##plugins.themes.academic_pro.article.sidebar##
Published
Oct 25, 2024
Download
Statistic
Read Counter : 283
Download : 166
Downloads
Download data is not yet available.
Main Article Content
Abstract
This study examined the intricate life experiences and challenges faced by music core groups within the ever-changing Cebu Province Music Industry. A qualitative multiple-case study technique was employed to harmonize narratives by revealing common experiences and challenges. Furthermore, the research aimed to provide interventions that might assist music core groups in effectively addressing their difficulties. Through cross-case analysis, the study uncovered underlying themes, such as Evolution and Growth, Challenges, Support Systems, and Passion and Personal Fulfillment, that transcended the boundaries of different music core groups. The text explored distinct variations in terms of Business Orientation, Role and Artistic Identity, Artistic Foundation, and Creative Liberty. Coping strategies were found to be essential for building resilience and took several forms, including faith, self-care, diversion, economic bargaining skills, continual learning, and community participation. The discovery of these coping methods offered valuable insights into the resilience techniques utilized by music core groups. Moreover, the research extended beyond mere inquiry and put forth interventions designed to assist music core groups in surmounting their difficulties. This research provided practical suggestions to aid stakeholders, policymakers, and industry participants in improving the sustainability and well-being of the dynamic music community in Cebu Province. These recommendations aimed to build specific initiatives for this purpose.
Article Details
This work is licensed under a Creative Commons Attribution 4.0 International License.
How to Cite
Almaden, A. M., Ocampo, A. P., & Delantar, A. F. A. (2024). Harmonizing Narratives: A Qualitative Exploration of the Life Experiences and Challenges Faced by Music Core Groups in the Cebu Province Music Industry. International Journal of Multidisciplinary: Applied Business and Education Research, 5(10), 3889-3904. https://doi.org/10.11594/ijmaber.05.10.07
References
Alper, N.O., Wassall, G.H. (2006). Artists’ ca-reers and their labour markets. In: Gins-burgh V and Throsby D (eds) Handbook of the Economics of Art and Culture, vol. 1. Amsterdam: Elsevier, 813–864.
Aponte, Heather. (2011). "Social media, fan relations and the music industry: a coali-tion of unsigned artists and record la-bels". https://rdw.rowan.edu/etd/185
Aucouturier, J. and Pachet, F. (2003). Repre-senting musical genre: a state of the art. Journal of New Music Research, 32(1), 83-93. https://doi.org/10.1076/jnmr.32.1.83.16801
Bennett D., Bridgstock R. (2014). The urgent need for career preview: Student expec-tations and graduate realities in music and dance. International Journal of Music Education, 33(3), 263– 277. https://doi.org/10.1177/0255761414558653
Bogt, T. t., Delsing, M. J. M. H., Zalk, M. v., Christenson, P. G., & Meeus, W. (2011). Intergenerational continuity of taste: pa-rental and adolescent music preferences. Social Forces, 90(1), 297-319. https://doi.org/10.1093/sf/90.1.297
Böndum L. (2019). Where do we go from here? The future of composers in the post-digital era. In Mazierska E., Gillon L., Rigg T. (Eds.), Popular music in the post-digital age: Politics, economy, culture and technology (pp. 155–170). Bloomsbury.
Brecheisen, S., Kriegel, H., Kunath, P., & Pryakhin, A. (2006). Hierarchical genre classification for large music collections. 2006 IEEE International Conference on Multimedia and Expo. https://doi.org/10.1109/icme.2006.262797
Bridgstock R. S. (2005). Australian artists, starving and well-nourished: What can we learn from the prototypical protean career? Australian Journal of Career De-velopment, 14(3), 40– 47. https://doi.org/10.1177/103841620501400307
Cabra, J. F., and Uribe-Larach, D. (2013). Crea-tive behavior. Encyclopedia of Creativity, Invention, Innovation and Entrepreneur-ship, 266-271. https://doi.org/10.1007/978-1-4614- 3858-8_7
Caruso, G., Coorevits, E., Nijs, L., & Leman, M. (2016). Gestures in contemporary music performance: a method to assist the per-former’s artistic process. Contemporary Music Review, 35(4-5), 402-422. https://doi.org/10.1080/07494467.2016.1257292
Chen, L., Liu, N., Wu, Y., & Chen, A. L. P. (2004). Music classification using significant re-peating patterns. Database Systems for Advanced Applications, 506-518. https://doi.org/10.1007/978-3-540-24571-1_47
Cheng, H.-T., Yang, Y.-H., Lin, Y.-C., Liao, I. B., & Chen, H. H. (2008). Automatic Chord Recognition for Music Classification and Retrieval. In IEEE International Confer-ence on Multimedia and Expo (pp. 1505-1508). Hannover: IEEE.
Clarke, V., & Braun, V. (2013). Successful Qual-itative Research: A Practical Guide for Beginners.
Dowd T. J., Kelly K. J. (2011). Composing a ca-reer: The situation of living composers in the repertoires of U.S. orchestras, 2005–2006. In Mathieu C. (Ed.), Careers in crea-tive industries (pp. 210–233). Routledge.
Falck, O., Heblich, S., & Luedemann, E. (2010). Identity and entrepreneurship: do school peers shape entrepreneurial intentions?. Small Business Economics, 39(1), 39-59. https://doi.org/10.1007/s11187-010-9292-5
Faulkner, R. R. and Becker, H. S. (2017). Hol-lywood studio musicians.. https://doi.org/10.4324/9780203789896
Freer, P. K. and Bennett, D. (2012). Developing musical and educational identities in uni-versity music students. Music Education Research, 14(3), 265-284. https://doi.org/10.1080/14613808.2012.712507
Frith, S. (2011). Music and identity. Questions of Cultural Identity, 108-127. https://doi.org/10.4135/9781446221907.n7
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.
Garnett, J. (2014). Musician and teacher: em-ployability and identity. Music Education Research, 16(2), 127-143. https://doi.org/10.1080/14613808.2013.847073
Gaunt H., Westerlund H. (2021). Invitation. In Westerlund H., Gaunt H. (Eds.), Expand-ing professionalism in music and higher music education—A changing game (pp. xiii–xxxiii).
Gerry, D., Unrau, A., & Trainor, L. J. (2012). Active music classes in infancy enhance musical, communicative and social de-velopment. Developmental Science, 15(3), 398-407. https://doi.org/10.1111/j.1467-7687.2012.01142.x
Graham, G.; Burnes, B.; Lewis, G.J.; Langer, J. (2004). The Transformation of The Music Industry Supply Chain: A Major Label Perspective
Guest, G., Bunce, A., & Johnson, L. (2006). How many interviews are enough? An experi-ment with data saturation and variability. Field Methods. Doi: 10.1177/1525822X05279903.
Guest, G., Namey, E., Chen, M. (2020). A simple method to assess and report thematic saturation in qualitative research. PLOS ONE 15(5): e0232076. https://doi.org/10.1371/journal.pone.0232076
Hargreaves, D. J. and Marshall, N. (2003). De-veloping identities in music education. Music Education Research, 5(3), 263-273. https://doi.org/10.1080/1461380032000126355
Hausmann, A. (2010). German artists between bohemian idealism and entrepreneurial dynamics: reflections on cultural
entrepreneurship and the need for start-up management.
Hawkins, W. (2021). A Musician’s Livelihood: A Qualitative Study Examining Perceived Barriers to Profitability for Independent Musicians.
Hennekam, S., & Bennett, D. (2016). Creative industries work across multiple contexts: common themes and challenges. Person-nel Review, 46(1), 68–85. https://doi.org/10.1108/PR-08- 2015-0220
Hirsch, P. M. (1972). Processing Fads and Fash-ions: An Organization-Set Analysis of Cul-tural Industry Systems. https://doi.org/10.1086/225192
Janssen, S., & Verboord, M. (2015). Cultural Me-diators and Gatekeepers. Https://Repub.Eur.Nl/Pub/78003/.
Katz, M. (2004). Capturing Sound: How Tech-nology Has Changed Music. London:
Krumhansl, C. L. and Zupnick, J. A. (2013). Cas-cading reminiscence bumps in popular music. Psychological Science, 24(10), 2057-2068. https://doi.org/10.1177/0956797613486486
Lena, J. C. and Lindemann, D. J. (2014). Who is an artist? new data for an old question. Poetics, 43, 70-85. https://doi.org/10.1016/j.poetic.2014.01.001
Leurdijk, A., Nieuwenhuis, O. (2012). Statisti-cal, ecosystems and competitiveness analysis of the media and content indus-tries: The music industry. Publications Of-fice. https://data.europa.eu/doi/10.2791/796
Lindström, S. (2016). Artists and multiple job holding-breadwinning work as mediating between Bohemian and entrepreneurial identities and behavior. Nordic Journal of Working Life Studies, 6(3), 43–58. https://doi.org/10.19154/njwls.v6i3.5527
Lonie, D. and Dickens, L. (2015). Becoming musicians: situating young people’s expe-riences of musical learning between for-mal, informal and non-formal spheres. Cultural Geographies, 23(1), 87-101. https://doi.org/10.1177/1474474015587477
Louhimo, N. (2023). How to Build a Solo Ca-reer in the Music Industry. https://www.theseus.fi/bitstream/handle/10024/813800/Louhimo_Noora.pdf?sequence=3&isAllowed=y
Lupton, M., Bruce, C. (2010). Craft, process and art: Teaching and learning music compo-sition in higher education. British Journal of Music Education, 27, 271–287. https://doi.org/10.1017/S0265051710000239
MacDonald R. A. R., Hargreaves D. J., Miell D. (2002). Musical identities. Oxford Univer-sity Press.
Milner, G. (2009). Perfecting Sound Forever: The Story of Recorded Music.London: Granta Books
Morgan, J. P., MacDonald, R., & Pitts, S. (2015). “Caught between a scream and a hug”: women’s perspectives on music listening and interaction with teenagers in the family unit. Psychology of Music, 43(5), 611-626. https://doi.org/10.1177/0305735613517411
Neuman, Y., Perlovsky, L., Cohen, Y., & Livshits, D. (2016). The Personality of Music Genres. Psychology of Music, 44, 1044-1057. https://doi.org/10.1177/0305735615608526
Nguyen-Khac, T. (2003). ITS Conference. The Music Industry in a Dilemma: How New Technologies Can Turn an Industry Up-side Down. Helsinki.
Organization for Economic Cooperation and Development [OECD]. (2005). Digital Broadband Content: Music.
O’Neill, S. A. (2002). The self-identity of young musicians. In MacDonald R. A. R., Har-greaves D. J., Miell D. (Eds.), Musical iden-tities (pp. 79–96). Oxford, UK: Oxford University Press.
Partti, H. (2012). Learning from cosmopolitan digital musicians: Identity, musicianship, and changing values in (in) formal music communities.
Partti, H., Westerlund, H. (2013). Envisioning collaborative composing in music educa-tion: Learning and negotiation of mean-ing in operabyyou.com. https://doi.org/10.1017/S0265051713000119
Pellegrino, K. (2015). Becoming music-making music teachers: connecting music mak-ing, identity, wellbeing, and teaching for four student teachers. Research Studies in Music Education, 37(2), 175-194. https://doi.org/10.1177/1321103x15589336
Peoples, G. (2015). While Radio Still Reigns, Concerts Are an Important Source of Mu-sic Discovery, Says New Report. www.billboard.com/articles/business/6699699/while-radio-still-reigns-concerts-are-animportant-source-of-mu
Pitts, S. (2009). Roots and routes in adult mu-sical participation: investigating the im-pact of home and school on lifelong mu-sical interest and involvement. British Journal of Music Education, 26(3), 241-256. https://doi.org/10.1017/s0265051709990088
Rentfrow, P. J. and Gosling, S. D. (2003). The do re mi's of everyday life: the structure and personality correlates of music pref-erences. Journal of Personality and Social Psychology, 84(6), 1236-1256. https://doi.org/10.1037/0022-3514.84.6.1236
Rosner, A., Weninger, F., Schuller, B., Micha-lak, M., & Kostek, B. (2014). Influence of low-level features extracted from rhyth-mic and harmonic sections on music gen-re classification. Advances in Intelligent Systems and Computing, 467-473. https://doi.org/10.1007/978-3- 319-02309-0_51
Samodio, G. (2017). Nurturing Filipino Creativ-ity: The Status of the Philippine Educa-tion Policies in Support of the Creative Industries. http://www.ijcci.net/index.php?option=mod-ule&lang=en&task=pageinfo&id=245&index= 3
Schäfer, T. and Sedlmeier, P. (2009). From the functions of music-to-music preference. Psychology of Music, 37(3), 279-300. https://doi.org/10.1177/0305735608097247
Sechehaye, H., & Martiniello, M. (2019). Refu-gees for Refugees: Musicians between Confinement and Perspectives. Arts. https://doi.org/10.3390/arts8010014
Smith, N. T., Thwaites, R. (2019). The composi-tion of precarity: “emerging” composers’ experiences of opportunity culture in contemporary classical music. The British Journal of Sociology, 70(2), 589–609. https://doi.org/10.1111/1468-4446.12359
Szostak, M. (2022b). Contextual inspiration and motive in persuasive creativity: les-sons fromartistic improvisation. Dis-courses on Culture, 17(1), 101–131. DOI: 10.36145/DoC2022.05.
Technical Education and Skills Development Authority [TESDA]. (2019). Pagkama-likhain: The Philippine Creative Indus-tries in the TVET Perspective. 7(1), 37–72.
Trevarthen, C., Gratier, M., & Osborne, N. (2014). The human nature of culture and education. WIREs Cognitive Science, 5(2), 173-192. https://doi.org/10.1002/wcs.1276
Vatolkin, I., Rötter, G., & Weihs, C. (2013). Mu-sic genre prediction by low-level and high-level characteristics. Studies in Clas-sification, Data Analysis, and Knowledge Organization, 427- 434. https://doi.org/10.1007/978-3-319-01595-8_46
Werner, K., Griese, K.M., Faatz, A. (2019). Val-ue co-creation processes at sustainable music festivals: a grounded theory ap-proach. https://doi.org/10.1108/ijefm-06-2019-0031
Whitaker, A. (2017). Partnership Strategies for Creative Placemaking in Teaching Entre-preneurial Artists. Artivate, 6(2), 23-31.
Wikström, P. (2009).TheMusic Industry: Music in the Cloud. Polity Press.
Wikström, P. (2010). The Music Industry. Mu-sic in the Cloud. Digital Media and Society Series.
Zhang, L. (2018). Intellectual property strategy and the long tail: evidence from the rec-orded music industry. Manag Sci 64(1):24–42. https://doi.org/10.1287/mnsc.2016.2562
Zweigenhaft, R. L. (2008). A do re mi encore. Journal of Individual Differences, 29(1), 45-55. https://doi.org/10.1027/1614-0001.29.1.45
Aponte, Heather. (2011). "Social media, fan relations and the music industry: a coali-tion of unsigned artists and record la-bels". https://rdw.rowan.edu/etd/185
Aucouturier, J. and Pachet, F. (2003). Repre-senting musical genre: a state of the art. Journal of New Music Research, 32(1), 83-93. https://doi.org/10.1076/jnmr.32.1.83.16801
Bennett D., Bridgstock R. (2014). The urgent need for career preview: Student expec-tations and graduate realities in music and dance. International Journal of Music Education, 33(3), 263– 277. https://doi.org/10.1177/0255761414558653
Bogt, T. t., Delsing, M. J. M. H., Zalk, M. v., Christenson, P. G., & Meeus, W. (2011). Intergenerational continuity of taste: pa-rental and adolescent music preferences. Social Forces, 90(1), 297-319. https://doi.org/10.1093/sf/90.1.297
Böndum L. (2019). Where do we go from here? The future of composers in the post-digital era. In Mazierska E., Gillon L., Rigg T. (Eds.), Popular music in the post-digital age: Politics, economy, culture and technology (pp. 155–170). Bloomsbury.
Brecheisen, S., Kriegel, H., Kunath, P., & Pryakhin, A. (2006). Hierarchical genre classification for large music collections. 2006 IEEE International Conference on Multimedia and Expo. https://doi.org/10.1109/icme.2006.262797
Bridgstock R. S. (2005). Australian artists, starving and well-nourished: What can we learn from the prototypical protean career? Australian Journal of Career De-velopment, 14(3), 40– 47. https://doi.org/10.1177/103841620501400307
Cabra, J. F., and Uribe-Larach, D. (2013). Crea-tive behavior. Encyclopedia of Creativity, Invention, Innovation and Entrepreneur-ship, 266-271. https://doi.org/10.1007/978-1-4614- 3858-8_7
Caruso, G., Coorevits, E., Nijs, L., & Leman, M. (2016). Gestures in contemporary music performance: a method to assist the per-former’s artistic process. Contemporary Music Review, 35(4-5), 402-422. https://doi.org/10.1080/07494467.2016.1257292
Chen, L., Liu, N., Wu, Y., & Chen, A. L. P. (2004). Music classification using significant re-peating patterns. Database Systems for Advanced Applications, 506-518. https://doi.org/10.1007/978-3-540-24571-1_47
Cheng, H.-T., Yang, Y.-H., Lin, Y.-C., Liao, I. B., & Chen, H. H. (2008). Automatic Chord Recognition for Music Classification and Retrieval. In IEEE International Confer-ence on Multimedia and Expo (pp. 1505-1508). Hannover: IEEE.
Clarke, V., & Braun, V. (2013). Successful Qual-itative Research: A Practical Guide for Beginners.
Dowd T. J., Kelly K. J. (2011). Composing a ca-reer: The situation of living composers in the repertoires of U.S. orchestras, 2005–2006. In Mathieu C. (Ed.), Careers in crea-tive industries (pp. 210–233). Routledge.
Falck, O., Heblich, S., & Luedemann, E. (2010). Identity and entrepreneurship: do school peers shape entrepreneurial intentions?. Small Business Economics, 39(1), 39-59. https://doi.org/10.1007/s11187-010-9292-5
Faulkner, R. R. and Becker, H. S. (2017). Hol-lywood studio musicians.. https://doi.org/10.4324/9780203789896
Freer, P. K. and Bennett, D. (2012). Developing musical and educational identities in uni-versity music students. Music Education Research, 14(3), 265-284. https://doi.org/10.1080/14613808.2012.712507
Frith, S. (2011). Music and identity. Questions of Cultural Identity, 108-127. https://doi.org/10.4135/9781446221907.n7
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.
Garnett, J. (2014). Musician and teacher: em-ployability and identity. Music Education Research, 16(2), 127-143. https://doi.org/10.1080/14613808.2013.847073
Gaunt H., Westerlund H. (2021). Invitation. In Westerlund H., Gaunt H. (Eds.), Expand-ing professionalism in music and higher music education—A changing game (pp. xiii–xxxiii).
Gerry, D., Unrau, A., & Trainor, L. J. (2012). Active music classes in infancy enhance musical, communicative and social de-velopment. Developmental Science, 15(3), 398-407. https://doi.org/10.1111/j.1467-7687.2012.01142.x
Graham, G.; Burnes, B.; Lewis, G.J.; Langer, J. (2004). The Transformation of The Music Industry Supply Chain: A Major Label Perspective
Guest, G., Bunce, A., & Johnson, L. (2006). How many interviews are enough? An experi-ment with data saturation and variability. Field Methods. Doi: 10.1177/1525822X05279903.
Guest, G., Namey, E., Chen, M. (2020). A simple method to assess and report thematic saturation in qualitative research. PLOS ONE 15(5): e0232076. https://doi.org/10.1371/journal.pone.0232076
Hargreaves, D. J. and Marshall, N. (2003). De-veloping identities in music education. Music Education Research, 5(3), 263-273. https://doi.org/10.1080/1461380032000126355
Hausmann, A. (2010). German artists between bohemian idealism and entrepreneurial dynamics: reflections on cultural
entrepreneurship and the need for start-up management.
Hawkins, W. (2021). A Musician’s Livelihood: A Qualitative Study Examining Perceived Barriers to Profitability for Independent Musicians.
Hennekam, S., & Bennett, D. (2016). Creative industries work across multiple contexts: common themes and challenges. Person-nel Review, 46(1), 68–85. https://doi.org/10.1108/PR-08- 2015-0220
Hirsch, P. M. (1972). Processing Fads and Fash-ions: An Organization-Set Analysis of Cul-tural Industry Systems. https://doi.org/10.1086/225192
Janssen, S., & Verboord, M. (2015). Cultural Me-diators and Gatekeepers. Https://Repub.Eur.Nl/Pub/78003/.
Katz, M. (2004). Capturing Sound: How Tech-nology Has Changed Music. London:
Krumhansl, C. L. and Zupnick, J. A. (2013). Cas-cading reminiscence bumps in popular music. Psychological Science, 24(10), 2057-2068. https://doi.org/10.1177/0956797613486486
Lena, J. C. and Lindemann, D. J. (2014). Who is an artist? new data for an old question. Poetics, 43, 70-85. https://doi.org/10.1016/j.poetic.2014.01.001
Leurdijk, A., Nieuwenhuis, O. (2012). Statisti-cal, ecosystems and competitiveness analysis of the media and content indus-tries: The music industry. Publications Of-fice. https://data.europa.eu/doi/10.2791/796
Lindström, S. (2016). Artists and multiple job holding-breadwinning work as mediating between Bohemian and entrepreneurial identities and behavior. Nordic Journal of Working Life Studies, 6(3), 43–58. https://doi.org/10.19154/njwls.v6i3.5527
Lonie, D. and Dickens, L. (2015). Becoming musicians: situating young people’s expe-riences of musical learning between for-mal, informal and non-formal spheres. Cultural Geographies, 23(1), 87-101. https://doi.org/10.1177/1474474015587477
Louhimo, N. (2023). How to Build a Solo Ca-reer in the Music Industry. https://www.theseus.fi/bitstream/handle/10024/813800/Louhimo_Noora.pdf?sequence=3&isAllowed=y
Lupton, M., Bruce, C. (2010). Craft, process and art: Teaching and learning music compo-sition in higher education. British Journal of Music Education, 27, 271–287. https://doi.org/10.1017/S0265051710000239
MacDonald R. A. R., Hargreaves D. J., Miell D. (2002). Musical identities. Oxford Univer-sity Press.
Milner, G. (2009). Perfecting Sound Forever: The Story of Recorded Music.London: Granta Books
Morgan, J. P., MacDonald, R., & Pitts, S. (2015). “Caught between a scream and a hug”: women’s perspectives on music listening and interaction with teenagers in the family unit. Psychology of Music, 43(5), 611-626. https://doi.org/10.1177/0305735613517411
Neuman, Y., Perlovsky, L., Cohen, Y., & Livshits, D. (2016). The Personality of Music Genres. Psychology of Music, 44, 1044-1057. https://doi.org/10.1177/0305735615608526
Nguyen-Khac, T. (2003). ITS Conference. The Music Industry in a Dilemma: How New Technologies Can Turn an Industry Up-side Down. Helsinki.
Organization for Economic Cooperation and Development [OECD]. (2005). Digital Broadband Content: Music.
O’Neill, S. A. (2002). The self-identity of young musicians. In MacDonald R. A. R., Har-greaves D. J., Miell D. (Eds.), Musical iden-tities (pp. 79–96). Oxford, UK: Oxford University Press.
Partti, H. (2012). Learning from cosmopolitan digital musicians: Identity, musicianship, and changing values in (in) formal music communities.
Partti, H., Westerlund, H. (2013). Envisioning collaborative composing in music educa-tion: Learning and negotiation of mean-ing in operabyyou.com. https://doi.org/10.1017/S0265051713000119
Pellegrino, K. (2015). Becoming music-making music teachers: connecting music mak-ing, identity, wellbeing, and teaching for four student teachers. Research Studies in Music Education, 37(2), 175-194. https://doi.org/10.1177/1321103x15589336
Peoples, G. (2015). While Radio Still Reigns, Concerts Are an Important Source of Mu-sic Discovery, Says New Report. www.billboard.com/articles/business/6699699/while-radio-still-reigns-concerts-are-animportant-source-of-mu
Pitts, S. (2009). Roots and routes in adult mu-sical participation: investigating the im-pact of home and school on lifelong mu-sical interest and involvement. British Journal of Music Education, 26(3), 241-256. https://doi.org/10.1017/s0265051709990088
Rentfrow, P. J. and Gosling, S. D. (2003). The do re mi's of everyday life: the structure and personality correlates of music pref-erences. Journal of Personality and Social Psychology, 84(6), 1236-1256. https://doi.org/10.1037/0022-3514.84.6.1236
Rosner, A., Weninger, F., Schuller, B., Micha-lak, M., & Kostek, B. (2014). Influence of low-level features extracted from rhyth-mic and harmonic sections on music gen-re classification. Advances in Intelligent Systems and Computing, 467-473. https://doi.org/10.1007/978-3- 319-02309-0_51
Samodio, G. (2017). Nurturing Filipino Creativ-ity: The Status of the Philippine Educa-tion Policies in Support of the Creative Industries. http://www.ijcci.net/index.php?option=mod-ule&lang=en&task=pageinfo&id=245&index= 3
Schäfer, T. and Sedlmeier, P. (2009). From the functions of music-to-music preference. Psychology of Music, 37(3), 279-300. https://doi.org/10.1177/0305735608097247
Sechehaye, H., & Martiniello, M. (2019). Refu-gees for Refugees: Musicians between Confinement and Perspectives. Arts. https://doi.org/10.3390/arts8010014
Smith, N. T., Thwaites, R. (2019). The composi-tion of precarity: “emerging” composers’ experiences of opportunity culture in contemporary classical music. The British Journal of Sociology, 70(2), 589–609. https://doi.org/10.1111/1468-4446.12359
Szostak, M. (2022b). Contextual inspiration and motive in persuasive creativity: les-sons fromartistic improvisation. Dis-courses on Culture, 17(1), 101–131. DOI: 10.36145/DoC2022.05.
Technical Education and Skills Development Authority [TESDA]. (2019). Pagkama-likhain: The Philippine Creative Indus-tries in the TVET Perspective. 7(1), 37–72.
Trevarthen, C., Gratier, M., & Osborne, N. (2014). The human nature of culture and education. WIREs Cognitive Science, 5(2), 173-192. https://doi.org/10.1002/wcs.1276
Vatolkin, I., Rötter, G., & Weihs, C. (2013). Mu-sic genre prediction by low-level and high-level characteristics. Studies in Clas-sification, Data Analysis, and Knowledge Organization, 427- 434. https://doi.org/10.1007/978-3-319-01595-8_46
Werner, K., Griese, K.M., Faatz, A. (2019). Val-ue co-creation processes at sustainable music festivals: a grounded theory ap-proach. https://doi.org/10.1108/ijefm-06-2019-0031
Whitaker, A. (2017). Partnership Strategies for Creative Placemaking in Teaching Entre-preneurial Artists. Artivate, 6(2), 23-31.
Wikström, P. (2009).TheMusic Industry: Music in the Cloud. Polity Press.
Wikström, P. (2010). The Music Industry. Mu-sic in the Cloud. Digital Media and Society Series.
Zhang, L. (2018). Intellectual property strategy and the long tail: evidence from the rec-orded music industry. Manag Sci 64(1):24–42. https://doi.org/10.1287/mnsc.2016.2562
Zweigenhaft, R. L. (2008). A do re mi encore. Journal of Individual Differences, 29(1), 45-55. https://doi.org/10.1027/1614-0001.29.1.45