please sign up at the end of the chapter to proposed working groups. If you are a junior in your role, i.e. have less than 10 years of experience, consider to apply as a junior member to help the working group. It is necessary that all working groups have at least 3-4 very senior members. Because very senior people are usually very busy, they should select preferably one working group and encourage their colleagues to sign up to others.

These working groups should form first, they are critical for the activities

  • Working Group on Music Education & Advocacy - There was a general consensus that this is the most important working group, and it should include very senior people from national stakeholders, furthermore professionals in music education.

  • Working Group on Market Building - mainly for publishers, labels, concert and festival promoters and their associations, very experienced professionals on these fields. Directors of collective management associations.

  • Working Group on Music Business Professionalisation - mainly for training companies, employers, and very experienced professionals in artistic, technical or managerial roles, with at least 10-20 years of experience. International experience shows that training programs are most effective if employers are actively involved. This would be a suitable working group for experienced music entrepreneurs. Trade unions, performer associations would be more than welcome.

This working group is needed for the continuation of the work

  • Working Group On Market Research and Joint Research and Development - This working group is critical, because the current work is started as a preparation for this. Endorsements and participation is very important - senior university researchers, founders, managing directors of established labels, publishers, collective management, national organizations. Joint membership with the other working programs is possible, because we want to give methodology to the work of all programs.

These working groups are also important but requires specialist knowledge and it is not tragic if they start working later Foreign experts may be needed from the region, as some topics are very special.

  • Working Group On Music Export & International Competition - This working group would require the active participation of SoundCzech, publishers, labels, tour managers, and talent managers with many years of experience in foreign sales. The working group should focus on repertoire competition and imports, and potentially with experience on audiovisual and radio quotas. It would be very good if the collective management societies were involved.

  • Working Group on Creative Alliances - Very experienced labels, publishers, concert promoters, talent managers, festival promoters who have successfully managed ongoing partnerships. Editors of music programs on TV and radio. Managers, directors of film production companies, film producers, TV or radio stations, movies, houses of culture with an undoubted love and interest for music. Business consultants who have a working knowledge of media, broadcasting, film production and music industry enterprises.

  • Working Group on Better Music Grants & Sponsoring - professionals and artists with at least 3-4 successful and not successful grant experience, grant managers, researchers and experts in the field of ex ante and ex post evaluations. It would be very good to involve the Music Fund and the OSA Foundation into this working group. Usually there are similar know-how available around the managers of national and regional operational programs of the EU. Foreign experts may be needed, as this is a very special topic.

  • Working Group on Better Regulation of Music - This is working group requires specialist knowledge. Because most music enterprises and organizations are too small to have in-house attorneys and legal professionals, however has such knowledge should be invited, and probably in this working group foreign expertise would be required.

1.2 The Consultant

Daniel Antal, CFA is a quantiative economist and data scientist. He had been working in data-driven consulting for 20 years. As a pricing and competition expert with experience in banking, energy and transport, he started to specialize on royalty prices and valuations 9 years ago. He holds an MSc Economics (actuary science and operational research), a MSc Economic Regulation and Competition Policy. He is a Chartered Financial Analyst and holds the Public Service Certificate of the Hungarian Public Administration Institute. He lives in Den Haag, South Holland, in the Netherlands.

Contact: danielantal.eu - linkedin - github - dataverse

Topics: royalty valuation - private copying - grant design - policy advocacy - ceemid observatory

1.3 The Research Consortium

SoundCzech and CEEMID separately and together had been making efforts to set up a collaborative market development consortium, following examples from Slovakia, Hungary and Croatia. On 10 August 2018 CEEMID created a proposal for SoundCzech / IDU to create a Czech Music Industry Report, similarly to the work made in Hungary, Slovakia and Croatia. On 16 March 2019, upon request from SoundCzech, CEEMID modified the proposal into two stages:

  • Phase 1 financed by IDU,
  • Phase 2, to be financed from a pending grant application to TAČR (Technologická agentura ČR).

The subsequent agreement states that

  • CEEMID will carry out a research with the help of future R&D partners among Czech music professionals, and join various datasets to create a solid founding for a Development Plan - the findings are incorporated in this document;

  • Creating a Development Plan for the Czech music industry, to be consulted with stakeholders in a Workshop [which happened on 9 October] and subsequent iteration in writing. The preliminary findings were also presented on Nouvelle Prague;

  • Assisting SoundCzech to set up Working Groups with the help of the workshop, subsequent collections and refinement of ideas, and creating a working plan for each working group in the framework of the Development Plan;

  • The Workshop should be made with a respected ex ante grant evaluation method, that is suitable to align the working plan with many participants and a potential EU-sourced grant of TAČR. However, SoundCzech found the application in 2019 premature, and we can only do this next year.

  • Create and open research consortium with the initial partnership of SoundCzech, CEEMID and state51, and inviting all participants of the Workshop to join the research consortium. You are invited to join this initiative.

1.3.1 Memorandum Of Understanding on the Research Consortium

The aim of this MoU is to create a research and development cooperation among Czech music industry stakeholders and some international partners. The Czech music industry is a creative industry, and as it is usual in the European and global creative industries, it is dominated by microenterprises (with 1-2 FTE workers) and occasionally small enterprises. There are no ‘large’ enterprises present by the definition of EU SME policy.

We are aiming to create a Learning Consortium, which conducts learning needs assessments, and fulfills research and development activities and help Czech music stakeholders, i.e. micro- and small enterprises, and non-profit entities, to adopt new innovations in the field of live music performances, recorded performances, with a particular emphasis on understanding the globalization of the sector and opening of export opportunities and increasing importing threats.

1.4 Industry Partners / Music Stakeholders

The cooperation is open for any organization that is willing to use the

1.5 Research Partners


  • state51 music group & Consolidated Independent – is an independent music group committed to researching market developments. Consolidated Independent provided data assets to compare the Czech digital markets to other CEE and developed markets.

The role of research partners is to provide the Czech Consortium with state-of art innovative research that can be put into action in their daily practices.

1.5.1 How to join?

You can join as an organization or as an individual. Organizations are asked to help with data, know-how, and access to funding. Individuals are requested to help the working groups as volunteers.