As of 2019, the total number of Dutch pop music performances was roughly 14,400. A decreased when compared to the previous year. This statistic displays the total number of Dutch pop music performances in the Netherlands from 2010 to 2019.

This statistic displays the total value of revenue of popular music exported from in the Netherlands in 2019, by category (in million euros). As of 2019, the revenue of the export of Dutch music recordings amounted to roughly ** million euros.

This statistic displays the revenue of pop music exported from the Netherlands from 2007 to 2017 (in million euros). Figures include revenue from performances from Dutch acts outside the Netherlands, revenue from physical music recordings, music streaming services and merchandise, as well as revenue from music rights and royalties. In this period, the value of pop music exports increased nearly year on year. As of 2007, the revenue of pop music recordings exported was approximately ** million euros. By 2017, this had grown to over *** million euros.

This statistic displays the revenue of pop music performances exported from the Netherlands from 2011 to 2019, by category (in million euros). As of 2019, the revenue of pop music performances exported by EDM DJs was approximately *** million euros.

In 2019, following a ranking of the share revenue of exported pop music from the Netherlands, Germany had the biggest share with **** percent. In second and third place,the United Kingdom and Belgium had respectively ** and ** percent.

Dataset with an overview of POP subsidies in the Netherlands.

This statistic displays the revenue of pop music rights exported from the Netherlands from 2011 to 2018, by category (in million euros). As of 2018, the revenue of pop music rights exported by Buma was approximately **** million euros.

*************************************************** are the top two answers among Dutch consumers in our survey on the subject of "Preferred radio content by genre".Find this and more survey data on preferred radio content by genre in our Consumer Insights tool. Filter by countless demographics, drill down to your own, hand-tailored target audience, and compare results across countries worldwide.

Establishments in this sector sell various goods via stalls and markets. Goods include carpets and rugs; books; games and toys; household appliances and consumer electronics as well as music and video recordings.

This data-set contains all data and code for the paper 'Pop-in: the inversion of pop-out for a feature dimension during visual search in area V4 of the monkey cortex.'

Bosfunctie. Voorontwerp functiekaart, Provinciaal Omgevingsplan Drenthe. POPII, kaart 1.

In 2019, following a ranking of the share revenue by region of exported pop music from the Netherlands, the West and South Europe had the biggest share with approximately 65 percent. In second and third place, North America and Scandinavia had respectively 11 and nine percent.

"Pop / adult contemporary music" and "Dance / electronic music" are the top two answers among Dutch consumers in our survey on the subject of "Preferred audio content by genre".The survey was conducted online among ***** respondents in the Netherlands, in 2024. Looking to gain valuable insights about consumers of various digital music platforms worldwide? Check out our

Zoneringen. Voorontwerp functiekaart, Provinciaal Omgevingsplan Drenthe. POP-1, kaart 1.

This dataset contains approximately 100 confidential interviews from individuals and focus groups involved in the music industry and 60% of the data will be sound based. It is the Australian output of an ARC Discovery Project which commenced in 2010 and is a collaborative study, involving four Australian researchers and four international researchers. It aims to record national narratives of all kinds of audience interactions with music, from the super-fan down to the disinterested listener to discover the many ways music finds a place in how people remember their own past and that of the nation. The Australian chief investigators include Andrew Bennett, Sarah Baker and Alison Huber (Griffith University), Shane Homan at Monash University and Peter Doyle from Macquarie University. The international partner investigators include Sara Cohen (University of Liverpool), Timothy Dowd (Emory University) and Susanne Janssen (Erasmus University, Netherlands) and Regev Motti (The Open University of Israel). The project team have set up a web site which invites contributions from participants who send in accounts of their musical memories to be used as source material for publication in academic journal articles, book chapters and presentations by members of the project team. All contributions are anonymised, to protect the individual's identity and members of the project team may arrange a face-to-face interview to give participants the opportunity to expand on their written contributions. Through interviews with archivists, fans, cultural industry workers, presenters from television and radio shows and the audiences the project raises questions about the commercial viability of local popular music heritage for the music industry in Australia, Israel, Netherlands, UK and USA. For example, participants are asked about the national history narratives in the form of documentaries, such as “Love is in the air” (ABC series on pop music) and “Long way to the top” (ABC series on rock music). Producer participants are asked how they selected interviewees for the documentaries and audience members are shown episodes and asked "Do your memories correlate with what you see in documentaries?” In addition focus group interviews on popular music establish what have people collected in the way of fandom. The project will generate new insights into how audience articulations of the place of local popular music heritage in their negotiations of cultural identity might be re-articulated in the business practices of the global popular music industry in a technologically changing world. Analysis of the data has the potential to develop and strengthen community cohesion and also raise questions of how the voices of interviewees might be incorporated into the production and distribution practices of Australia’s music industry. It will be of interest to researchers undertaking studies in cultural memory, media, history, psychology and popular music.

In het door Provinciale Staten op 7 juli 2004 vastgestelde Provinciaal Omgevingsplan Drenthe II, is de cultuurhistorische gaafheid (hoogste, middelste of laagste) gerelateerd aan de onderscheiden landschapstypen opgenomen, die in dit bestand worden weergegeven.

In 2019 in the Netherlands, following a ranking of Dutch artists and their numbers of performances given abroad, it emerged that R3Hab had the most given shows abroad in 2019. In second and third place, Sam Feldt and Tiesto with *** and *** performances respectively.

Bosfunctie. Functiekaart, Provinciaal Omgevingsplan Drenthe. POP-1, kaart 1.

Indeling voor integrale gebiedsbeschrijving, deel E. Provinciaal Omgevingsplan Drenthe. POP-1, kaart 16.

Gebieden waar het diepe grondwater extra moet worden ontzien vanwege de relatie met de natuurwaarden. Provinciaal Omgevingsplan Drenthe. POP-1, blz. 166.