Philippine E-Journals

References:

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2.            Adelman-Larsen, N. W. (2014). Rock and Pop Venues. Acoustic and Architectural De-sign. Berlin/Heidelberg.

3.            Aguiar, L., & Waldfogel, J. (2018). As streaming reaches flood stage, does it stimulate or depress music sales? doi:10.1016/j.ijindorg.2017.06.004

4.            Allen, P. (2018). Artist management for the music business. Elsevier/Focal Press.

5.            Aprikian, A., & Dekker, E. (2020). Major Rec-ord Labels’ Strategic Positioning in the Digital Popular Music Market.

6.            Balbi, G., & Magaudda, P. (2018). A history of digital media: An intermedia and global perspective. Routledge.

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15.         Boswinkel, Koen & van Meerkerk, Ed-win. (2023). Creative hubs: an anomaly in cultural policy?. DOI: 10.1080/10286632.2022.2107636

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22.         Career success of pop musicians in the Nether-lands. Poetics, 37(3), 250-266.

23.         Casiño, T. (2010). House Bill No. 3787. An Act Providing for Tax Exemptions and Subsi-dies for The Local Music Industry and Amending for This Purpose Certain Sec-tions of The Local Government Code Of 1991.

24.         Chow, A. R. (2020). Musicians Using AI to Cre-ate Otherwise Impossible New Songs. Re-trieved from https://time.com/5774723/ai-music/

25.         Clarke, V., & Braun, V. (2013). Successful Qual-itative Research: A Practical Guide for Beginners.

26.         Connolly, M., & Krueger, A. B. (2006). Rocko-nomics: The Economics of Popular Music. In Ginsburgh, V.A., and Throsby, D. (Eds.), Handbook of the Economics of Art and Culture, 1, 667–719. Amsterdam (NL) North-Holland. https://doi.org/10.1016/S1574-0676(06)01020-9.

27.         Couldry, N., & Hepp, A. (2018). The mediated construction of reality. John Wiley & Sons.

28.         Creech, A. (2010). Learning a musical instru-ment: The case for parental sup-port. Music Education Research, 12(1), 13-32.

29.         Cwynar, C., & Fauteux, B. (2020). Introduction to public radio and music in the stream-ing era symposium music in the public service: Public radio and music in the streaming era. Journal of Radio & Audio Media, 27(1), 4–7. https://doi.org/10.1080/19376529.2019.1706260

30.         Dai, J., & Vasarhelyi, M. A. (2017). Toward blockchain-based accounting and assur-ance. Journal of information sys-tems, 31(3), 5-21.

31.         David, M. (2009). Peer to peer and the music industry: The criminalization of shar-ing. Peer to Peer and the Music Industry, 1-200.

32.         Day, D. V., Riggio, R. E., Tan, S. J., & Conger, J. A. (2021). Advancing the science of 21st-century leadership development: Theory, research, and practice. The Leadership Quarterly, 32(5), 101557.

33.         De Cuyper N., Mäkikangas A., Kinnunen U., Mauno S., Witte H. D. (2012). Cross-lagged associations between perceived external employability, job insecurity, and exhaustion: Testing gain and loss spi-rals according to the conservation of re-sources theory. Journal of Organizational Behavior, 33(6), 770–788.

34.         Deahl, D. (2019). We've been warned about AI and music for over 50 years, but no one's prepared. https://www.theverge.com/2019/4/17/18299563/ai-algorithm-music-law-copyright-human

35.         Denk, J., Burmester, A., Kandziora, M., & Clem-ent, M. (2022). The impact of COVID-19 on music consumption and music spend-ing. PLOS ONE, 17(5), e0267640. https://doi.org/10.1371/journal.pone.0267640  doi:10.1080/ 17510694.2015.1096618

36.         Dovey, J., Pratt, A. C., Moreton, S., Virani, T. E., Merkel, J., & Lansdowne, J. (2016). The creative hubs report: 2016.

37.         DuBrin, A. J. (2012). Essentials of manage-ment. South-Western.

38.         Ellemers, N. (2018). Gender stereo-types. Annual review of psychology, 69, 275-298.

39.         Evans, M. (2013). 'What Constitutes Artist Suc-cess in the Australian Music Indus-tries?'. International Journal of Music Business Research (IJMBR).

40.         Everts, R., Hitters, E., Berkers, P. (2021). The working life of musicians: mapping the work activities and values of early-career pop musicians in the Dutch music indus-try. Creat Ind J 15:97–117. https://doi.org/10.1080/17510694.2021.1899499

41.         Farooqi, A. (2021). Regional hip hop and the seoul metropole: A case study of under-ground hip hop in gwangju. Journal of World Popular Music, 7(2). https://doi.org/10.1558/jwpm.42674

42.         Fernández-Company, J. F., Ondé, D., & García-Rodríguez, M. (2022). Autoestima y Satis-facción con la Vida en Músicos y Población General. Revista Iberoameri-cana de Diagnóstico y Evaluación – e Avaliação Psicológica, 63(2), 73. https://doi.org/10.21865/RIDEP63.2.06

43.         Fugard, A.J., Potts, H.W. (2015). Supporting thinking on sample sizes for thematic analyses: a quantitative tool. Int J Soc Res Methodol.: 669–684. Doi: 10.1080/13645579.2015.1005453.

44.         Galuska, P., & Bystrov, V. (2014). Crowdfund-ing: A Case Study of a New Model of Fi-nancing. Journal of Internet Commerce, 13(3/4), 233–252. https://doi.org/10.1080/15332861.2014.961349

45.         Gateau, T. (2014). The role of open licences and free music in value co-creation: the case of misteur valaire. International Journal of Arts Management, 16(3), 49.

46.         Gillespie, T. (2010). The politics of ‘platforms’. New Media & Society, 12(3), 347-364. https://doi.org/10.1177/1461444809342738

47.         Graham, R. (2017). Google and advertising: digital capitalism in the context of Post-Fordism, the reification of language, and the rise of fake news. Palgrave Communi-cations, 3(1).

48.         Grazian, D. (2009, December). Urban Nightlife, Social Capital, and the Public Life of Cities 1. In Sociological Forum (Vol. 24, No. 4, pp. 908-917). Oxford, UK: Blackwell Pub-lishing Ltd.

49.         Guest, G., Bunce, A., & Johnson, L. (2006). How many interviews are enough? An experi-ment with data saturation and variabil-ity. Field Meth-ods. Doi: 10.1177/1525822X05279903.

50.         Guest, G., Namey, E., Chen, M. (2020). A simple method to assess and report t     hematic saturation in qualitative research. PLOS ONE 15(5): e0232076. https://doi.org/10.1371/journal.pone.0232076

51.                         Hanna, W. (2007). The new Bloom's taxono-my: Implications for music educa-tion. Arts Education Policy Re-view, 108(4), 7-16.

52.         Haynes, J., & Marshall, L. (2018). Reluctant en-trepreneurs: musicians and entrepre-neurship in the ‘new’music industry. The British Journal of Sociology, 69(2), 459-482.

53.         Hennekam, S., Macarthur, S., Bennett, D., Hope, C., & Goh, T. (2019). Women composers’ use of online communities of practice to build and support their ca-reers. Personnel Review, 49(1), 215–230. https://doi.org/10.1108/pr-02-2018-0059

54.         Hesmondhalgh, D. (2018). The cultural indus-tries. The Cultural Industries, 1-568.

55.         Holdford, D. A. (2003). Leadership theories and their lessons for pharma-cists. American Journal of Health-System Pharmacy, 60(17), 1780-1786.

56.         Holroyd, C. (2019). Digital content promotion in Japan and South Korea: Government strategies for an emerging economic sec-tor. Asia & the Pacific Policy Studies, 6(3), 290-307.

57.                         Holt, F. (2010). The economy of live music in the digital age. European Journal of Cul-tural Studies, 13(2), 243–261. https://doi.org/10.1177/1367549409352277

58.         House of Commons’ Digital, Culture, Media and Sport Committee (2019). Live Music. Ninth Report of Session 2017–19, https://publications.parliament.uk/pa/cm201719/cmselect/cmcumeds/733/733.pdf https://doi.org/10.1111/1758-5899.12821

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59.         Intercontinental Music Awards [ICMA]. (2023). Music and ai: The pros, cons, and ethical implications. InterContinental Music Awards. https://www.intercontinentalmusicawards.com/music-and-ai-the-pros-cons-and-ethical-implications/

60.         Janke, K. K., Nelson, M. H., Bzowyckyj, A. S., Fuentes, D. G., Rosenberg, E., & DiCenzo, R. (2016). Deliberate integration of stu-dent leadership development in Doctor of Pharmacy programs. American Journal of Pharmaceutical Education, 80(1), 2. https://doi.org/10.5688/ajpe8012

61.         Jeong, J., & Choi, M. (2017). The Expected Job Satisfaction Affecting Entrepreneurial In-tention as Career Choice in the Cultural and Artistic Indus-try. Sustainability. 9(10):1689. https://doi.org/10.3390/su9101689

62.         Kenney, M., & Zysman, J. (2016). The rise of the platform economy. Issues in science and technology, 32(3), 61.

63.         Koltay, T. (2011). The media and the literacies: Media literacy, information literacy, digi-tal literacy. Media, culture & socie-ty, 33(2), 211-221. doi:10.1177/0163443710 393382.

64.                         Kruse, N. B. (2012). Adult community musi-cians’ self-esteem of music ability. Re-search Studies in Music Education, 34(1), 61–72. https://doi.org/10.1177/1321103X12438655

65.         Kusek, D., Leonhard, G., & Lindsay, S. G. (2005). The future of music: Manifesto for the digital music revolution.

66.         Lahutina, I. V. (2010). Upravlinnia Proektamy v Kulturnii Industrii [Project Manage-ment in the Cultural Industry]. Kyiv: Slo-vo (in Ukr.).

67.         Lam C. F., Liang J., Ashford S. J., Lee C. (2015). Job insecurity and organizational citizen-ship behavior: Exploring curvilinear and moderated relationships. Journal of Ap-plied Psychology, 100(2), 499.

68.         Langley, P., & Leyshon, A. (2017). Platform capitalism: the intermediation and capi-talization of digital economic circula-tion. Finance and society., 3(1), 11-31.

69.         Le, K. N. (2019). Barriers to Financial Compen-sation for Artists in the Recording Indus-try in the Digital Age. McNair Scholars Research Journal, 12(1), 5.

70.         Lusardi, A., & Mitchell, O. S. (2014). The eco-nomic importance of financial literacy: Theory and evidence. American Econom-ic Journal: Journal of Economic Litera-ture, 52(1), 5-44.

71.         Majeed, R. (2021). Artificial Intelligence in the Music Industry. https://uwaterloo.ca/arts-computing-newsletter/spring-2021/feature/artificial-intelligence-music-industry

72.         Marshall, L. (2015). ‘Let's keep music special. F—Spotify’: on-demand streaming and the controversy over artist royal-ties. Creative Industries Journal, 8(2), 177-189.

73.         Milam, B. (2019). Exploring Financial Literacy of Independent Musicians in the Gig Economy.

74.         Miller, R., & Lessard, D. R. (2001). The strate-gic management of large engineering projects: Shaping institutions, risks, and governance. MIT press.

75.         Moorefield, V. (2010). The producer as com-poser: Shaping the sounds of popular mu-sic. Mit Press.

76.         Nordgård, D. (2018). The Music Business and Digital Impacts. https://doi.org/10.1007/978-3-319-91887-7

77.         Otaye, L., & Wong, W. (2014). Mapping the contours of fairness: The impact of un-fairness and leadership (in) action on job satisfaction, turnover intention and em-ployer advocacy. Journal of Organiza-tional Effectiveness: People and Perfor-mance, 1(2), 191-204. https://doi.org/10.1108/JOEPP-02-2014-0010

78.         Otmazgin, N. (2020). State Intervention Does Not Support the Development of the Me-dia Sector: Lessons from Korea and Ja-pan. Global Policy, 11, 40-46.

79.         Panay, P. (2016). Why Us, Why Now: Conven-ing the Open Music Initiative. https://www.berklee.edu/panos-panay-open-music-initiative

80.         Petrescu, N. (2008). Loud music listen-ing. McGill Journal of Medicine: MJM, 11(2), 169.

81.         Pushmin, A. (2023). Music Management: Pro-duction System and Promotion in the Mu-sic Industry. Socio-Cultural Management Journal, 6(1), 140-164.

82.         Rhee, W. (2014). Inter-ministerial Policy Co-ordination for Digital Content Technology Development: Korean and Japanese Cas-es. STI Policy Review, 5(2), 96-121.

83.         RIAA. (2023). RIAA Mid-Year 2023 Revenue Report. https://www.riaa.com/reports/riaa-mid-year-2023-revenue-report/

84.         Rogers, J. (2013). The death and life of the mu-sic industry in the digital age. A&C Black.

85.         Rutter, P. (2016). The music industry hand-book. Routledge.

86.         Scolari, C. A. (2009). Transmedia storytelling: Implicit consumers, narrative worlds, and branding in contemporary media produc-tion.

87.                         Seligman, M. (2018). PERMA and the building blocks of well-being. The journal of posi-tive psychology, 13(4), 333-335. https://doi.org/10.1080/17439760.2018.1437466.

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