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The purpose of this paper is to interpret the 1850 debut American performances of Swedish concert singer Jenny Lind as an emblematic moment in the history of live music promotion.

This paper studies the manner in which Lind's earliest concerts and the singer herself were marketed through analysis of contemporary newspaper and magazine reports and advertisements.

Lind's concerts were important for the way they demonstrate the complex balance of “high” and “low” cultural forces at a transitional moment in US cultural history, and for the way in which her manager, P.T. Barnum, used various mechanisms to manage the potential disorder posed by her immense audiences.

The paper addresses only the first few concerts of Lind's nearly two‐year American tour in detail, but uses those concerts as a case study for understanding the degree to which the business of nineteenth‐century concert promotion had to balance the pursuit of profit with the demands of crowd control.

Lind's example demonstrates how a complex range of class interests needed to be balanced in order for her to reach something approaching a “mass audience,” in modern parlance.

The paper provides a historical perspective on issues that continue to have relevance for the promotion of large‐scale commercial events, and addresses critical questions about the nature of the collective experience provided through live music performance.

Human brands in the music industry use self-presentation tactics on social media to manage audience impressions. This practice has led to many posts asking followers to adopt behaviors favoring the human brand. However, its effectiveness in leveraging relevant performance metrics for musicians outside social media, such as popularity in specialized media, music sales and number of contracted concerts, needs further exploration. This study aims to reveal the effect of impression management tactics conveyed on social media on the market performance of musicians’ human brands.

Secondary data research classifies 5,940 social media posts from 11 music artists into self-presentation tactics (self-promotion, exemplification, supplication and ingratiation). It shows their predictions on three market performance metrics in an annual balanced panel study.

Impression management tactics via posts on social media are mostly self-promotion, improving the musicians’ market performance by increasing the number of contracted concerts. Conversely, ingratiation generated the most positive effect on the musician’s popularity but reduced music sales. Besides lowering the musicians’ popularity, exemplification also reduced the number of contracted concerts, while the supplication had no significant effect.

To the best of the authors’ knowledge, the research is the first to use social media postings of musicians’ official human brand profiles based on self-presentation typologies as a complete impression management tool. Furthermore, it is the first to test the effects of these posts on market performance metrics (i.e. outside of social media) in a longitudinal study.

This paper aims to explore the nature of the marketing of concerts 1672–1749 examining innovations in the promotion and commodification of music, which are witness to the early development of music as a business.

The study takes as its basis 4,356 advertisements for concerts in newspapers published in London between 1672 and 1749.

Musicians instigated a range of marketing strategies in an effort to attract a concert audience, which foreground those found in more recent and current arts marketing practice. They promoted regular concerts with a clear sense of programme planning to appeal to their audience, held a variety of different types of concerts and made use of a variety of pricing strategies. Concerts were held at an increasing number and range of venues with complementary ticket-selling locations.

Whilst there is some literature investigating concert-giving in this period from a musicological perspective (James, 1987; Johnstone, 1997; McVeigh, 2001; Weber, 2001; 2004b; 2004c; Wollenberg, 1981–1982; 2001; Wollenberg and McVeigh, 2004), what research there is that uses marketing as a window onto the musical culture of concert-giving in this period lacks detail (McGuinness, 1988; 2004a; 2004b; McGuinness and Diack Johnstone, 1990; Ogden et al., 2011). This paper illustrates how the development of public commercial concerts made of music a commodity offered to and demanded by a new breed of cultural consumers. Music, thus, participated in the commercialisation of leisure in late 17th- and 18th-century England and laid the foundations of its own development as a business.

The aim of this research paper is to examine why concert promoters sometimes advertise sold‐out live music shows when nobody can buy tickets any longer.

Durkheim's theory of religion as a thrilling social activity is used to hypothesize that the advertising of sold‐out events reminds audiences that star performers are popular and therefore helps to generate the “buzz” around them. Interviews with a series of promoters from the USA, UK and Canada revealed, however, that they see more immediate and mundane reasons for advertising sold‐out shows, including building the artist's career profile and training consumers to buy next time round.

It was found that promoters could also organize the sales and advertising process to bring sold‐out events into being. While their explanations diverged from a Durkheimian schema, the results of their actions did not. In effect they serendipitously did cultural work to further the Durkheimian process without being consciously concerned by it as an explanation of motives.

This paper suggests that the Durkheimian model illuminates a point of connection between commerce and affect in the reception of star performances. Further research on live music using the model as a hypothesis may therefore be useful.

This article discusses local cultural policies addressing popular music, and the values they imply, through a case study of Strasbourg's Espace Django, a publicly financed concert venue located in a disadvantaged neighborhood.

Espace Django's structural organization and overall cultural “philosophy” are described on the basis of field interviews and several documents related to the venue; they are then discussed in relation to literature on urban cultural policies and French policies concerning popular music.

Espace Django's activities embody a will to improve social interactions within local communities. The venue does not fit in either the “music city” or the “creative cluster” theoretical model. However, its policies belong to the French institutional tradition of Développement Culturel, and they express a tendency toward eventification and the experience economy.

In France, the public sector plays an important role in cultural practices, mostly through funding and policymaking. The example of Espace Django adds a distinct French perspective to a research field mainly centered on Anglo-Saxon countries and more liberal economies. Also, the appendix on Espace Django's response to the coronavirus disease 2019 (COVID-19) health crisis adds interesting elements for understanding what are the successful choices in the current cultural scenario.

Taking into account the need to make a clearer distinction between traditional and new organizational controls, the purpose of this paper is to investigate similarities and differences between those two forms and explore the extent to which new forms of control can be operationalized from a quantitative point of view.

Suggesting that new organizational controls can be understood also in light of quantitative paradigms, the paper develops and tests a scale to measure the existence of this type of controls, examine its construct validity and evaluate its convergent validity.

The theoretical dimensions of new controls have empirical correspondence. Input and behaviour controls are strongly associated with the promotion of values and beliefs in organizations. New controls become responsible for employees’ acceptance of companies’ management, an aspect measured by perceived organizational support (POS).

The study presents two challenges linked to the lack of evaluation of the possible process mediators that measure the subjectification of the individual, and to the lack of data coming from the organizational level. Limitations can be addressed by multi-level studies using measures that would avoid single variance biases. The need for companies to pay more attention to organizational discourses and to the promotion of specific values (that can enrich traditional controls), and the impact this might generate on POS and future reciprocity, are the practical implications of the study.

– The impact of new organizational controls can be measured by scales rather than investigated only with qualitative approaches. Furthermore, it can be observed that the promotion of values and beliefs strongly increases POS. Such dimension can reduce employees’ resistance when compared to output controls or controls based on changes in surveillance technologies and structural change processes.

Reviews product life cycle theory and examines empirical evidence. Reports on empirical research carried out to determine the applicability of the theory to popular record products. Proposes a framework of the relationship between the producer life cycle and the marketing mix.

The purpose of this paper is to extend sponsorship literature by investigating the role of the fit construct and perceived sponsorship portfolio size for event sponsorship success. To analyze the sponsor–event fit in more detail, the authors draw on the network perspective and, as a consequence, split the sponsor–event fit into two constructs: the sponsor–artist fit construct and the sponsor–event organizer fit construct. Then, a model is developed and tested that examines the effect of these two constructs and perceived sponsorship portfolio size on sponsorship success.

The model is tested with data from 330 visitors to two different concerts in Switzerland. Real events with non-student samples are examined. The data are tested using Mplus 6.0 structural equation modeling.

Results report that the sponsor–artist fit, the sponsor–event organizer fit and perceived sponsorship portfolio size are important drivers of attitude toward the sponsor. Moreover, sponsorships that cause positive attitudes toward the sponsor are found to enhance willingness to pay a price premium and purchase intention.

This paper reveals that it is important for sponsorship managers to correctly consider the fit construct and perceived sponsorship portfolio size for sponsorship success. Additionally, the tested model provides an instrument for measuring sponsorship effectiveness.

The current paper reveals new results by investigating the impact of the sponsor–artist fit and the sponsor–event organizer fit on sponsorship success. Furthermore, the current research paper is the first to analyze the effects of a sponsorship portfolio which is not limited to one sponsorship category on sponsorship success.

Although an integral component of many marketing communications strategies, relatively little has been written about the management of consumer sales promotions. Explores a framework that examines the relative importance of key factors on managers’ use of two consumer promotional tools: coupons and lucky draws. The results show that brand managers use trade and consumer sales promotions more extensively than media advertising, but do not consider sales promotions to be more effective in meeting objectives. The current sample of Singaporean supermarket managers heavily favors price‐oriented over non‐price promotions. Concludes that managerial use of sales promotions is influenced primarily by competition and short‐term pressures. The findings provide tentative support for the proposed framework.

This study aims to explore the engagement between accounting and music in the social and relational construction of accountability. The authors conceive this construction as a dynamic and recursive interplay between the giving of different accounts and the responses that these accounts provoke. The authors investigate the emotional dimension of this interplay, as it is also triggered by music, feeding back into how accountability is constructed and evolves over time.

This study relies upon a historical analysis of archival and secondary sources about the main music concert organized in 1913 by the founder of “Accademia Chigiana”, one of the leading music academies in Italy. The concert celebrated the first centenary of the birth of Giuseppe Verdi, a worldwide famous Italian music composer, and icon of Italian national sentiment.

This study shows that music and accounting were profoundly intertwined in the social and relational construction of accountability for the 1913 concert. Accountability evolved through different accounts, also linked to music, and the complex emotional reactions these accounts provoked in the audiences, citizens, media and institutions, leading to always further responses and accounts in the ongoing construction of accountability.

This study extends prior literature on the chameleonic nature of accountability, as well as on its relational and emotional dimensions. The study shows that accountability is relationally constructed and evolves over time through the giving of accounts and the emotional reaction they provoke from others, feeding into further responses and accounts of the accountable subject. The authors show how the chameleonic nature of accountability permeates not only the accounts and the relations of accountability but also the subjects giving and demanding the accounts: these subjects change as chameleons through their interactions and emotions, feeding into the dynamic construction of accountability. The authors also show how arts, like music, can participate in the chameleonic nature of accountability and of its subjects, precisely by engaging with their emotional reactions and responses.