Analysis of Global Market Barriers and the Development of a Strategic Marketing Inventory Model for Sabah Popular Ethnic Songs

Authors

  • Richard Antaim Student
  • Elvin Dainal Akademi Seni dan Teknologi Kreatif (ASTiF), Universiti Malaysia Sabah, Malaysia

DOI:

https://doi.org/10.24191/idealogy.v11i2.1019

Abstract

Despite the abundance of ethnic pop music in Sabah, the local music products still struggle to penetrate the global market. This study was conducted to identify the primary barriers hindering the global marketability of Momogun Popular ethnic music, develop a strategic framework model, and evaluate its practicality for local music practitioners. This research adopted a Design and Development Research framework utilizing a mixed method approach. Data were gathered through a survey distributed to 138 music practitioners registered under Music Right Sabah (MRS), semi-structured interviews with three industry experts, and field observations. Quantitative data were analysed using SPSS software, while qualitative data were examined using thematic analysis. The findings conclusively demonstrate that the quality of technical audio production is the most dominant variable restricting local works from breaking into the global market, outweighing linguistic constraints and the lack of formal music education. As a strategic intervention, this study successfully developed a Strategic Marketing Inventory Model, which is built upon six developmental phases and three main pillars, which are global standard product quality, cultural identity branding, and digital ecosystem distribution. The implication of this model offers a practical blueprint to transform Sabah’s ethnic music into a competitive creative economy commodity on the global stage. 

 

Keywords: Ethnic Pop Music, Momogun, Global Marketability, Audio Production Quality, MIME-Mo Model 

References

Aron, D., & Wildman, S. (2023). Labels, artists, and contracts in today’s music industry: An economic analysis. Boston (MA): Charles River Associates.

Asmin Mudin, (2021).Khazanah Muzik Sabah: Mencari Jalan Pulang [Webinar]. Wisdom Foundation. Diterima pada Julai 3, 2022 daripada https://www.facebook.com/watch/live/?ref=watch_permalink&v=483167582740511

Bandyopadhyay, T., Woszczynski, A. B., & Crowell, D. (2025). Musical attributes, cultural dimensions, social media: Insights for marketing music to consumers. Journal of Retailing and Consumer Services, 82, 104103.

Bagaskara, A., Astuti, K. S., & Pratama, W. (2025). Estetika Musik Abad 21 Dalam sorotan: Dinamika Sejarah Sampai Pengindustrian. Visual Heritage: Jurnal Kreasi Seni dan Budaya, 8(1), 143-153.

Bagang, T. P., Puyok, A., & Mersat, N. I. (2025). Shaping identity, shaping power: the politics of Kadazandusun ethnic identity in Sabah. Journal of Administrative Science, 22, 101-128.

Brusila, J., Cloonan, M., & Ramstedt, K. (2022). Music, digitalization, and democracy. Popular music and society, 45(1), 1-12.

Braun, V., & Clarke, V. (2006). Using thematic analysis in psychology. Qualitative Research in Psychology, 3(2), 77–101. https://doi.org/10.1191/1478088706qp063oa

Caves, R. E. (2003). Contracts between art and commerce. Journal of economic Perspectives, 17(2), 73-83.

Chisa, K. D., & Ngulube, P. (2017). Indigenous music goes digital: Reconciling culture and the law. Mousaion: south african journal of information studies, 35(4), 17-pages.

Cruz, A. G. B., Seo, Y., & Binay, I. (2021). Cultural globalization from the periphery: Translation practices of English-speaking K-pop fans. Journal of Consumer Culture, 21(3), 638-659.

Wong, D. T. W. (2011). The Contemporary Musical Culture of the Chinese in Sabah, Malaysia. In B. Abels (Ed.), Austronesian Soundscapes: Performing Arts in Oceania and Southeast Asia (pp. 85–102). Amsterdam University Press. http://www.jstor.org/stable/j.ctt46mvnd.9

Daily Express Malaysia. (2026, Mei 6). Fostering inclusivity through identity recognition. https://www.dailyexpress.com.my/news/280899/fostering-inclusivity-through-identity-recognition/

dos Santos, M. R., Batista, A. P., Rosa, R. L., Saadi, M., Melgarejo, D. C., & Rodríguez, D. Z. (2023). Asqm: Audio streaming quality metric based on network impairments and user preferences. IEEE Transactions on Consumer Electronics, 69(3), 408-420.

Douglas, K. C. (2024). Affordances of Home Studio Jazz: Creation and Negotiation with the Digital Audio Workstation (Doctoral dissertation, Carleton University).

Erdmann, V. (2024). Beyond Color: Design Approaches for Conveying Mood and Music Genre in Album Covers for Color Blind Accessibility.

Erlmann, V. (1996). The aesthetics of the global imagination: reflections on world music in the 1990s. Public culture, 8(3), 467-487.

Feld, S. (2000). A sweet lullaby for world music. Public culture, 12(1), 145-171.

Gao, Yu & Damdindorj, Tsetsegdelger. (2024). The development of ethnic music in the digital age. Frontiers in Business, Economics and Management, 17, 115-119. 10.54097/brge8y89.

Goi, C. L. (2009). A review of marketing mix: 4Ps or more. International journal of marketing studies, 1(1), 2-15.

Halid, R. I. B. R., & Santaella, M. A. (2021). Afterword: Bercerita (Sharing Stories) with M. Nasir, Joey Ayala, Dwiki Dharmawan, and Pra Budi Dharma on Nusantara Popular Music. In Made in Nusantara (pp. 210-223). Routledge.

Joseph, G. (2021, Oktober 31). Eylia Guntabid juara StarVoices Asia ke-7, pertama dari Malaysia. Harian Metro. https://www.hmetro.com.my/rap/2021/10/772497/eylia-guntabid-juara-starvoices-asia-ke-7-pertama-dari-malaysia

Joseph, G. (2019, Julai 29). Rosario juara Asean Song Contest 2019. Harian Metro. https://www.hmetro.com.my/rap/2019/07/480577/rosario-juara-asean-song-contest-2019

Perpustakaan Negeri Sabah. (n.d.). Henry Bating. Diterima pada 4 Jun 2023, daripada https://library.sabah.gov.my/index.php/ms/pautan/pengarang-tempatan/henry-bating

Holt, D. B. (2004). How Brands Become Icons: The Principles of Cultural Branding. Harvard Business Press.

Ibrahim, S. A. L. Z. I. A. N. A., & Halid, R. I. R. (2020). Grafik dan muzik: Analisis reka bentuk kulit album.. Jurnal Komunikasi, 36(4), 369-394.

Kamaludin, K. (2025, Ogos 25). Sabah, Sarawak ethnic music recognition. Daily Express Malaysia. https://www.dailyexpress.com.my/news/265306/sabah-sarawak-ethnic-music-recognition/

Kadazandusun Cultural Association Sabah. (n.d.). About us. Diterima pada 24.10.2023, daripada https://kdca.org.my/about-us/

Kementerian Kebudayaan, Kesenian dan Warisan Malaysia. (2005). Dasar & strategi pembangunan industri muzik Malaysia.

Kim, Y. (2021). The global impact of K-pop: Constructing a transnational fan economy. Popular Music and Society, 44(2), 123–140. https://doi.org/10.1080/03007766.2020.1847562

Kim, H., Watanabe, K., Goto, M., & Nam, J. (2023). A computational evaluation framework for singable lyric translation. arXiv preprint arXiv:2308.13715.

Misrani, S. Z. (2022, Mac 28). Elica Paujin ungguli Big Stage 2022. Kosmo! Digital. https://www.kosmo.com.my/2022/03/28/elica-paujin-juara-big-stage-2022/

Kovačević, I., & Stančić, B. H. (2024). Value chain identification and impact of the music industry on employment in Serbia. Management: Journal of Sustainable Business and Management Solutions in Emerging Economies, 29(2).

Lee, M. (2012). Star management of talent agencies and social media in Korea. In Handbook of Social Media Management: Value Chain and Business Models in Changing Media Markets (pp. 549-564). Springer Berlin Heidelberg.

Longhurst, B. (2007). Popular music and society. Polity.

Mahanadi, H. H. V. N. (2025). Strategi Pemasaran dan Identitas Lagu Pop Banyuwangian “Bangur Baliko” Karya Galang Defriyan. Repertoar Journal, 266-277.

Yusoff, M. (2001). Pengutipan dan pengumpulan data perlakuan dan proses menulis karangan dalam bilik darjah. Dalam Marohaini Yusoff, Penyelidikan Kualitatif Pengalaman Kerja Lapangan Kajian (hh. 87–119). Kuala Lumpur: Penerbit Universiti Malaya.

McBride, J. M., Phillips, E., Savage, P. E., Brown, S., & Tlusty, T. (2024). Melody predominates over harmony in the evolution of musical scales across 96 countries. arXiv preprint arXiv:2408.12633.

Mehr, S. A., Singh, M., Knox, D., Ketter, D. M., Pickens-Jones, D., Atwood, S., ... & Glowacki, L. (2019). Universality and diversity in human song. Science, 366(6468), eaax0868.

Middleton, R. (1990). Studying popular music. McGraw-Hill Education (UK).

Azfar, K. (2021, Ogos 5). Kenali Fanzi Ruji, penyanyi Malaysia yang kalahkan 4,000 peserta seluruh dunia dalam #HeartAttackChallenge. Murai MY. https://murai.my/fanzi-ruji-heart-attack-challenge/

Moody, A. J. (2006). English in Japanese popular culture and J-Pop music. World Englishes, 25(2), 209–222. doi:10.1111/j.0083-2919.2006.00460.x

Noviani, D., Pratiwi, R., Silvianadewi, S., Alexandri, M. B., & Hakim, M. A. (2020). Pengaruh streaming musik terhadap industri musik di Indonesia. Jurnal Bisnis Strategi, 29(1), 14-25.

Oh, I. (2017). From localization to glocalization: Contriving Korean pop culture to meet glocal demands. Kritika Kultura, 1 (29), 8.

Otmazgin, N. (2012). Geopolitics and soft power: Japan’s cultural policy and cultural diplomacy in Asia. Asia-Pacific Review, 19 (1), 37–61. https://doi.org/10.1080/13439006.2012.659591

Öztürk, M. K., & Özdemir, T. (2024). An investigation into audio quality of streaming services: Do music consumers get the audio quality they pay for?. Etnomüzikoloji Dergisi, 7 (1), 65-86.

Pugh-Kitingan, J. (2015). Cultural and religious diversity in Sabah and relationships with surrounding areas (Doctoral dissertation, Tokyo University of Foreign Studies).

Pratita, P. B., & Yuliana, N. (2023). Fenomena budaya K-Pop terhadap kehidupan sosial remaja. Triwikrama: Jurnal Ilmu Sosial, 2 (8), 95-105.

Richey, R.C., & Klein, J.D. (2007). Design and Development Research: Methods, Strategies, and Issues (1st ed.). Routledge. https://doi.org/10.4324/9780203826034

Sabah Tourism. (n.d.). Harvest festival (Pesta Kaamatan). Diterima pada 24, 2023, daripada https://sabahtourism.com/article/harvest-festival-pesta-kaamatan/?locale=en

Sansalu, D. (2014). Persamaan dan perbezaan sebutan dan makna dalam pelbagai dialek bahasa Kadazandusun. Procedia-Social and Behavioral Sciences, 134, 446-453.

Savage, P. E., & Brown, S. (2014). Mapping music: Cluster analysis of song-type frequencies within and between cultures. Ethnomusicology, 58 (1), 133-155.

Seok, C. B., Mutang, J. A., & Madlan, L. (2016). Persepsi kumpulan multietnik di Sabah terhadap etnik diri. MANU Jurnal Pusat Penataran Ilmu dan Bahasa (PPIB), 24.

Shamsul Amri Abdul Manap, Adil Johan, & Mohd. Sobhi Ishak. (2025). Factors influencing music career choice among Malaysian students: A social cognitive career theory perspective. Malaysian Journal of Music, 14 (1), 19-40. https://doi.org/10.37134//mjm.vol14.1.2.2025

Singh, M., & Mehr, S. A. (2023). Universality, domain-specificity and development of psychological responses to music. Nature reviews psychology, 2 (6), 333-346.

Sintian, M. (2023). Bahasa Tombonuo Dan Mangkaak: Dalam Keluarga Bahasa Yang Sama. Rumpun Jurnal Persuratan Melayu, 11(2), 1-13.

Sintian, M., & Yusop, M. S. (2016). KEPELBAGAIAN DIALEK DALAM KELUARGA DUSUNIK: ANALISIS CIRI LEKSIKAL. RUMPUN Jurnal Persuratan Melayu, 4(1), 1-24.

Sriautarawong, N., Wattanapanich, N., Chokkeaw, T., & Jarunthawatchai, W. (2025). Investigating English code-switching frequency in ATEEZ's Korean pop songs. Journal of Language Research and Practice, 2 (1), 39-56.

Sudiyana, B., Marjito, M., & Widayati, M. (2025). Nilai Multikultural Penamaan Kulineran Etnik Jawa: Implikasinya terhadap Pendidikan Bahasa dan Kesadaran Sosial Budaya. Ranah: Jurnal Kajian Bahasa, 14(1).

Taisin, J. N., & Valerian, T. (2025). Nilai Jati Diri berasaskan Ungkapan Indah Lagu Rakyat (Puisi Tradisional) Kadazandusun dalam Pendidikan Bahasa: Personal Value based On The Beautiful Expression Of Folk Songs (Traditional Poems) Kadazandusun in Language Education. Persidangan Antarabangsa Memartabatkan Bahasa Melayu, 3, 142-149.

Throsby, C. D. (2001). Economics and culture. Cambridge university press.

Țînț, M. A., & Drăgulin, S. (2025). From Data to Hits: Understanding Mixing and Mastering Techniques that Make a Song Chart-Worthy. Bulletin of the Transilvania University of Brasov. Series VIII, Performing Arts, 18, 307-322.

Tschmuck, P. (2012). Creativity and innovation in the music industry’s value-added chain. In Creativity and innovation in the music industry (pp. 253-271). Springer Berlin Heidelberg.

Utusan Borneo Online. (2025, Disember 24). USLA mahu perkataan 'Momogun' ganti istilah 'lain-lain'. https://www.utusanborneo.com.my/2025/12/24/usla-mahu-perkataan-momogun-ganti-istilah-lain-lain

Uyub, A. I. (2022). Digital Audio Workstation (DAW) as a Platform of Creative Musical Performance Experience. KUPAS SENI: Jurnal Seni dan Pendidikan Seni, 10, 52-55.

Whitaker, P., & McHugh, C. (2022). Making Arrangements: The Curation of Grief in the Home Studio (Faire les arrangements: la conservation du deuil dans le studio à domicile). Canadian Journal of Art Therapy, 35(1), 32-42.

Yin, R. K. (1994). Case study research: Design and methods (2nd ed.). Sage Publications.

Yu, L., & Deng, H. (2015, June). Research into value chain of China’s music industry. In 2015 International Conference on Management, Education, Information and Control (pp. 1780-1786). Atlantis Press.

Zhao, J., Cui, X., Wang, S., Liu, W., Liu, J., Liu, C., ... & Zhang, Z. (2025). Analysis of the spatial heterogeneity and influencing factors of music training institutions: a case study of Beijing, Shanghai, Guangzhou, and Shenzhen. Computational Urban Science, 5(1), 1-

Downloads

Published

2026-09-01