Nexus of Cultural Entrepreneurship and Digital Musicality: Exploring Afro-Diasporic Music Entrepreneurship in the Digital Music Industry
DOI:
https://doi.org/10.61629/ijmel.v1i1.8Keywords:
Nexus of Cultural Entrepreneurship, Digital Musicality, Afro-Diasporic music entrepreneurship, digital music platforms, entrepreneurial processes, cultural dynamics, challenges, inclusivityAbstract
This article presents a theoretical framework called the Nexus of Cultural Entrepreneurship and Digital Musicality (CEDM) to explore the intersection of migratory entrepreneurship, Afro-Diasporic music entrepreneurship, and emerging digital music platforms. The framework integrates concepts from cultural studies, entrepreneurship, musicology, and intercultural communication to analyze the entrepreneurial processes and cultural dynamics within the evolving landscape of digital music. The framework sheds light on the factors influencing migratory entrepreneurship and Afro-Diasporic music entrepreneurship within the digital music industry through its examination of these entrepreneurial endeavors. Key concepts such as migratory entrepreneurship, Afro-Diasporic music entrepreneurship, entrepreneurial opportunity recognition, cultural dynamics, and the role of technology and digital platforms are discussed, providing operationalized definitions for terms relevant to the study, such as music multimedia production, intercultural empathy, translatability, and Afro-Diasporic music entrepreneurship.
Furthermore, the article explores the challenges faced by Afro-Diasporic musicians in the music multimedia production industry and proposes innovative approaches to overcome these challenges. Opportunities discussed include embracing cultural authenticity, collaborating across borders, harnessing technological advancements, engaging with online communities, leveraging social media platforms, and building sustainable business models. The study aims to contribute to the understanding of migratory entrepreneurship, Afro-Diasporic music entrepreneurship, and cultural exchange within the digital music industry by analyzing theoretical perspectives and practical approaches. It seeks to guide researchers, practitioners, and policymakers in fostering inclusive and innovative entrepreneurial ecosystems.
In addition, the article presents an overview of nine compelling suggestions for future research in the field of empowering Afro-Diasporic musicians within the music multimedia production industry. These research directions aim to shed light on various aspects of the industry, addressing gaps in knowledge and providing valuable insights into the challenges faced by Afro-Diasporic musicians. The study aims to develop effective strategies, policies, and interventions that foster inclusivity, equality, and opportunities for Afro-Diasporic musicians in the rapidly evolving music multimedia landscape by exploring various areas such as socio-economic factors, representation and diversity, cultural preservation and innovation, digital platforms and technology, collaborative practices, the impact of social media, and more. The proposed research methodologies ensure robustness and validity in investigating these important topics, enabling researchers to contribute to the development of an empowering and supportive ecosystem for Afro-Diasporic musicians in the music multimedia production industry.
References
https://doi.org/10.1177/002743210709300514 DOI: https://doi.org/10.1177/002743210709300514
https://doi.org/10.1287/isre.1040.0020 DOI: https://doi.org/10.1287/isre.1040.0020
https://doi.org/10.4324/9780203941829 DOI: https://doi.org/10.4324/9780203941829
https://doi.org/10.1080/13691830500487266 DOI: https://doi.org/10.1080/13691830500487266
https://doi.org/10.3389/fnins.2017.00159 DOI: https://doi.org/10.3389/fnins.2017.00159
https://doi.org/10.1002/9781118783665.ieicc0054 DOI: https://doi.org/10.1002/9781118783665.ieicc0054
Brouillette, L., & Feder, S. (2010). Tracing cultural migration through music: An inquiry approach to enhancing global understanding.
https://doi.org/10.34053/artivate.11.3.197 DOI: https://doi.org/10.34053/artivate.11.3.197
https://doi.org/10.1080/10632913.2011.566088 DOI: https://doi.org/10.1080/10632913.2011.566088
https://doi.org/10.1177/0027432109341165 DOI: https://doi.org/10.1177/0027432109341165
https://doi.org/10.1111/j.1467-971X.2010.01678.x DOI: https://doi.org/10.1111/j.1467-971X.2010.01678.x
D'Amato, F. (2019). Digital platforms and the professionalization of DIY in the popular music field. The experiences of long-time independent musicians. In KISMIF conference 2018. Keep it simple, make it fast! An approach to underground music scenes (Vol. 4, pp. 136-149). Porto: Faculty of Arts and Humanities, University of Porto. DOI: https://doi.org/10.21747/978-989-8969-41-5/kee
https://doi.org/10.1016/j.intmar.2009.07.004 DOI: https://doi.org/10.1016/j.intmar.2009.07.004
https://doi.org/10.1080/13603116.2019.1610806 DOI: https://doi.org/10.1080/13603116.2019.1610806
https://doi.org/10.11647/OBP.0025 DOI: https://doi.org/10.11647/OBP.0025
Greene, K.J. (2007). Copy norms, Black Cultural Production, and the Debate over African-American Reparations. Cardozo Arts & Ent. LJ, 25, 1179.
https://doi.org/10.1017/S0265051703005357 DOI: https://doi.org/10.1017/S0265051703005357
https://doi.org/10.4324/9781315678627-128 DOI: https://doi.org/10.4324/9781315678627-128
https://doi.org/10.1177/0027432113494414 DOI: https://doi.org/10.1177/0027432113494414
https://doi.org/10.53761/1.9.1.8 DOI: https://doi.org/10.53761/1.9.1.8
Kiwan, N., & Meinhof, U.H. (2011). Music and migration: a transnational approach. Music and arts in action, 3(3), 3-20.
https://doi.org/10.1016/j.bushor.2011.01.005 DOI: https://doi.org/10.1016/j.bushor.2011.01.005
https://doi.org/10.1362/0267257041324025 DOI: https://doi.org/10.1362/0267257041324025
https://doi.org/10.1089/cpb.2006.9959 DOI: https://doi.org/10.1089/cpb.2006.9959
https://doi.org/10.1145/381641.381658 DOI: https://doi.org/10.1145/381641.381658
Lee, J.H., Downie, J.S., & Cunningham, S.J. (2005). Challenges in cross-cultural/multilingual music information seeking.
https://doi.org/10.1177/000312240807300501 DOI: https://doi.org/10.1177/000312240807300501
https://doi.org/10.1002/smj.188 DOI: https://doi.org/10.1002/smj.188
Murphy, S. (2020). Music marketing in the digital music industries - An autoethnographic exploration of opportunities and challenges for independent musicians. International Journal of Music Business Research, 9(1), 7-40.
Peltz, P. (2011, January). The scope of artist-entrepreneurship in the music industry. In Instruments of Change: Proceedings of the International Association for the Study of Popular Music Australia-New Zealand 2010 Conference (pp. 97-101). Melbourne, Vic.: International Association for the Study of Popular Music. DOI: https://doi.org/10.1093/gmo/9781561592630.article.a2256895
https://doi.org/10.46776/jaee.v3.97 DOI: https://doi.org/10.46776/jaee.v3.97
https://doi.org/10.1016/j.linged.2007.07.007 DOI: https://doi.org/10.1016/j.linged.2007.07.007
https://doi.org/10.1109/KELVAR.2017.7961562 DOI: https://doi.org/10.1109/KELVAR.2017.7961562
https://doi.org/10.1016/j.compcom.2009.02.004 DOI: https://doi.org/10.1016/j.compcom.2009.02.004
Stafford, S.A. (2010). Music in the digital age: The emergence of digital music and its repercussions on the music industry. The Elon Journal of Undergraduate Research in Communications, 1(2), 112-120.
Stanyek, J. (2004). Diasporic improvisation and the articulation of intercultural music. University of California, San Diego.
https://doi.org/10.1016/j.lrp.2009.07.003 DOI: https://doi.org/10.1016/j.lrp.2009.07.003
Tschmuck, P. (2006). Creativity and innovation in the music industry (pp. 205-230). Springer Netherlands.
https://doi.org/10.5539/elt.v4n1p116 DOI: https://doi.org/10.5539/elt.v4n1p116
Published
Issue
Section
License
Copyright (c) 2023 International Journal of Music Entrepreneurship and Leadership
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.