4 Impact
4.1 2.1 Project’s pathways towards impact
[4 pages total] ## A1. Impact on the outcomes specified in the topic Expected outcome: Provide new/improved methodologies for capturing the economic and societal value of music. Target group: all stakeholders.
4.2 A2. Wider impacts
4.2.1 Societal impact (SDGs)
XX ### Economic impact XX ### Scientific impact XX ## B. Requirements and potential barriers to impact The following table presents an overview of barriers and obstacles that may challenge the achievement of the impacts listed above, as well as mitigation strategies. ### Barriers, obstacles & mitigation measures
4.2.2 Data management
Our data management plans are made with keeping in mind to maximise impact.
To reduce reprocessing needs by 80%, we will deposit all data assets conforming the tidy data principles in csv, and computer readable JSON formats.
Regarding descriptive, administrative and statistical metadata, which help reuse by proper documentation, (open) rights management, file processing information, and correct use in models, we will use the best available practices, and aim to surpass the current service level of the Eurostat and the European Open Data Portal. We will include all mandatory and recommended metadata following the Dublin Core and the DataCite standards for maximum findability, accessibility, interoperability and reuse. To foster better scientific and policy reuse, we will also use the applicable SDMX statistical metadata and coding standards—this means that our data will look and work similarly to Eurostat’s data products (but will be tidier.)
As a general rule of thumb, all our datasets, codebooks, visualizations will be released with the Creative Commons Attribution 4.0 International Public License, and our re-usable software codes, as a rule of thumb, under the GNU General Public License.
Our task will further address questions raised by GDPR and intellectual property in limited cases.
4.4 2.2 Measures to maximise impact - Dissemination, exploitation and communication
[5 pages total, including Section 2.3]
The consortium will disseminate and communicate all results to its stakeholders, via diverse channels, to gain recognition and ensure exploitation of results. WP5 will elaborate and implement the consortium’s plans and activities linked to dissemination, communication, and exploitation. The dissemination and communication plan (D5.2) and the exploitation plan (D5.3), will be revised frequently throughout the project to ensure they remain up to date, and will inform the exploitation of the project. The plans and the projects’ activities will thus be an on-going endeavour and will ensure the comprehensive and effective exploitation of project outputs.
The project will develop the following six main results: (i) the Digital Music Observatory, populated in real-time with open-access data; (ii) a software ecosystem enabling improved data collection; (iii) documented pilot studies with an analysis of transfer potential and recommendations for scaling; (iv) reports and policy recommendations on the four topical pillars identified in the Feasibility Study; (v) blog posts and infographics on key data points of interest to specific stakeholders; and (vi) regular scientific publications. The project’s dissemination, exploitation, and methodology will be adjusted towards these outputs and ensure the correct platforms are used to achieve maximum impact. It will maintain a robust but flexible approach that will be vital in the future exploitation of its outputs allowing it to mould according to the developing and diverse needs and requirements of different institutions and stakeholders. The project will, therefore, remain agile and be easily transferable to other cultural and creative industry contexts.
The Plans will be guided by the following three principles and geared towards the following stakeholders:
Build awareness: Ensure that the outcomes of the project become known to the stakeholders highlighted above. The dissemination and communication activities will be tailored to each stakeholder. This customization will ensure that the dissemination strategy is aligned to the channels in use and is optimised across the different stakeholder targets. A number of communication activities outlined below will also be oriented towards building awareness (e.g. conferences, publications, newsletters, campaigns etc.)
Position the consortium as providing a solution: Showcasing the project’s capabilities to better understand the music industry in Europe, its policy context, its stakeholders’ needs and capacities, and its profound impact on both the wider economy and social life and well-being in general.
Generate active interest: generate active interest in the project’s overall aim and objectives and encourage stakeholders to use and build on the project results by actively engaging with them through various activities. These activities will include attending conferences, presenting the project results, setting up meetings with key stakeholders, and a diverse range of users on the project’s software ecosystem.
Measures to disseminate, communicate, and exploit results
This section establishes a preliminary dissemination and communication plan (to be elaborated
4.6 Target group: open science and innovation
Our Consortium aims to demonstrate that when the recommendations of the Reproducibility of scientific results scoping report of European Commission’s DG Research & Innovation are taken to the heart, and research is done with the best practices of scientific reproducibility, when hard-to-use, but legally open governmental and open scientific data is exploited, and the novelties of big data are harnessed, a Research & Innovation Action project can have multiple times greater impact.
Our Consortium of music stakeholders, music policymakers, music tech startups, and of course, leading research institutes in data science, socio-economic, and socio-legal research will demonstrate that reproducible research practices can have an eminent and lasting impact. In addition to applying existing economic, business, statistical, and legal methodologies in a novel way, we will develop new methodologies, as well as creating open-source software tools, and open source, web-based applications that will immediately put these methodologies into practice. Following the Open Policy Analysis Guidelines, we will not only consult stakeholders and demonstrate how to produce the required information for their benefit, but we will immediately put these findings into scientific grade, automated data production, data visualization, dissemination, and publishing.
Our methodological findings will be published in open access, peer-reviewed academic journals.
We will put our methodology into open-source, peer-reviewed software tools, which will be available with tutorials and highest quality documentation for the music ecosystem.
Our new software will continue to run in the cloud, depositing all of our findings—Findable, Accessible, Interoperable and Reuseable digital assets, including our well-designed and user-tested indicators in 41 data gap fields—into our Digital Music Observatory, which already hosts a modern Rest API similar to the Eurostat Rest API. We are still adjusting this service in order to find a way to best implement SDMx and other data standards while maintaining ease of use. We anticipate enhanced usability by April 2022.
To maximize research impact with reusability, our system places authoritative copies of key performance indicators for music organizations, and policy indicators on the OpenAIRE open science repository, Zenodo, following not only the mandatory, but all recommended metadata requirements of both the Dublin Core and the DataCite metadata standards. These recommended standards have very rarely been used in Horizon 2020 research output, and we have not found any similarly well-documented datasets like ours.
4.6.1 Offering free, open-source tools to the research community
We are building new tools that are not simple guidebooks or articles, but applications that users can read but also run, and they can self-serve them with even more datasets, visual or modeled insights. The open-source tools that we want to further develop have already thousands of users. They are open-source applications with high documentation standards, and their proper functioning is checked by hundreds of so-called automated, unit-tests, and anonymous peer-review 1-2 times a year on CRAN.
Our dissemination strategy makes sure that all research data can be accessed on, including the use statistics of our software on Zenodo, and its illustration both on Zenodo and Fighshare, where we see more chances to be reused as visualization.26.
This illustration, like
- eurostat, the headline product of rOpenGov, which provides reproducible access to the Eurostat data warehouse, has more than 3000 users.
- iotables, which produces GVA, employment, tax, and greenhouse gas emissions indicators for the music industry and other industries using data from Eurostat and the European Environmental Agency, has several hundred users globally.
- regions, which corrects NUTS boundary information and corrects regional datasets that Eurostat has no mandate to do, has more than 500 uers.
- retroharmonize, which allows the recycling of surveys, and the execution of cheaper or more valuable new data collections in the forms of surveys, has about 200 users globally.
- spotifyr, which is maintained by our Consorium members since mid-2021 only—after it was abandoned when the original developer joined Spotify—has about 1500 music research users.
Each software has dedicated websites with high-quality tutorials.
4.7 Target group: policymakers
Our approach will follow the best practices of Open Policy Analysis and indicator development, and we will involve a wide range of music stakeholders—authors, performers, producers, concert and festival promoters and their organizations, as well as policy-makers at the city, regional, national and EU level, in addition to music export specialists and music tech startups, among others—in an open, collaborative indicator design process
Figure 4.1: Same figure as in objectives and ambition.
We want to maximize the transparency by introducing to the policy context of Music Moves Europe, and the wider European music ecosystem the Open Policy Analysis framework. We believe that the application of various layers of transparency, reproducibility, reviewability, and even auditability is not a value. The use of the Open Policy Analysis framework (BITSS 2019; Hoces de la Guardia, Grant, and Miguel 2020a), not only ensures higher quality of data, research and policy analysis, but it is also a multiplier of potential impacts. It makes our material easier to review and audit, and use in business contexts as reliable KPIs. It provides other researchers, research teams with high-quality, and easy-to-reuse data and research output. It can be integrated with the entire policy cycle of Music Moves Europe, or national, regional music policies. Our output can be used not only for ex ante assessments. Because of the ‘live’ features of our research output that is periodcally recast, and re-released with fresh data on Zenodo as open data, and on Figshare as open visualization, and it is made available with a modern API, it can be used for ongoing impact, effect monitoring, ex post assessments, too.
Our Digital Music Observatory, and our Digital Music Yearbook will contain about 120 indicators with varying granularity and coverage. In some cases, we will provide pan-European coverage in low or high granularity. In these cases, we will rely on the Open Data Directive, and tap into already existing, but not processed data sources. In other cases, we will work with select countries’ stakeholders, and tap into existing, but not public data, and we will also collect new data.
References
Dataset: https://zenodo.org/record/6464603#.YlqXTtpBzIU, figure: https://doi.org/10.6084/m9.figshare.19606993.v1, naturally, our repository collections contain far more useful data than this, too!↩︎