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Magazine AM: PM no. 8

Although all of life it has been relevant for any decision maker or participant in the music commercial chain to access data that adequately informs them about what is produced, how it is distributed and who consumes what, today —with the accelerated development of technologies and the exponential growth of consumption on-line of music worldwide—the information associated with our work ecosystem is abundant. Knowing it, collecting it and interpreting it is of vital importance.

Data and statistics are not the same as information. Although often used interchangeably, data and statistics become information when viewed in the context of the event or object being analyzed. We may use the data and statistics to outline information about events or objects and project strategies or policies. This goes for both[1] composers, artists, record companies, digital platforms of streaming, institutions or governments.

The evolution of the distribution and consumption of music in the digital age changed the sector forever. Traditionally, success in the music industry has always been associated with touring, CD sales, and charts; however, with the world rapidly digitizing, our ecosystem has moved to a new way of measuring success: data. Today mathematical algorithms and artificial intelligence are the true new players in the panorama of music promotion and consumption. With 286 million active users and a share of almost 40 % of the world market of streaming, data is a critical driver of Spotify's global recognition. And what sets Spotify apart from its competitors is its powerful recommendation service, based on Machine Learning (ML) models.

On the other hand, big data (big data) have become an increasingly prominent mechanism for solving different problems in various industries. It seems clear that music in particular is looking for a solution to the structural inefficiencies inherent in the current system, in which it is estimated that 100 % of its current income is lost, or what is the same, it loses as much as it earns.

Big data is becoming more and more important and the music industry is beginning to use it to enable consumption to be more transparent and efficient.

In our industry, the customary survey and with scientific and reliable methodologies of data about the processes of Cuban music, as well as its exposure and accessibility, are pending issues, beyond the efforts of government institutions such as the National Office of Statistics and Information (Onei) and others specific to the cultural sector such as the Juan Marinello Cuban Institute for Cultural Research. But this absence and its capital status for the development of Cuban music —even as an exportable product— is not a discovery of our magazine. In this issue we will see to what extent it is a priority and who is working on solving it.

About all these issues and their respective approaches from our country or with respect to Cuban music, but also about the risks that the technologization of the global music industry has for musical creation or for diversity in consumption, we want to start talking to you. That will be our delirious focus during 2021.

With our sustained work from journalism, analyzing where the data is, who has it, why it is not visible, how to use it and turn it into valuable information, how others do it, what influences they have on decisions and trends in the sector, we will be contributing to a better understanding of the current vicissitudes of the Cuban musical ecosystem.

In this edition:

  • Archeology (partial and musical) of the Weekly Package (infographic) — Emilio Suárez González, Daniel de la Osa and Rubén Cabra
  • projecting the streaming of 2021 (article) — Alfonso Peña
  • Theater Hall of the National Museum of Fine Arts (Dismantling the night) — Darsi Fernández
  • Legends of Cuban music: Antonio Machín (comic) — Adrián del Pino (Neos) and Yodalis Ramírez
  • The music industry in numbers: wasteland? (article) — Indira Hernández
  • Download — Roberto Diaz
  • Why is metadata relevant in the digital distribution of music? (Music clinic) — Darsi Fernández
  • Talking is complicated, photographing is not (gallery) — Evelyn Sosa
  • Another “exhumation” in Cuban music (review) —Pepe Menéndez
  • Wind and weather. Live in Blue Note Tokyo / Gonzalo Rubalcaba and Aymeé Nuviola (review) — Rosa Marquetti
  • The mambo formula / Juancho Valencia (review) — Rafael Valdivia
  • Havana's alternative night has a goddess: Telmary (profile) — Rafa G. Escalona

In addition they collaborated:

Jennifer Ancízar / Lysbeth Daumont / Håkan Moberg / Camilo Nieto / Eduardo Rawdriguez / Adalberto Roque

 

[1] Our journal has decided to use inclusive language, but does not impose it on its authors. From the first day we embarked on this adventure, they are free to write as they feel most comfortable.

Download the issue #8 of Magazine AM:PM

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  1. María Mercedes García Gómez says:

    Magnificent proposal to spread the legacy of music and especially for men and women of the world and in expert hands

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