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        <title>International Journal of Music Business Research Feed</title>
        <link>https://sciendo.com/journal/IJMBR</link>
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            <title>International Journal of Music Business Research Feed</title>
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            <link>https://sciendo.com/journal/IJMBR</link>
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        <copyright>All rights reserved 2026, International Music Business Research Association (IMBRA)</copyright>
        <item>
            <title><![CDATA[Indie Agility or Major Might: Evaluating the Internationalisation Strategies of Canadian Recording Artists in the Early 2020s]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2026-0003</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2026-0003</guid>
            <pubDate>Wed, 11 Mar 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[

Recording artists from smaller markets often face a strategic choice: signing with a domestic independent label or the local branch of a major multinational label (Universal, Sony or Warner). The dominant narrative suggests that major labels provide the best pathway to international success, but this study challenges that assumption by providing the first systematic, quantitative comparison of major-label and independent pathways in the Canadian recorded music industry. Using music consumption and audience data from Chartmetric and other public sources, the study applies the Mann-Whitney U test and a point-biserial correlation coefficient to evaluate the effectiveness of these models. The findings reveal that while major labels provide early advantages in social media growth, this influence diminishes as artists progress in their careers. Independent labels achieve a comparable rate of international success, suggesting that major-label affiliation does not guarantee superior outcomes. These findings challenge assumptions about major-label dominance in global markets and suggest that independent labels remain viable internationalisation pathways, even in a platform-driven industry.
]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Down, and Under Pressure: The Decline of the New Music Economy in Australia 2000–2024]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2026-0002</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2026-0002</guid>
            <pubDate>Tue, 10 Mar 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[

The introduction of streaming technology as a means of recorded music distribution created paradigm shifts in the consumption and remuneration of recorded music. Moving from an ownership to an access economy, the flow of recorded music revenue is now predominantly determined by consumer listening habits rather than purchase decisions. It is documented that the rise of streaming correlates with the return to growth of the recorded music industry. Less has been written about the distinction in value between catalogue and new release recordings in the streaming economy. This article quantitatively analyses the Australian Recording Industry Association (ARIA) annual net wholesale revenues 2000–2024 and the Australian annual top 100 single and album charts 2000–2024 to determine the impact of streaming on new music revenues in Australia. Qualitative context is added by way of interviews with artists and creative managers (Hesmondhalgh, 2019, p. 93)1 in the Australian market. The data reveals that new music revenues and chart share have declined significantly during the period. The findings raise investment, streaming remuneration and cultural issues for artists releasing new recordings in the Australian music economy.
]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Editorial]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2025-0010</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2025-0010</guid>
            <pubDate>Sat, 04 Oct 2025 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Icazuriaga, Jon (Ed.) (2025) De pasión a profesión. Manual de la industria musical, Liburuak, Bilbao. 21 × 29 cm, 2 vols., 800 pp.]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2025-0009</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2025-0009</guid>
            <pubDate>Thu, 11 Sep 2025 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Challenging the Stigma: A Global Case for Artist Autonomy, Self-Governance and the Manager-as-Employee Model in the Music Industry]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2025-0008</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2025-0008</guid>
            <pubDate>Thu, 11 Sep 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

A prevailing standard in the global music industry posits that every musician necessitates a manager to oversee strategic planning, negotiations, and commercial intricacies. This paper contests the prevailing norm by advocating for a manager-as-employee paradigm, based on the principal–agent theory and entrepreneurship studies, in which the artist is redefined as the business principal who engages a manager for specialised functions. Utilising historical trends and the contemporary digital landscape, this article illustrates that musicians actively participate in many entrepreneurial endeavours—such as budgeting, branding and distribution—and thus need not relinquish overall authority to a manager. The article contends that, notwithstanding the valuable connections and experience offered by reputable managers, contractual agreements should prioritise the artist's creative vision and financial independence. It delineates how artists might work, examining practical frameworks such as project-based management agreements, and promoting wider acknowledgement of music as a viable vocation. The conclusion urges industry stakeholders—labels, promoters, media and educational institutions—to endorse a paradigm where artist liberty is the norm rather than the anomaly.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Small, Informal Music Venues Creating Performance Opportunities for Artists in a Minority Language Music Scene: A Study Based in North Wales]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2025-0007</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2025-0007</guid>
            <pubDate>Mon, 08 Sep 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

This study analyses how small music venues and festivals contribute to the nature of a largely non-urban music market where a minority language plays a significant role. The studied non-urban market is marked by geographical isolation and a unique cultural identity. A qualitative dataset consisting of twelve semi-structured interviews alongside secondary data was used to gain insights into the characteristics of music venues in the North Wales music scene, where a minority language market exists. It was explored that even without sufficient funding and infrastructure, a non-urban music scene can thrive due to strong community engagement and participation, emerging not only from the region's remoteness and geographical isolation but also from a shared minority language and culture.
]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[De Azeredo and Alem (2025). Negócios da música: um guia descomplicado para artistas e bandas. Dialética]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2025-0006</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2025-0006</guid>
            <pubDate>Mon, 08 Sep 2025 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The Democratic Financialisaton of the Music Industries: On JKBX and the Assetization of Music Rights]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2025-0005</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2025-0005</guid>
            <pubDate>Thu, 04 Sep 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

This paper examines the implications of JKBX's entry in the fractional song trading market. JKBX is positioned as a platform that offers inclusive access to a facility typically limited to institutional investors in the music industries. Their messaging suggests that their services have the capacity to disrupt the socio-political foundations of the music industries through economic offerings to a large pool of music-loving investors. Yet, the purchase restrictions for the sale of royalty shares in JKBX's offering circulars outline preconditions that are discordant with claims of wide scale democratisation of access to music assets. This paper argues that the wide scale emergence of music as an asset class is a reproduction of hybridised forms of existing modes of extraction guised as democratic enterprising.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Editorial]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2025-0004</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2025-0004</guid>
            <pubDate>Wed, 23 Apr 2025 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Andreas Sønning (2024): Creative Concert Production and Entrepreneurship: Concert Dramaturgy and Project Development for the Performing Arts, Routledge Publishing]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2025-0003</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2025-0003</guid>
            <pubDate>Tue, 15 Apr 2025 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Integrating Stakeholder Values in System of Collective Management of Music Copyrights: A Value-Sensitive Design Approach]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2025-0002</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2025-0002</guid>
            <pubDate>Fri, 21 Mar 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

This study examined the integration of stakeholder values into the governance and technological system of collective management of music copyrights (SCMMC) in the Netherlands. Using a value-sensitive design approach, we identified and structured core values—justice, equity, fairness, transparency, ownership, accountability, and accuracy—into a framework of norms and technological and institutional system requirements. The qualitative semi-structured interview with thematic coding was applied as the method for qualitative data gathering and analysis: two rounds of a total of 24 interviews were utilised for this purpose. This framework serves as a conceptual tool for refining governance practices and technological implementations in SCMMC. Our findings highlight governance challenges and value tensions. Transparency, for instance, is critical for rights holders but often constrained by privacy and competitive pressures in licencing. Likewise, the pursuit of efficiency may compromise fairness and accountability, disproportionately affecting smaller rights holders. While Directives 2014/26/EU and 2019/790/EU aimed to enhance competition, they placed operational burdens on collective management organisations, affecting their ability to uphold fundamental values. This study is limited by its reliance on qualitative data from a select group of stakeholders, in the Netherlands, reducing generalisability. Future research should incorporate quantitative validation, broader stakeholder representation, and cross-regional comparisons. Further investigations should also focus on translating these insights into concrete institutional and technological requirements, ensuring that governance mechanisms remain adaptable to evolving music copyrights industry conditions.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Frontline Trenches or, Rather, Open Borders? The Multi-Territorial Licensing and Digital Export of Czech Music]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2025-0001</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2025-0001</guid>
            <pubDate>Tue, 18 Feb 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

The article explores the impact of the Directive on collective management and multi-territorial licensing 2014/26/EU on the music industry in the Czech Republic. The analysis focusses on the transaction costs associated with granting multi-territorial licence for online distribution of music content, the position of Czech collective rights management organisations vis-à-vis providers of online music services, and the availability of Czech repertoire in the catalogues of streaming services offered worldwide. For the purpose of contextual analysis of the functioning of the digital music market in the EU and its impact on the availability of Czech music content in the offerings of online music services abroad, we will also use a comparison with the results of our previous research on licensing in the audiovisual sector and its impact on the availability of Czech audiovisual content in the offerings of online audiovisual services. The aim of the comparison is to describe the differences and similarities between the licensing regimes of both markets for copyright-protected content and to identify the causes or reasons for the better or worse international availability of Czech music and audiovisual content in the offerings of digital services abroad.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Exploring the Relevance of Values Generated by Music Organisations in Consumers]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2024-0011</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2024-0011</guid>
            <pubDate>Wed, 04 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[

The digital revolution has significantly changed the way music is consumed, particularly among young people. This technological transformation, coupled with economic and sociocultural shifts, has heightened interest in studying music consumption across various scientific disciplines. However, the identity of music consumers, demographic influences and the diversity of consumption in today’s context remain areas ripe for exploration. To contribute to this line of inquiry, this paper employs the arts and cultural organisation (ACO) model (Addis &amp; Rurale 2021) to conduct exploratory research on music values from the consumer perspective. An electronic survey was utilised as the data gathering technique among music listeners. The results highlight the significance of music in fostering personal joy and creating community, along with the considerable value attributed to music as a catalyst for discussion and innovation. Moreover, the well-being value is associated with entertainment, joy and relaxation derived from listening to music. Finally, age emerges as a variable capable of elucidating trends in the assessment of creativity and well-being values.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Impact of COVID-19 on Basque Musicians: Identifying Main Associations]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2024-0009</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2024-0009</guid>
            <pubDate>Thu, 31 Oct 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[

In a context marked by restrictions due to COVID-19 pandemic, this article analyses the impact of COVID-19 on Basque musicians’ activity, income, future expectations and life satisfaction. A survey was conducted in 2021 among Basque musicians belonging to MUSIKARI association. Associations among selected variables were analysed calculating correlation rates and conducting inference tests using SPSS software (IBM SPSS statistics). We found that despite the severe damage done by COVID-19 on musicians’ activity and income, this damage has been homogeneous among different types of musicians. We also find that future expectations are strongly conditioned by musicians’ characteristics.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Editorial]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2024-0010</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2024-0010</guid>
            <pubDate>Thu, 31 Oct 2024 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Australian Music Business Managers' Views of Working with and Supporting Birth Parents After Career Breaks]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2024-0007</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2024-0007</guid>
            <pubDate>Wed, 04 Sep 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[

The career planning and working conditions of music industry workers are largely shaped by the organisations, clients and cultures they work with and within. Music industry workers have been model “gig” workers, often employed under project-based contracts, or as freelancers and sole traders, making job security and hence financial security a key concern for workers in the sector. This is even more challenging for women and gender non-conforming people who have given birth. While the business interests of larger music labels have been accounted for in “portfolio” and “DIY” career development models, the views and interests of small-to-medium enterprises and microbusinesses are not as readily apparent. This paper contributes to redressing this absence through presenting findings of focus groups and interviews with music business managers from Victoria, Australia. While employers generally aim to support birth parents, they view motherhood as necessarily conflicting with music careers and frame the music industries as unfriendly to women. This results in a situation where employers can externalise both the risk of and solutions for the disruptions and the disadvantages having a child creates for women, where women are ultimately seen as responsible for enacting individualised forms of change to advance their careers, and the provision of services to facilitate this is seen as the responsibility of government or music-focused organisations. While such attitudes are indicative of ostensive support for changes to better support returning workers, they also act to legitimise the systemic forms of inequality that face returning workers.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Down, and Under Pressure: The Decline of Local and Non-Anglo Best-Selling Recording Artists in Australia 2000–2023: Submitted to the International Journal of Music Business Research 14.06.24.]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2024-0008</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2024-0008</guid>
            <pubDate>Wed, 04 Sep 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[

The global consolidation and platformitisation of recorded music have attracted attention to changes in local artist representation in national sales charts and, more broadly, to the diversity of nationalities within recorded music markets. Global platform distribution has been perceived to aid local music economies and the diversity of cultural production. This article quantitatively analyses the annual Australian top 100 single and album charts 2000–2023 to determine Australian artist representation, Indigenous artist representation and diversity of nationality over the period. The data reveals, contrary to propositions of glocalisation and internationalisation, that Australian and non-Anglo artist representation has declined significantly, while North American and British artists have increased their presence in the Australian charts. It also finds that Indigenous chart representation over the period is low, stable and in line with population ratios. The data raises issues for artists, companies, policy makers and consumers in the Australian music industries.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Newton, Travis (2022) Orchestra Management Handbook: Building Relationships in Turbulent Times, Oxford University Press, New York. 246 pp.]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2024-0006</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2024-0006</guid>
            <pubDate>Thu, 11 Jul 2024 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Editorial]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2024-0005</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2024-0005</guid>
            <pubDate>Mon, 08 Apr 2024 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Factors Predicting Singers’ Work Efficiency and Singers’ Singing Peak]]></title>
            <link>https://sciendo.com/article/10.2478/ijmbr-2024-0004</link>
            <guid>https://sciendo.com/article/10.2478/ijmbr-2024-0004</guid>
            <pubDate>Sat, 30 Mar 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[

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:

In the recording process, the RwT of a singer are predicted mainly by intensity, singing duration (SinD) and rhythm consistency.
SinD mediates the connection between intensity and RwT.
A singing peak exists in the performance.
]]></description>
            <category>ARTICLE</category>
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