




































 

194 
 

Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

MUSIC PRODUCTION FOR ENTREPRENEURSHIP BENEFITS IN A DIGITAL ECONOMY 

 

KALU, KINGSLEY (PhD 

Kaluck27@gmail.com 

& 

OSELE, ANGELINA A. (PhD) 

angelinaosele@gmail.com 

& 

OBIESIE, EZEKIEL N. C. 

obiesieezekielnc@gmail.com 

Departmentof Music, Alvan Ikoku Federal University of Education, Owerri 

 

Abstract 

Digital economy is taking shape and undermining conventional notions about how businesses are 

structured; how firms interact, and how consumers obtain services, information, and goods. Music 

writers or composers can now determine to release the specific genres and styles at any point in time; 

while live performances can be streamed to audience via digital network service platforms easily 

anytime, anywhere. Hence, the benefits of music production for entrepreneurship in a digital economy 

cannot be over-emphasized. On the strength of the above, this paper therefore discusses the 

benefits of music production for entrepreneurship in a digital economy, with reference to the South 

Eastern State of Nigeria. The researchers applied bibliographic, ethnographic and musicological 

methods to elicit information on concepts of music production, music entrepreneurship; benefits and 

challenges of music production for entrepreneurship, as well as music entrepreneurship education. 

Thoughts were given to music education and its importance towards preparing graduates for 

entrepreneurship purposes, creating employment opportunities for music graduates in a digital 

economy; the curriculum contents and its benefits to music students and, the role of government in 

providing a flourishing ambience for music artistes’ contribution in a digital economy which lives much 

to be desired.Views in focus include the roles of the academia, music professionals and investors in 

the entertainment industry for the sustenance of digital economy, as well as recording studios in the 

South Eastern States and the contributions of music practitioners and musicologists to digital 

economy in Nigeria. Finally, the researchers flayed the government seemingly insouciance towards 

music education and advocates for regular music talk shops/seminars, conferences and in-service 

training, to be in line with the dynamic requirements for music studies, creativity and performances 

in a digital economy. 

Keywords: Music Production, Entrepreneurship, Digital Economy 

 

Introduction 

The introduction of digital technologies in the 1980s, multiplied the strength and confidence of self–

determined music producers. Internet is now the main source of spreading produced musicals. 

Economically, it has salvaged many composers in moving around their own musical works. Music writers 

can now determine to release the specific genres and styles when desired, while live performances 

can be streamed to various audiences through digital network service platforms for easy access at 

anywhere, anytime. To this end, the relevance of music production for entrepreneurship benefits in 

a digital economy can never be over-emphasized. Music production involves one or more persons. 

Playing musical instrument and singing could be a sort of organized activities for entertaining 

mailto:Kaluck27@gmail.com
mailto:angelinaosele@gmail.com
mailto:obiesieezekielnc@gmail.com


 

195 
 

Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

audiences in a traditional or social setting, religious gatherings or in the recording studio via recording 

the voices only, voices with the accompanied musical instruments or (vice versa)the process going the 

other way. It could be script writing of musical notes by an art music composer, to form rhythmic 

pattern, rhymes, melodic and harmonic chords, using languages as lyri technology. Burgessin Kalu, 

Ahanotu and Onwuekwe (2020) explained: 

Music production as the technological extension of composition and orchestration captures 

fullness of the a composition, its orchestration, and the formative intentions of the 

composer cs to express people(s) beliefs and way of life in line with required digital and 

scientific or composers. In its precision and inherent ability to capture cultural, individual, 

environmental, timbre and interpretive subtleties along with those of intonation, timing, 

intention, and meaning (except where amorphousness is specified), it is superior to written 

music and oral traditions. Music production is not only representational, but also an art in 

itself (p. 88). 

 

In concert with the above, music production is not just a studio thing, it now involves script composers 

who can now write their works with computer, while they make use of music software like: Sibelius, 

noteworthy, Cubase, and lots more in writing melody line or harmony for voices and score scripting 

for orchestral and symphonic works. These days, music scripting requires the use of computer system 

to help quicken the composer’s work and enhances clean and distinct print production for easy sighting 

during teaching and learning periods and for artist live stage performances. George (2015) opines: 

that due to technological advancements, the role of the musician has changed dramatically in the 20th 

and 21st centuries. For the composer or songwriter especially, it is becoming increasingly expected 

for them to have some familiarity with music production. In the same vein, Kirby (2015) also observes: 

characteristics of modern technologies as processes that can be combined and configured 

endlessly for fresh purposes: “Technology”, “once a means of  production, is becoming a 

chemistry”, He adds: “Technological competences can often be as useful and relevant as 

traditional musical skills when working with digital music (p. 243). 

 

The above definitions clarify the fact that music educators need to have personal or individual 

appraisal of self on the impact of modern technology to the musicologist, academic environment and 

to the society in general. Also, to ask ourselves if the interest and enthusiastic spirit with which many 

started with is yet there. Otherwise there is the need to brace up to this unending music education 

and its harmonic alignment with digital system of information and communication technology. Again, 

the need to ask, if one sees it as a fulltime career or part time participation since the musicologist 

undergoes his training to become a music and entertainment producer. The issue to battle with all 

the time is choice of area of production, but there shall always be a compulsory decision to make; if 

one wants to be a script music producer, a studio music producer, or rather choose to be an “on stage 

music producer”; that is, a performer or become all the three. However, it has become imperative 

that, the musicologist of today should primarily focus on perfecting the artistic and ethical aspect, 

and also understand the economic, administrative, andentrepreneurship facet of music production. 

Usherwood (2015: 5) specifically points out that:  

 As digital technology continues to be a major force in the music industry, they also have

 new expectations, opportunities, and issues to consider. It is necessary then for musicians 

 to be entrepreneurially inclined and business-minded in order to productively and 

 successfully navigate through the current realities of this ever changing industry. It is 



 

196 
 

Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

 important for musicians to realize their artistic strengths, broaden their musical scope, 

 and explore audience possibilities. 

Digitalization in the music industry did not only change the concept of the music business but basically 

reshaped its value-added network. Digital innovations are transforming the music industry with the 

entrepreneurial rush and increasing new projects attributed with extensive advancements in audience 

reach and online visibility measured through capitalization and media impacts, etc. 

 

Though digitalized music in Mp3, WhatsApp, YouTube, Xender, etc. created the way for unlawfully 

downloading of music; however, producers concentrated on the sale of single tracks instead of full 

music albums. It brought illegal copying and transferring of music over the Internet, albeit, it 

increasingly acts as a substitute for sales, though it reduces the inflow of capital to the industry, as 

finances that would have otherwise be used for the discovery and the development of new artists 

were lost. Nevertheless, the benefits of digitalized music education and production outweighits 

losses. 

 

Concept of Music Production 

Production can be seen as the act of bringing something out for use or consideration. Supporting this 

assertion, the Chambers Dictionary sees production as the act of producing or process of being 

produced. Music production therefore, as earlier cited above is the technological extension of 

composition and orchestration. It is a great outlet that offers you a lot of opportunities to get your 

foot in the door of music industry. You work with people of like-minds and instructors with whom you 

can collaborate, and most importantly it is a lot of fun. Music producers, as discussed here, are rarely 

involved in manufacturing; typically delivering a final mix or master of the music in the prevailing 

professional format. Music production is thus a less ambiguous term because it references the thing 

we produce, irrespective of its ultimate encoding as grooves on a cylinder or disc, pits and land on a 

CD, or ones and zeros in a digital file. Nonetheless, the producers as discussed here recordmusic 

mostly for distribution to consumers and also for film, television, electronicgames, commercials, and 

more. Dissemination and monetization through multiplechannels are now common. 

 

It is noteworthy that no two producers or production teams have identical skill sets or ways of 

working, but commonalities do exist. There are many useful criteria for classifying producers. Among 

them are current success, musical genre, training, studio ownership, price, location, and 

methodologies. On these bases, you could select someone who recentlyhad a big hit, a heavy metal 

producer, an engineer/producer, a studio owner, someonewho works at cheaper rates, or a person who 

programs everything using a digitalaudio workstation and synthesizers. A modestbudget may make 

studio ownership imperative, but not just any studio owner willdo. Similarly, if prior success is crucial 

(as it often is—major labels value hits) and becomes the initial filter, functionality will still need to 

be the ultimate criterion fora successful outcome. Identifying producers by background or training—

engineer/producer, songwriter/producer, musician/producer, and so on—omits other 

criticalconsiderations. Engineer/producers often discontinue engineering and contributeto 

arrangements, song doctoring, and performance coaching. Likewise, songwriter/producers nowadays 

often engineer and do not always insist on writing the materialthey produce.   

 

Furthermore, these classifications may not apply to the person of the producer exclusively butrather 

to the techniques he or she applies to a particular production. As describedearlier, some producers 



 

197 
 

Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

have bi- or poly-functionality and can switch roles from projectto project. Moreover, a producer can 

be a team or an individual, hence the use of the term “production team” when it is clear that two or 

more are formal partners. Itis worth noting that established production teams generally interact 

with each otherand the artiste differently than individuals, who co-produce with the artiste in what 

is, frequently, an ad hoc working relationship. 

 

Concept of Entrepreneurship 

Entrepreneurship has been the focus of different disciplines such as economics, sociology, finance,   

history, psychology and anthropology, each of which works with its own terms. The concept of 

entrepreneurship, according to Carton, Hofer, & Meek (1998) is derived from the French word, 

entreprende which means, “undertake”.  While Shane & Venkataraman (2000) 

definedentrepreneurship as the use of opportunities for the discovery, evaluation and promotion 

of goodsand services, forms of organization, markets, processes and raw materials that were not 

previously available, Parker (2004) took this further by stating that entrepreneurs drive change 

drawing on abilities such as leadership, motivation, solving crises and taking risks. Finally, Garud, Jain, 

& Tuertscher (2014) touched on personal and psychological characteristics, emphasizing that 

individualsexhibit certain behaviours based on their needs such as establishing close relationships,  

obtaining power and achieving success. To Chambers Dictionary, 10th Edition,  an entrepreneur is“a person 

who undertakes an enterprise especially a commercial one often at a personal financialrisk”. The 

managing proprietor of a firm who supplies the capital bears the risk of productionand is the 

controller of a day-to-day management and marketing; so also is a contractor oremployer, an organizer 

of a musical or other entertainment outfit. 

 

Furthermore, Barker and Peppler (2017) defined entrepreneurship as ‘‘the ability to imagine and 

identify opportunity, combined with the skills to creatively build something of sustaining value, for a 

central and necessary part of the lives of artists, the development of organizations, and the future 

of music ensembles’’ (p. 2).Barker and Peppler (2017) further described entrepreneurship as “a 

management process and unique entrepreneurial “recipe" informs the decisions made throughout the 

management process” (p. 50). In another view about entrepreneurship, Ojeifo (2012) stated that: 

Entrepreneurship is generally viewed as a process of creating something new. Doing this 

involves a lot of time and effort devoted to ensure the tasks at hand and the resultant 

effects include monetary and personal satisfaction as well as independence. Entrepreneurship 

involves creation process, conscious devotion of time and effort; it involves   risk and has 

some rewards (p. 79). 

 

In a clearer point, based on the above report, entrepreneurship is usually a procedure of establishing 

new ideas. To achieve such, one has to be committed to such project; though financial benefits could 

be amongst the consequential outcome, it also includes formation procedure, realization of 

commitment and time endeavour to justify the menace attached to it.     Gray (2017) implied that 

entrepreneurship is a way of taking an approach towards discovering and pursuing opportunities, 

solving problems, not constrained by the present that find application in diverse context and 

institutions, new and old; public and private work places (p. 27). However, Kruger (2004) insisted that 

selecting an appropriate basis for defining and understanding entrepreneurship creates a challenge 

for academic researchers and writers due to the fact that a number of schools of thought exist that 

view the notion of entrepreneurship from fundamentally different perspectives (p. 13). In concert 



 

198 
 

Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

with the above comments, the researchers opine that entrepreneurship is an unvarying procedure 

with variations of an exceptional collection that involves a personal tactic during setting up and 

developing a positive attitude while working in every situation. In other words, entrepreneurship is 

the ability of an individual or group to take a bold and confidence decision to embark on business 

venture, being ready to bear the risk outcome in either profit or loss result. The entrepreneur is the 

sole owner of such investment, and chief executive in charge, in most instances, takes the decision, 

gives instructions to every other person working in the establishment or company. 

 

Benefits and Challenges of Music Production 

The music industry has undergone a marked transformation in recent years. With advent of digital 

age, the music business has evolved significantly, giving rise to a diverse array of professions that 

play crucial roles in the creation, distribution, and promotions of music. These include, but not limited 

to: Musicians/Songwriters and Composers, who are the heart of music industry themselves; as they 

craft the soul-swirling lyrics and melodies that resonate with audiences worldwide. They are the very 

hub of the industry. They earn their income primarily from record sales, streaming, live 

performances, and songwriting royalties and publishing, making them the driving force behind the 

economic success of the industry. Others include managers and agents, record labels and distributors, 

event planners and promoters, etc whose synergy create a thriving ecosystem that drive the growth 

of music industry. Furthermore, the way that many great musicians have set themselves apart is by 

using their educational status to their advantage. As they learned and listen more and more, they 

were able to find something about their styles that they could draw upon to make sure no one ever 

confused them with anyone else. Engaging in music production avails you of many opportunities and 

benefits. It allows you to gain the knowledge and experience you need to be formidable in the music 

production business. Working with people who have been in the industry for much longer than you, 

will allow you to take advantage of their wisdom and experience. You will be opening yourself up to a 

whole world of information that can enrich and broaden your musical career in ways that you did not 

even know were possible. Successful producers can generate a great deal of income from the sales 

and use oftheir productions. 

 

According to Burgess (2013),“a good producer can make millions”. “Ideally you want to have several 

albums that go on selling forever.”  Although this is true, it takes a very big hit or several substantial 

successes to make millions as a non-writing producer. 

 

On the other hand, producers are problem-solvers. Productions begin as concepts that will embody 

disparate elements, known and unknown. The producer’s task is to combine these parts and ideas to 

make a coherent communicative statement. To Burgess (2013), music producers are problem solvers. 

For instance, “when you have been given the description of something but do not yet have anything 

that satisfies that description;“He described a problem- solver as “a person perceiving and accepting 

a goal without an immediate means of reaching the goal. This is what producers do”. More so, Burgess 

observes that:  

Apart from artist and auteur producers, most do not face the blank page paralysis that 

confronts creative artists from time to time—sitting in front of a blank page, canvas, or 

screen with no immediate thought or inspiration for where to begin (p. 45)..  

 



 

199 
 

Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

Producers function like editors or commercial artists such as graphic designers—they rarely create 

on a whim. Typically, there are clients, a target audience, an artistic sub-discipline, and a conceptual 

brief. To be successful, the work has to meet the practical requirements while achieving a high level 

of “aural communication. The term “production”, like “graphic design”, means both the process and 

the result. 

 

A primary challenge for producers is meeting the demands of the commissioning entity or entities 

that will, in turn, satisfy the wants of a substantial audience. Fine artistes may choose to starve in 

order to follow their artistic muse, but it is notable that much of what we consider great art was 

commissioned, created under patronage, or made for commercial purposes. These artistes had to 

wrestle with the creative challenges of the work and satisfy clients, donors, or a broad audience to 

survive. A producer has to mollify many interests, while resolving technical, creative, financial, 

commercial, and interpersonal problems. Finally, no matter how strong your contract and how high 

your royalty rate (within the range of longstanding major label rates), unless your recordings are 

consistently selling at gold or platinum levels, royalty income generated for a producer will be modest. 

Unknown producers rarely get large advances or high royalty rates. Without hits or an established 

reputation in a niche, it can be difficult to make a living as a producer. 

 

In the same vein, Fox (2004) observed that some artistes are hard of hearing due to standing in 

front of live amplification fortoo many years, and you only hope they have the wisdom to defer to 

those whocan hear. When faced with this problem, Fox states, “I do an A/B session with the 

artiste’sfavorite records so that they (and I) can get a relative sense of how our work is sounding”. 

In fact, being at loggerheads with the artistes is a big concern and challenge to most producers. “Or 

worse still, members of the band, being at loggerheads with each other.” He also further stated that: 

Though I had never seen a situation where the bands have completely broken down, but 

haveseen disagreements where one person gets very upset. You just have to take the time .to 

makes them feel their concerns are being listened to. Then, they will back down from their 

stance (p. 30). 

 

Some of the recording music studios in the South Eastern States visited by the researchers include 

Smooth Groove Productions at No. 4 Aba Road, Umuahia, Abia State; Rhythm & Beats at No. 17 

Nnamdi Azikiwe Evenue, Onitsha, Anambra State; Melody Makers at No. 12 Ogoja Road, Ebonyi State; 

Enugu Music Hub at No. 34 Ogui Road, Enugu State; Rave Studios at No 12 Wetheral Road, Owerri, 

Imo State. The above listed music studios range of services include Recording Studio Services, 

Concerts, Conferences, Crusades, Rallies, Birthdays, Music Production, Entertainment during events 

and Music Recording services. Their production costs vary widely based on factors such as the 

specific services offered, the studio’s reputation, and the location. 

 

Entrepreneurship Education   

One of the keys that help to drive any economy is entrepreneurship, jobs are created through small 

business owners who later develop courage for entrepreneurship venture. Entrepreneurs do have 

confidence in themselves, they have time of their own; make self-decision for the progress of the 

business. Entrepreneurship contributes to reducing unemployment in the economy; successful 

entrepreneurs are figures for emulation by small scale artisans, skilled and craft individuals who do 

not have the courage to lunch out to start up a business.      Entrepreneurship education informs, 



 

200 
 

Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

educates, liberates the mind of youths and individuals who dependent on government and other private 

sector or individual for employment. By teaching entrepreneurship skills, the content of learning 

activities if well achieved, would spur learners to discovery of their innate abilities and create 

opportunities for entrepreneurship endeavour. The economy grows if youths and graduates embrace 

entrepreneurial ideas and engage themselves in skillful work, crime and other social vices would 

reduce to a reasonable degree. Entrepreneurship education stimulates the economy from such an 

unexpected dimension, there are neglected areas, skills and trade that could systematically stimulate 

the economy, but if people are not educated or informed about it, such aspect stays stagnated in 

terms of business and economic gains; music production is one of such area. Narrowing the above 

concepts down to music graduates, Onuora-Oguno (2015: 28) affirmed: “By honing the entrepreneurial 

skill of the Nigerian Musician, he will emerge with a cogent business plan applicable to many different 

ventures within the music industry.” According to him, entrepreneurship turns out to be an essential 

skill for today’s musicians and even more so for music of tomorrow. Digital technologies have simply 

become part of our lifestyle and one that empowers music producers to “go do it yourself” rather 

than work for others. He enumerated the following groups as the beneficiaries of entrepreneurship 

to music:  

1.  Performers wishing to treat their musical ventures in a professional business manner. 

2. Song writers who wish to act as their own publishers. 

3. Those interested in creating music production companies. 

4. Those interested in music merchandising and others. 

All these groups of entrepreneurs will be taught how to go about establishing their businesses. 

 

Music Entrepreneurship Education  

Music entrepreneurship education should include all academic activities involving those course 

contents that help the teacher impact knowledge to the learners, prepare them towards being self-

reliance and proficient in skills acquisition, educate them on modern music business acumen, integrate 

all that should make music students achieve success in their professional career and personal goal 

attainment after graduation. Music entrepreneurship education can also be defined as a transfer of 

strategies to applying ideas like: ethical competences, creative abilities, confidence in risk taking to 

venture in a committed music investment with economic implication, being business minded, having the 

zeal to exhibit musical knowledge and skills, encouragement to achieve being self-employed after 

graduation; based on already acquired training, using well-organized curriculum contents that should 

be relevant to music student in a digital economy. There is need to explore music production skills as 

one of the many core economic and vibrant areas that will enhance effective music entrepreneurship 

education, to reduce unemployment of music graduates and practitioners.  

 

In support to the above, Gray (2017) believe that’s pedagogic framework built to integrate essential 

concepts in entrepreneurship within the context of existing music curricula has the potential to 

better define arts entrepreneurship and its intended learning outcomes for music students’’ (p. 41). 

The above statement means; there should be educational structure to incorporate important aspect 

of skills acquisition for self-employment into the current music curriculum to produce an acceptable 

document to guide and direct a part way for performing and creative aspect of music production for 

music students. Abiogu, Mbaji, & Adeogun (2015) implied that apparently, music education is a 

strategy for achieving much public good and through direct programs and advocacy, institutions can 



 

201 
 

Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

promote music as an intervention to improve youth’s successful employment outcomes and strengthen 

self-development of communities (p. 120).  To the above, Gray (2017) further explained that: 

 Music entrepreneurship curricula can foster student goals by teaching skills and 

 developing knowledge in areas that are specifically relevant to individual professional 

 goals as well as through the teaching of self-regulatory habits and a presentation of the 

 current arts context (p. 43). 

 

The above assertion reveals that teaching any aspect of skills acquisition and entrepreneurship in a 

creative and performing arts courses by one who is not artistically minded in such area is an 

aberration; he may not be able to influence the students in their specialized area requirements due 

to lack of experience in creative and performing arts business complexity. However, Usherwood 

(2015: 5) opines that:  

 Students should be encouraged to acquire the career development and entrepreneurial 

 techniques necessary to advance themselves according to their area of specialization and 

 their own career objectives.” However, most music departments, programs, and schools 

 still lack fundamental music business or entrepreneurial initiatives. 

 

Unfortunately, there seem to be great lacunae in the curriculum content vis-a-sis the views expressed 

above. More so, the government inability to provide the needed facilities for effective teaching and 

learning towards acquiring entrepreneurial skills leaves much to be desired, especially as observed in 

all the tertiary institutions in the South Eastern Geo-political zone of the country. Usherwood’s view 

is also in agreement with the above discussion. Nigerian music students should be groomed to have 

confidence in their area of interest and professional fields of endeavours. Departments of music are 

expected to focus more on music production business, it has the influence to create and enhance 

effective entrepreneurship opportunities in a digital economy. Gray (2017: 42) noted that “context - 

specific characteristics” can inform the “types of entrepreneurial activities as well as the associated 

skills that a student will need to master”. Again, Usherwood (2015) specifically pointed out that:  

 As digital technology continues to be a major force in the music industry they also have, 

 new expectations, opportunities, and issues to consider. It is necessary then for musicians 

 to be entrepreneurially inclined and business-minded in order to productively and 

 successfully navigate through the current realities of this ever changing industry. It is 

 important for musicians to realize their artistic strengths, broaden their musical scope, 

 and explore audience possibilities (p. 5). 

 

Based on the above, Both Gray (2017) and Usherwood (2015) seem to be saying that the level of 

technology and innovative advancement of now will determine the student’s interest to develop his or 

her individual skills, based on content and specific objective, to be able to measure up with the 

emergence and continuous influence of modern digital technologies, the evolving digital musical 

appliances and unending new methods of music creation/production, distribution, and appreciation. 

Kirby (2015: 372) added that: “Technology provides the tools with which people and institutions 

augment their abilities to communicate, and changes in communication technology profoundly 

destabilize and create new opportunities in art and culture”. In a similar response, Gray (2017: 39) 

discussed that music entrepreneurship classes can be suffused throughout music curricula:  

 “Course offerings in music entrepreneurship exercise skills unique to the career 

 experiences of music performers, educators, and researchers. Ideally, a fully suffused 



 

202 
 

Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

 music entrepreneurship program would include several course offerings that expose 

 students to a gamut of skills and content in a variety of learning environments. 

 

The views of Kirby and Gray are in tandem with the previous discussion, they are saying that an 

organized guideline of personal or individual skills and abilities acquired in creative environment will 

help to steer the musician’s entrepreneurial development. They stressed that the perception of 

entrepreneurship as ways of thinking and procedure that leads to creative development for 

entrepreneurship program, enhances the teaching and learning of exact skills, and students’ response. 

The teaching and learning of the music entrepreneurship procedure would help students to develop 

in their knowledge and skills as they advance in studies. Barker and Peppler (2017: 3) responded:  

 Like social entrepreneurs, music entrepreneurs learn to combine the passion for creativity 

 and problem solving with business discipline, innovation, and production within a larger 

 context. They are aware that the act of music making takes place within a framework of 

 relationships. They improve systems of music making, come up with new ways to solve 

 problems, and explore ways of changing organizations, ensembles, community, and  society 

for the better. They have the ability to be visionaries and realists simultaneously  and are 

passionate about transforming an idea into reality… The entrepreneur is able to         think boldly, 

question assumptions, and challenge the status quo. 

 

The above assertions by Barker and Peppler clarify that individuals who are music business owners 

become skillful to merge the enthusiasm for inventiveness as an entrepreneur who proffers solutions 

to bring about improvements in a wider scope of framework for improved environment and larger 

scope of the society. Their view in the area of creativity and entrepreneurship development and 

accomplishment within the immediate environment, suggest the “creation of fresh thoughts and novel 

ideas for economic empowerment and sustenance of music graduates”. Gray (2017) in his emphasis on 

music entrepreneurship observed that its curriculum content and materials should focus at developing 

the following set of concrete and abstract skills, characteristics and abilities: 

(1)  The capacity to think creatively, strategically, analytically, and reflectively  

(2)  Confidence in one’s abilities  

(3)  Collaboration and Communication skills 

(4)  An understanding of the current artistic context  

(5)  Entrepreneurial opportunity recognition and risk assessment 

(6)  An understanding of personal passion and vision  

(7)  Musical disciplinary knowledge, technical skill, and expression (p. 22). 

 

Gray reveals that in an effort to develop an entrepreneurship curriculum that includes a holistic 

approach to arts and entrepreneurship learning, the curriculum also aims to develop core 

entrepreneurial skill sets, such as project planning, assessment, ideation, marketing, and networking. 

Music entrepreneurship education is expected to involve impacting techniques, skills and knowledge 

necessary into the learners, inspiring their individual or group intention(s) to starting up a new 

business, be it self-employed, small, medium or large scale. Teaching and equipping them with skills so 

they can be self-confidence individuals, private or group entrepreneurs. Also analyzing them, making 

decisions and acting upon them, educating the students on possible sources of providing required 

financial, human and material resources geared towards an implementation for profit making and a 

successful career in music entrepreneurship. 



 

203 
 

Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

 

Conclusion  

Digital technologies have changed methods of music education and production in Nigeria and beyond; 

and the impacts, feelings and relevance of digital economy is currently at the front burner in every 

facet of life globally. Therefore, in a way of summering/concluding this paper, the researchers opine 

that efforts should be geared towards inculcating the benefits of the modern contents of digital and 

technological aspects of music education as contained in this paper to the music students. The music 

educators/scholars are expected to be equipped with the basic entrepreneurial acumen in music and 

other digital economy around the world. Fresh thoughts and novel ideas are required in reviewing 

music curriculum contents, to embrace relevant skills and abilities so that musicians can strive to 

thrive in their music business and entrepreneurship career for a worthwhile impact in a digital 

economy. Furthermore, the government’s seemingly apathy towards music education in preference for 

science leaves much to be desired, since it is believed that the “arts (music) pre-date science; the 

humanities is the mother of science”, hence the need to create more awareness for entertainment 

industry and most importantly, music education. These can be done through regular music workshop, 

seminars, conferences, and in-service trainings to be in line with the dynamic requirements for music 

production and creative performances in a digital economy. 

 

References 

Abiogu, G. C., Mbaji, I. N., & Adeogun, A. O. (2015). Music education and youth  empowerment: 

A Conceptual Clarification. Open Journal of Philosophy. 5, 117-122.   

Barker, A. and Peppler, K. (2017). Music entrepreneurship. The SAGE encyclopedia of out-of- 

school learning. SAGE Publications.  1 - 9. 

Burgess, R.J. (2013). The Art of Music Production: The Theory and Practice. New York: Oxford 

 University Press. 

Carton, R.B., Hofer, C.W., & Meek M.D. (1998). The Entrepreneur and Entrepreneurship:  

 Operational Definitions of Their Roles in Society. In Annual International Council for 

 Small Business. Conference, Singapore. 

Chambers Dictionary 10th Edition (2007). Edinburgh: Harrap Publishers 

Fox, M. (2004). E-commerce business models for the music industry. Popular music and 

 Society,27 (2), 201 – 220.. 

Garud, R., Jain, S., & Giuliani, A.P. (2014). Contextualizing entrepreneurial innovation: A  

 narrative perspective.Research Policy, 43 (7), 1177 – 1188. 

George, A. W. (2015). The role of music theory in music production and engineering. An M.A.  Thesis 

presented to the school of music and dance and the graduate school of the  University of Oregon. 

Gray, M. (2017).Teaching music entrepreneurship in the chamber music classroom: A cross-  

disciplinary curricular framework. An essay submitted in partial fulfilment of the 

 requirements for the Doctor of Musical Arts Degree, in the Graduate College of the  

 University of Iowa.. 

Kalu, K. A., Ahanotu, E.N & Onwuekwe A. I.  (2020). Exploring entrepreneurship opportunities 

 of studiomusic production in tertiary institutions inSouth East education zone. Awka 

 Journal of Research in Music and the Arts (AJRMA).  14. PP. 83-100. 

Kirby, P. R. (2015). The evolution and decline of the traditional recording studio. Thesis   

submitted in accordance with the requirements of the University of Liverpool for the Degree 

of Doctor in Philosophy.  



 

204 
 

Awka Journal of Research in Music and the Arts (AJRMA) Vol 17 June 2024 

Kruger, M. E. (2004). Entrepreneurship theory and creativity. University of Pretoria.  

 (pp.13, 16). 

Ojeifo, S. A. (2012). Entrepreneurship Education in Nigeria. Journal of Education and Practi  

www.iiste.org. 3 ( 14)  78 - 82. Accessed 9th, Dec. 2019. 

Onuora- Oguno, N. C. (2015). Honing he entrepreneurial skills of the Nigeria youth for social 

 stability: the music option. Journal of Nigeria music education. 7, 22- 28. 

Parker, S.C. (2004). The Economics of Self-Employment and Entrepreneurship. New York: 

 Cambridge University Press. 

Shane, S. & Venkataraman, S. (2000). Entrepreneurship as a field of research: The promise of       

 Entrepreneurship as a field of research. Academy of Management Review. 26 (1), 13 -17. 

Usherwood, J. T.  (2015). Music business and entrepreneurship: A graduate level course for 

 performance students. A thesis submitted to the faculty of the Jacobs School of Music 

in partial fulfilment of the requirements for the degree, Doctor of Music Indiana 

 University. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
 

http://www.iiste.org/

