<abstract>
<title style='display:none'>Abstract</title>
Along with the rapid growth of China's music industry, laws and policies that protect music copyrights are also gradually improving. However, the distribution of copyrights among major music platforms is uneven. Music copyrights have become an effective implement for the major music companies in China to eliminate players in the market and create barriers to the industry. This paper analyses the cause of the uneven distribution of music copyrights among music platforms, discusses how this situation leads to an oligopoly that affects the consumers and music producers, and indicates some possible solutions.
</abstract>

Challenge in China's Digital Music Industry: How the Protection of Music Copyright Causes Oligopoly

<abstract>
<title style='display:none'>Abstract</title>
The recent adoption of article 17 in the EU's new Directive on Copyright in the Digital Single Market has led to much debate. Proponents believe it will facilitate fair and balanced competition, while opponents fear increased censorship and surveillance on the Internet. Based on comprehensive document analysis, the paper explores the relationship between regulation and innovation. Through a study into article 17's implementation in Denmark, this paper investigates how article 17 will affect the innovation processes in the European music industry. The paper argues that although article 17 strengthens the rightsholders’ negotiation position, it does not decrease its dependence on the external IT Sector and its innovations.
</abstract>

The Impact of Article 17 – A Study into its Effects on the Music Industry's Innovation Processes

<abstract>
<title style='display:none'>Abstract</title>
Following the tragic suicide of Avicii (Tim Bergling) in 2018, many in the popular media, and reportedly the musician’s own family, were seen to question the ethics of decisions taken by his manager (<xref ref-type="bibr" rid="j_ijmbr-2021-0001_ref_055">Williams, 2018</xref>; <xref ref-type="bibr" rid="j_ijmbr-2021-0001_ref_041">Ralston, 2018</xref>). By applying a moral intensity test (<xref ref-type="bibr" rid="j_ijmbr-2021-0001_ref_030">Jones, 1991</xref>) in the form of a scenario-based questionnaire to six music managers based in London (UK), this article interrogates how and why music managers make the moral and ethical choices they do. The findings suggest that music managers are aware of ethical challenges emanating from their work, but that the relatively informal, loosely regulated nature of the music workplace complicates the negotiation of ethical and moral tensions. However, music managers’ close awareness of the ‘social consensus’ and ‘proximity’ of moral intensity suggests that cultural (as opposed to regulatory) change can help guide and inform managerial decision-making.
</abstract>

University of Westminster & Goldsmiths, University of London

Moral Music Management: Ethical Decision-Making After Avicii

Editorial

<abstract>
<title style='display:none'>Abstract</title>
The research focusses on understanding the controls and predicting singers’ work efficiency, which is measured by rework times (RwT) in the recording studios. We conducted a comprehensive literature synthesis to identify a set of nine critical factors combining advancements in both acoustic field and recording practice. We measured each of these potential variables while 10 individual singers performed the same original song independently. The pieces of music sentences (n = 380) were analyzed by the multiple linear regression method. We found that:
<list list-type="order">
<list-item>In the recording process, the RwT of a singer are predicted mainly by intensity, singing duration (SinD) and rhythm consistency.</list-item>
<list-item>SinD mediates the connection between intensity and RwT.</list-item>
<list-item>A singing peak exists in the performance.</list-item></list>
</abstract>

Factors Predicting Singers’ Work Efficiency and Singers’ Singing Peak

Chokepoint Capitalism: How Big Tech and Big Content Captured Creative Labour Markets and How We Will Win Them Back

Artificial Intelligence and Music Ecosystem

<abstract>
<title style='display:none'>Abstract</title>
The academic study of music business is becoming increasingly relevant as the creative industries evolve with developing digital and knowledge economies. Utilising a small-scale survey, this study considers indicators of successful career development as perceived by music business graduates to examine the ambitions of music business students, the design of inclusive competency frameworks and implications for policy discourse beyond a reliance on simplistic metrics.
</abstract>

Music Business Education in the Global Creative Industries: Curriculum design, inclusive practice and measures of success

<abstract>
<title style='display:none'>Abstract</title>
It is a fact that the past research has explored service-dominant logic (S-D logic) and value co-creation in music marketing (<xref ref-type="bibr" rid="j_ijmbr-2021-0002_ref_010">Choi &amp; Burnes 2013</xref>; <xref ref-type="bibr" rid="j_ijmbr-2021-0002_ref_026">Gamble &amp; Gilmorex 2013</xref>; <xref ref-type="bibr" rid="j_ijmbr-2021-0002_ref_027">Gamble 2018</xref>; <xref ref-type="bibr" rid="j_ijmbr-2021-0002_ref_075">Saragih 2019</xref>), yet a key aspect of S-D logic, namely resource integration, is an unexplored territory and a promising phenomenon of study. A scattering of evidence demonstrates how actors, whether individuals or organisations, in the music industry are making value propositions and providing operand resources to users of platforms (<xref ref-type="bibr" rid="j_ijmbr-2021-0002_ref_072">Poell, Nieborg, &amp; Van Dijck 2019</xref>), which may result in resource integration and commercial success at a quick pace and on a global scale. Using secondary data in an archival research approach (<xref ref-type="bibr" rid="j_ijmbr-2021-0002_ref_098">Welch 2000</xref>), this paper examines TikTok, a rapidly growing platform where users integrate short (e.g., under 15 s) clips of commercial music into user generated video content in which users dance to, lip-sync with, accept social challenges, integrate hashtags and create memes based on musical content. Further, there is a discussion on evidence about how music is being used by actors on TikTok in order to argue that (a) S-D logic (<xref ref-type="bibr" rid="j_ijmbr-2021-0002_ref_092">Vargo &amp; Lusch 2016</xref>) is an insightful perspective through which one is able to understand music marketing; (b) music providers essentially make value propositions with their music that other actors, such as music consumers, can integrate into their lives through platforms like TikTok; (c) changes in technology affect such resource integration and how actors in the music industry can adapt to such change; (d) value-in-social-context (<xref ref-type="bibr" rid="j_ijmbr-2021-0002_ref_020">Edvardsson, Tronvoll, &amp; Gruber 2010</xref>) is a driver of resource integration by users on the platform; and (e) this example of value created by users on TikTok is just one example of the many types of value which guide action and interaction on today’s music platforms. The discussion and analysis is concluded with several implications for research and practice.
</abstract>

Resource Integration, Value Co-Creation, and Service-dominant Logic in Music Marketing: The Case of the TikTok Platform

<abstract>
<title style='display:none'>Abstract</title>
Active and co-creative audiences are sought, used, tracked and taken for granted in the quest for strong music brands. Fan communities are co-opted to build value for brands and used to foster communication in transmedia marketing campaigns. However, when focusing on audiences and fans’ digital media activities, digital traces and numbers, important questions of motivations, expectations, experiences, morals and power structures are often overlooked. Drawing on a digital ethnographic study and an interdisciplinary perspective, we investigate a fan community of the Swedish artist Robyn, both online and offline. The article contributes to the concepts of fandom and brandom and the notion of value. It also adds to the knowledge about the perspective of fans and fans’ motivations for taking part and co-creating value in a highly commercialised and strategised music market.
</abstract>

Hang with Me—Exploring Fandom, Brandom, and the Experiences and Motivations for Value Co-Creation in a Music Fan Community

<abstract>
<title style='display:none'>Abstract</title>
This paper focuses on how digitalisation has influenced actors’ value determination and value creation in the Swedish music market. It draws on the service-dominant logic (SDL) and the service ecosystem perspective to conceptualise value as co-created through the integration of resources by multiple actors in service exchange, enabled and constrained by institutions and institutional arrangements. Empirically, we draw on a qualitative study of the digitalisation of the Swedish music market that consists of fifty-two interviews with various actors. The findings suggest that digitalisation has influenced service engagement and consequently value creation and determination for various actors, and especially for consumers and producers. This paper contributes by integrating SDL and the service ecosystem perspective into music business research in a novel way to promote a deeper understanding of value, value determination, and value co-creation. This paper also contributes to SDL by suggesting that both value-in-exchange and value-in-use are important aspects of value determination and value co-creation.
</abstract>

How Has Digitalisation Influenced Value in the Music Market?

<abstract>
<title style='display:none'>Abstract</title>
This article takes a look at the ever expanding and increasingly commercially significant world of live music streaming through the nexus of electronic dance music. After charting the history of live music streaming, the article outlines the positive impacts that live music streaming has on promotion, sales and preservation of rare ethno-folk musics. However, interviews with industry insiders reveal opaque practices, where copyright enforcement is specifically utilised by a few large broadcasters in such a way as to maintain the dominance of their position within the live music streaming industry. A heightened agency in the hands of major corporations over what music audiences can see or hear is also identified. This article concludes that as live music streaming is co-opted across more music genres, these opaque practices will likely transfer across genre boundaries too. As such, it is important for live music streaming to come under further examination within the academy.
</abstract>

Stream of Conscience? Live Music Streaming: Utility, Capital and Control

<italic>Computing Taste</italic>: Algorithms and the Makers of Music Recommendation

Editorial Policy

Guidelines for Reviewers

Instructions for Authors

International Journal of Music Business Research

The International Journal of Music Business Research (IJMBR) as a double-blind reviewed academic journal provides a platform to present articles of merit and to shed light on the current state of...

The International Journal of Music Business Research (IJMBR) as a double-blind reviewed academic journal provides a platform to present articles of merit...