We’re continuing to roll out new reports from our massive research project examining the myriad ways that musicians make money.
This report uses data from our survey, interviews and financial case studies to create a snapshot of musicians’ income from sound recordings, including physical sales, digital sales, digital performance royalties, on-demand streaming, and master use synch license fees. The report also talks about technology’s impact on sound recordings — both good and bad.
This report provides a thorough look at the jazz musicians who participated in the Money from Music survey, examining education, earned income, roles, revenue, airplay, teammates and feelings about technology. This is a rare instance where we have another data set with which to compare — Joan Jeffri’s 2002 “Changing the Beat” report on jazz musicians. The availability of trend data not only provides us with a longitudinal look at jazz musicians, but also hints at what more can be learned when studies are replicated across time.
At least once a month, we get an email from a student, journalist or policymaker asking us “just how many musicians are there in the US?” We dedicated a fair amount of time trying to define our population of study for this project, and have wrestled with the same core question: how do you count a population for which there are no agreed-upon criteria, no qualifying tests, and no one organization representing their collective interests? This post describes the challenges and our methodology.