Editorial

<abstract xmlns="http://www.w3.org/1999/xhtml">

Nashville, Tennessee, otherwise known as Music City, exhibits the characteristics of what has been called a creative business cluster that is centred around the business of country music. The presence of major record labels in the city devoted to the genre of music has created career opportunities for various types of music professionals as well as a community where there is a sense of camaraderie and cooperation among competitors. The community's success has bolstered the local economy due to the successes of the genre of music as well as the tourism country music has brought to the city. Business clusters have been shown to have life cycles that include the emerging phase, growing phase, sustaining stage and declining phase. This study utilises research from the literature on business clusters and their life cycles, along with the literature gained from the interviews of workers within the market, to determine where Music City currently lies along its creative cluster life cycle.
</abstract>

Nashville: The Creative Business Cluster and its Life Cycle

<abstract xmlns="http://www.w3.org/1999/xhtml">

Significant interest in non-fungible tokens (NFTs) as a means of changing the music industry has motivated this investigation. First, a comprehensive literature review (of strengths, weaknesses, opportunities and threats [SWOT]) provides a summary of the benefits and costs associated with the deployment of blockchain- and NFT-based transactions in the music industry. Considerable effort has been devoted to identifying the economic, legal and regulatory benefits and drawbacks of applying the new technology. NFTs may be the final realisation of the digital universe, bringing exclusivity and revenues to the creator economy and the chance to revalue creative work. The technology's drawbacks may exceed its advantages. Navigation within the crypto regulatory landscape is still deemed as exploring uncharted territory. It is further complicated by the fact that it is largely uncertain which legal framework may apply due to the lack of jurisdiction-identifying criteria. Second, quantitative research is conducted as an online survey directed towards two research questions: <italic>1) What is the extent of familiarity and knowledge related to NFTs, as well as perspectives on NFTs as potential disruptors? 2) What is the extent of music creators’ perception of NFT-related opportunities and NFT integration into the music industry?</italic> Twenty EU countries were selected for the survey. Respondents answered twenty questions focused largely on demographics, their awareness of NFTs and their perceived potential for disrupting the music industry. It is too early to say whether NFTs will be utilised successfully, especially by independent musicians. The arguments in favour of NFTs are compelling, but there are issues regarding the levels of awareness and competence required for implementation.
</abstract>

A Perspective on NFTs in the Arts-and-Music Industry<xref ref-type="fn" rid="j_ijmbr-2023-0006_fn_001">*</xref>

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

AHEAD OF PRINT

Volume 13 (2024): Issue 1 (April 2024)

Volume 12 (2023): Issue 2 (October 2023)

Volume 12 (2023): Issue 1 (April 2023)

Volume 11 (2022): Issue 2 (October 2022)

Volume 11 (2022): Issue 1 (April 2022)

Volume 10 (2021): Issue 2 (October 2021)

Volume 10 (2021): Issue 1 (April 2021)

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 art of music business research. Music business research is a scientific approach at the intersection of economic, artistic, especially musical, cultural, social, legal, technological developments that aims at a better understanding of the creation/production, dissemination/distribution and reception/consumption of the cultural good music. Thus, the IJMBR targets all academics, from students to professors, from around the world and from all disciplines with an interest in research on the music economy.  The journal is published biannual (April &amp; October) in English. The types of contribution include: research and review articles, research notes- and book reviews. The articles have been thoroughly peer reviewed by international specialists and promoted to researchers working in the same field.   With its generous financial support, the Universitetet i Agder/Norway enables the publication of the IJMBR.  There are no charges for authors to publishing articles in the IJMBR   Archiving  Sciendo archives the contents of this journal in Portico - digital long-term preservation service of scholarly books, journals and collections.  Plagiarism Policy  The editorial board is participating in a growing community of Similarity Check System's users in order to ensure that the content published is original and trustworthy. Similarity Check is a medium that allows for comprehensive manuscripts screening, aimed to eliminate plagiarism and provide a high standard and quality peer-review process. 

International Journal of Music Business Research

Volume 12 (2023): Issue 2 (October 2023)

Editorial

Editorial

Research Article

Nashville: The Creative Business Cluster and its Life Cycle

A Perspective on NFTs in the Arts-and-Music Industry^*

Book Review

Computing Taste: Algorithms and the Makers of Music Recommendation

Wyszukiwanie

Wszystkie tomy i zeszyty w tym czasopiśmie

International Journal of Music Business Research

Volume 12 (2023): Issue 2 (October 2023)

Editorial

Editorial

Research Article

Nashville: The Creative Business Cluster and its Life Cycle

A Perspective on NFTs in the Arts-and-Music Industry*

Book Review

Computing Taste: Algorithms and the Makers of Music Recommendation

Wyszukiwanie

Wszystkie tomy i zeszyty w tym czasopiśmie

A Perspective on NFTs in the Arts-and-Music Industry^*