STEMM Institute Press
Science, Technology, Engineering, Management and Medicine
Developing and Implementing an Innovation and Entrepreneurship Education Model for Music Management Students: A Case Study of Music IP Development
DOI: https://doi.org/10.62517/jhet.202615516
Author(s)
Zeyu Xie
Affiliation(s)
College of Letters and Science, University of California, Davis
Abstract
Against the backdrop of the synergistic development of the digital cultural industry, platform-based dissemination, and copyright economy, innovation and entrepreneurship education in music management needs to shift from the imparting of general entrepreneurial knowledge to a deep integration of professional skills, industry practice, and value creation. This paper, based on structured literature analysis, reviews representative achievements in innovation and entrepreneurship education, art entrepreneurship education, music industry, and intellectual property development, comparing their conceptual definitions, teaching paths, research methods, and applicable boundaries. On this basis, music IP is defined as content assets centered on musical works, artist or project images, brand narratives, and related rights combinations, capable of sustainable production, dissemination, licensing, and extension. A closed-loop training model based on real projects-"opportunity identification-rights positioning-prototype development-market validation-iterative operation"-is proposed, with an original campus song IP project illustrating the specific implementation method. The study argues that music IP development can connect music judgment, copyright governance, project management, digital operation, and business model training, but its effectiveness depends on dual-mentor collaboration, open access to university- enterprise resources , process evaluation, and ethical risk control. Future research should strengthen local longitudinal evidence, cross-platform data evaluation, and differentiated learning support to improve the verifiability and transferability of the educational model.
Keywords
Music Management; Innovation and Entrepreneurship Education; Music IP Development; Project-Based Learning; Industry-Education Integration
References
[1] BACIGALUPO M, KAMPYLIS P, PUNIE Y, VAN DEN BRANDE G. EntreComp: The Entrepreneurship Competence Framework[R]. Luxembourg: Publications Office of the European Union, 2016.. [2] NECK H M, GREENE P G. Entrepreneurship education: Known worlds and new frontiers[J]. Journal of Small Business Management, 2011, 49(1): 55-70. [3] KOLB D A. Experiential Learning: Experience as the Source of Learning and Development[M]. Englewood Cliffs, NJ: Prentice-Hall, 1984. [4] CHANG W J, WYSZOMIRSKI M. What is arts entrepreneurship? Tracking the development of its definition in scholarly journals[J]. Artivate: A Journal of Entrepreneurship in the Arts, 2015, 4(2): 11-31. [5] BECKMAN G D. “Adventuring” arts entrepreneurship curricula in higher education: An examination of present efforts, obstacles, and best practices[J]. The Journal of Arts Management, Law, and Society, 2007, 37(2): 87-112.. [6] BRIDGSTOCK R. Not a dirty word: Arts entrepreneurship and higher education[J]. Arts and Humanities in Higher Education, 2013, 12(2-3): 122-137. [7] POLLARD V, WILSON E. The “entrepreneurial mindset” in creative and performing arts higher education in Australia[J]. Artivate: A Journal of Entrepreneurship in the Arts, 2014, 3(1): 3-22. [8] ESSIG L. Same or different? The “cultural entrepreneurship” and “arts entrepreneurship” constructs in European and US higher education[J]. Cultural Trends, 2017, 26(2): 125-137. [9] SCHEDIWY L, LOOTS E, BHANSING P. With their feet on the ground: A quantitative study of music students’ attitudes towards entrepreneurship education[J]. Journal of Education and Work, 2018, 31(7-8): 611-627. [10] PENNILL N, PHILLIPS K, PHILLIPS M. Student experiences and entrepreneurship education in a specialist creative arts HEI: A longitudinal approach[J]. Entrepreneurship Education, 2022, 5(4): 399-423. [11] CAVES R E. Creative Industries: Contracts Between Art and Commerce[M]. Cambridge, MA: Harvard University Press, 2000. [12] WIKSTRÖM P. The Music Industry: Music in the Cloud[M]. 3rd ed. Cambridge: Polity Press, 2020. [13] MORRIS J W, POWERS D. Control, curation and musical experience in streaming music services[J]. Creative Industries Journal, 2015, 8(2): 106-122. [14] WORLD INTELLECTUAL PROPERTY ORGANIZATION. How to Make a Living from Music[M]. 3rd ed. Geneva: WIPO, 2024. [15] PSOMADAKI O, MATSIOLA M, DIMOULAS C A, KALLIRIS G M. The significance of digital network platforms to enforce musicians’ entrepreneurial role: Assessing musicians’ satisfaction in using mobile applications[J]. Sustainability, 2022, 14(10): 5975. [16] KELLER K L. Conceptualizing, measuring, and managing customer-based brand equity[J]. Journal of Marketing, 1993, 57(1): 1-22.. [17] TOWSE R. Economics of music publishing: Copyright and the market[J]. Journal of Cultural Economics, 2017, 41(4): 403-420. [18] YIN Y. Vocaloid in China: Cosmopolitan music, cultural expression, and multilayer identity[J]. Global Media and China, 2018, 3(1): 51-66. [19] MAI H, PENG X, ZHAO G. Virtual marketing of the entertainment industry in the information age: Building and promotion of IPs-A case study of Luo Tianyi[J]. BCP Business & Management, 2023, 42: 108-114. [20] SADLER K M. A critical assessment of entrepreneurship in music higher education[J]. Action, Criticism, and Theory for Music Education, 2021, 20(3): 132-155. [21] UNESCO. Re|Shaping Policies for Creativity: Addressing Culture as a Global Public Good[R]. Paris: UNESCO, 2022.
Copyright @ 2020-2035 STEMM Institute Press All Rights Reserved