Music Ecosystems

Challenges and Opportunities
Erscheinungsjahr 2026
ISBN: 978-3-032-32514-3
Verlag: Springer

Buch, Englisch, 330 Seiten, Format (B × H): 155 mm x 235 mm

Reihe: Music Business Research

This book reconceives how we understand music and the music business in a changing, borderless era. Bringing researchers from across the globe together, it is a forum that debates and maps the challenges and opportunities of 'music ecosystems' — complex networks that span industries, technologies, jurisdictions and value streams. Challenging conventional labels such as the music industry or music business, the book situates music within the emergent ecosystem economy and examines how artificial intelligence and cross sector platforms amplify complexity and interdependencies. Contributors clarify three complementary uses of ‘ecosystem’ — business ecosystems, the ecosystem economy and music ecosystems — and propose new conceptual tools to capture multi actor, transnational dynamics. 
Essential reading for students, scholars, policymakers and industry professionals, this volume provides insights and theoretical frameworks for navigating and understanding music ecosystems. It is a timely, rigorous and collaborative resource for anyone seeking to understand the future of music in a world where borders and sectors increasingly blur.

Zielgruppe

Research

Autoren/Hrsg.

Morrow, Guy

Winter, Carsten

Fachgebiete

• Wirtschaftswissenschaften Wirtschaftssektoren & Branchen Medien-, Informations und Kommunikationswirtschaft
• Wirtschaftswissenschaften Volkswirtschaftslehre Volkswirtschaftslehre Allgemein
• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein

Inhaltsverzeichnis

Chapter 1: Introduction.- Part 1: The New Ecosystem Realities in the Music Sector.- Chapter 2: The New Ecosystem of the Music Industry: Music Rights, Music Streaming and Artificial Intelligence.- Chapter 3: Commercialising Musicking Towards Further Decentralisation of Creative Autonomy and the UK Government’s Closed Consultation on Copyright and Artificial Intelligence.- Chapter 4: Hyperindividualism and Rhizomatic Ecosystems Takarazuka Revue’s Shifting Business Model.- Chapter 5: Navigating Ecosystems in the Contemporary Philippine Music Industry.- Chapter 6: What Is It That We’re Doing Here Pedagogical Tensions, Uncertainties and Reflexivity in Higher Popular Music Education.- Chapter 7: SCENES Building New Collaborative Ecosystems Around Music Releases.- Chapter 8: Music Scenes, Music Ecosystems and the Live Music Sector.- Chapter 9: An Ecosystem of Creativitie Do Music Artificial Intelligence’s Creative Capabilities Now Rival Human Output.- Chapter 10: The Value of an Ecosystem Approach for the Czech Music Sector.- Part 2: Conceptual and Methodological Challenges in Researching the New Ecosystem Realities in the Music Sector.- Chapter 11: Moving from Metaphor to Framework.- Chapter 12: Beyond the Ecology Metaphor Understanding Music Ecosystems.- Chapter 13: Mapping Live Music Urban Ecologies Beyond Physical Infrastructure.- Chapter 14: Towards a Generalisable Framework for Music Ecosystem Indicator Development.

Über Autor(innen)

Guy Morrow is an Associate Professor of Arts and Cultural Management at the University of Melbourne, Australia. His research interests include artist centred approaches to cultural management and the impact of digitalisation, datafication and artificial intelligence on music artists within music ecosystems. His work combines academic rigour with industry collaboration to develop actionable insights for artists, managers and cultural organisations. He is the author of Music Artist Managers: Remuneration and Retention in the Popular Music Business (2025) and is president of the International Music Business Research Association (IMBRA). 

Carsten Winter is Full Professor of Media and Music Management at the Hanover University of Music, Drama and Media, Germany. His research focus is on new music cities, music networks, and music media. He is also the founding president of the Society for Music Business and Music Culture Research in Germany and is a board member of the International Music Business Research Association (IMBRA).