Using a premium subscriber profile as a reference, our laboratory affiliated to UQAM political science department and to the Centre for research on integration and globalization (CEIM) has conducted tests on music streaming services from March to August 2019. Our singular experiment targeted measuring the quality of service of transnational streaming platforms in a substantial niche market based on a repertoire of over 40 years of independent music production.

The Canadian province of Quebec has a mature recording industry from which the major labels and distributors have been largely absent since the 1980’s. Despite this, it has enabled international careers…


1 octobre 2018 — La veille des projets, guichets de soutien, initiatives de recherche qui suit n’est pas exhaustive. Le lecteur est invité à ajouter, commenter. Notre emphase est mise sur les secteurs de l’enregistrement sonore et des arts de la scène.

Pôle sur les données massives en culture du Partenariat du Quartier des Spectacles — MESI — https://www.quartierdesspectacles.com/fr/medias/donnees_massives_culture

LATICCE Laboratoire de recherche sur la découvrabilité et les transformations des industries culturelles à l’ère du commerce électronique — FQRSC https://wiki.uqam.ca/display/CEIMLAT/Accueil+LATICCE

Fonds Stratégie numérique du Conseil des arts du Canada — https://conseildesarts.ca/financement/fonds-strategiques/fonds-strategie-numerique (31 octobre 2018) — Première cohorte de projets soutenus…


La campagne électorale se tient sur fond de dérape environnementale et les partis tentent, comme il se doit, de se rattraper à la dernière minute sur cet enjeu. La campagne a aussi enterré le projet de politique culturelle introduite en juin. Les libéraux eux-mêmes, porteurs du projet, ne font pas de millage dessus.

Nous sommes bien loin des prédictions de prise en otage de la politique culturelle avancée par Odile Tremblay le 13 juin dans Le Devoir (https://www.ledevoir.com/opinion/chroniques/530171/l-otage-des-prochaines-elections).

Ce soir se tient un débat sur la politique culturelle à l’initiative de la Coalition la Culture le Coeur du Québec. Mais…


Written report on panel held during HUB Montréal, November 15th 2017–16:00 to 16:45 (http://hubmontreal.com/en/hubpro/discoverability-the-future-of-seo)

Discoverability allows the retrieval of content of which we know the existence and the discovery of content we did not knew about. (Metadata State of the Art / État des lieux des métadonnées du secteur culturel, Observatoire de la culture et des communications, Institut de la statistique du Québec, 2017)

Discoverability holds tensions and contradictions. We wish it to be inclusive and to support access to the whole world of content, we also want it to be targeted at specific consumers based on profiling and on…


Une politique culturelle n’est autre chose qu’un énoncé théorique qui, sans budget ou calendrier, ne donne pas la mesure requise de la vision qui l’anime. Le forum de consultation des 5 et 6 septembre prochain donnera-t-il l’occasion de se pencher sur l’échéancier chiffré du projet Partout, la culture? Après toutes les consultations qui ont façonné le projet, l’intervention du comité consultatif et du comité scientifique, ce n’est pas tant de nous assurer de la validité des actions envisagées que d’évaluer leurs coûts et horizons de faisabilité qui s’imposent désormais. https://www.mcc.gouv.qc.ca/index.php?id=5801

L’orientation 2 qui prévoit de Façonner un environnement propice à…


1. Assign proper credit to rights holders and creative contributors
2. Link rights holders and creative contributors to unique standard identifiers
3. Geolocate creative content
4. Adopt DDEX international standards
5. Participate in trans-national standard definition
6. Improve content discoverability

The Blind Leading The Blind — Peter Brueghel The Elder

►Create/Produce ►Tag/Declare ►Distribute ►CONSUME ►Measure ►Pay Royalty

1. Assign proper credit to rights holders and creative contributors : a digital musical sound recording is just meaningless orphan binary data if it does not embed or link itself to rights holders, contributors and descriptive information allowing context to emerge, account statement and accurate royalty payment.

Concerned are all lyricists, composers, publishers…


The world of music metadata start-ups and databases is growing at a crazy pace. Making sure the descriptive and work declaration info is transmitted to the value chain promptly has become an amazing challenge. Nowadays, a master recording without its master metadata is a lost asset. TGIT has identified this list of priority targets for music metadata transmissions and has started talks, negotiations and transmissions with several of them. Expanding transmissions is our goal for the months leading to V3.0. Stay tuned.

APEM — Évangéline
Artisti (UDA)
Auddly
Audiam
AWAL — Kobalt Music Group
Bandcamp
Bandzoogle
BAnQ (Bibliothèque et archives nationales du Québec)
Believe Digital
Blitzr


In July this year we have witnessed the publication of two important music industry studies on fair remuneration for the music industry stakeholders. The first is European, drafted by Bearing Point, commissioned by the French Ministry of Culture, and the second is American by the Berklee School of Music and partly commissioned by the Kobalt Music Group.

Both studies are giving a shot at defining what should be standard metadata fields for the industry. But as it’s always been, they come up with different sets and semantics to define the descriptive information everyone should adopt and provide. …

Jean-Robert Bisaillon

Codirector of LATICCE and #musicmetadata evangelist

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