Search results

This paper aims to explore how music festival organisers negotiate diversity and inclusion in marketing and promotion practices through symbolic and social boundaries.

Based on semi-structured interviews with 18 festival organisers in Rotterdam and participant observation with six festival photographers I show that symbolic and social boundaries are employed in three areas: (1) boundaries in festival format (i.e. [partially] free or ticketed), (2) boundaries in distribution partners and technologies and (3) boundaries in promotional content.

Symbolic and social boundaries are intentionally used by festival organisers to build and delineate festival audiences. Implications are drawn on current understandings of the accessibility of music festival spaces, arguing that festival research should move beyond within-space dynamics to grasp the negotiation of diversity and inclusion at festivals more fully.

While music festivals are often marketed as celebratory spaces that are “welcoming to everyone”, few studies have investigated diversity and inclusion nor marketing and promotion practices at music festivals. This study shows how festival audiences are shaped through marketing and promotion practices.

Research for the case study was conducted using a combination of semi-structured interviews and secondary data sources.

This case traces the international expansion of Sadowsky Guitars’ bass guitar product line. Roger Sadowsky is one of the most respected instrument makers in the world and gained early acclaim for his outstanding repair and restoration work on guitars and basses. Some of his early clients included Prince, Will Lee (The Tonight Show), Tom Hamilton of Aerosmith, Jason Newsted of Metallica, Eddie Van Halen and Marcus Miller. Roger’s reputation and the demand for his instruments led to some customers having to wait for more than a year to obtain the chance to purchase a Sadowsky instrument, while others were unable to do so due to financial constraints. In 2003, Roger made the decision to form Sadowsky Japan to begin the contract manufacturing of more affordable Sadowsky instruments in Tokyo, Japan. As the company grew in size, Roger realized he was becoming more focused on running a business than building instruments. Furthermore, his Japanese partners were only interested in serving the Japanese market. This required him to handle the sales and distribution in the remaining parts of the world. In December of 2019, he announced a new, exclusive licensing agreement and distribution partnership between Sadowsky Guitars and Warwick GmbH & Co Music Equipment KG. The new agreement allowed Roger to continue running the Sadowsky NYC Custom Shop while Warwick would take over building and distributing the Metro instruments and a less-expensive, Chinese-built version of the MetroExpress instruments.

This case is appropriate for undergraduate and graduate-level courses related to marketing and consumer behavior. The case walks students through a real-life scenario when the founder of a well-known musical brand sought to expand internationally as a way to meet growing market demand. Students are asked to consider the advantages and disadvantages of the five key international market entry strategies: exporting, licensing, contract manufacturing, joint ventures and investment (equity/acquisition).

The case works well in the classroom, even if people are unfamiliar with the musical instrument retail industry. Participants are most likely aware of some of the artists and musicians mentioned in the case. Some may also be or know musicians. The instructor should be able to quickly engage participants in a lively discussion about Roger Sadowsky’s vision for his instruments and the opportunities and challenges of expanding product offerings and increasing market share.

Teaching notes are available for educators only.

This chapter is dedicated to understanding the idea of international as a key notion to the development of globalisation and to promoting the rescaling of spaces and subjects in contemporary higher education. The author discusses the concept of scale as a performative device that activates the capacities of bodies. Instead of seeing scale as a naturalised and hierarchical structure of spatial distribution, the author understands it as an ensemble of discourses and practices that produce scalar effects. Globalisation uses scale to promote the idea that subjects would become ‘international’ by being linked to privileged spaces and bodies in the Global North. In this sense, globalisation is not merely about nodes where certain flows converge. Rather, the author understands it as the political conditions that control and constrain the space for certain flows to occur and not others. Using assemblage analysis, the author presents and analyses three scenes taken from his ethnographic records that have as a guiding line the materialisation of the international. These scenes report the experience of being a Latin American doctoral student attending a congress in the United States, a tense situation experienced at a Chilean university academic event, and the unpretentious manifestation of an elaborate idea of internationality from a personal experience of a trip to India. The results point to three elaborations of the international: an optimistic view of a shared world, a geopolitical internationality and the production of a global corporeality.

The purpose of this commentary is discuss how musical intervention and imagined interactions can be used to deal with conflict. Music has been called the universal language because of its tonality and rhythm. It affects conflict and aggression and helps people to deal with stress. Research is reviewed showing physiological arousal with background music. The effects of music on aggression are summarized in terms of emotional regulation, catharsis and empathy, and the use of mental imagery in the form of imagined interactions, including relational maintenance catharsis and conflict linkage, is discussed. The incremental sound organizer (ISO) principle of music therapy is discussed as a mechanism to affect emotions while listening to music. Finally, a tool to measure the emotional effect of music on listeners is discussed in terms of the musical mood wheel.

This is a commentary on the effects of background music on reducing aggression.

Music can reduce aggression, depending on how it is used. Music affects how we manage our emotions, reduces stress, provides catharsis and can be a distracting element. Music can enhance empathic feeling; induce positive moods, social bonding, physiological changes and neurobiological changes; and affect our arousal.

Music therapy and musical intervention can be applied to conflict resolution.

The ISO principle of music therapy is designed to deal with changing a person’s emotions as they listen to a medley of music. The mood of the person is measured using a series of scales reflecting a continuum of sadness to happiness, and the music is designed to match the mood of the patient to the music being played and/or listened to, which in turn fosters the achievement of an altered state of consciousness. For example, if you are angry, start with music that is loud and gradually switch to a more tranquil piece of music. “The vectoring power of music is that we change the mood or emotion of persons from one affective pole (joy) to its opposite (anger) through small incremental changes in the rhythm and intensity of the music” (Honeycutt, 2003, p. 82).

Background music in music psychology literature is often referred to as musical intervention. Background music can help us recall positive and negative scenes as the music triggers endorphins in the brain (Salimpoor et al., 2011). Background music is intended to enhance the surrounding context without drawing significant attention. It is often played in spaces such as restaurants, stores, offices or public places to create a certain mood or ambiance.

It is important to note that the effectiveness of musical intervention in reducing aggression can vary based on individual preferences, the specific type of music used, and the context in which it is applied. Additionally, while music intervention can play a role in aggression reduction, it is often most effective when used as part of a comprehensive therapeutic approach.

For the design of this case study, the authors used primary sources of information from the shops visited by them in preparation of the case and website of Fred Perry and secondary sources of information from both academic and journalistic publications.

Fred Perry is a premium clothing brand, well-known for its polo shirts. It was created by Mr Fred Perry, a British tennis player. The brand’s stated values are integrity, personality and individuality. Throughout its history, the brand has been adopted by different British subcultures but recently it has faced a challenge because of the brand appropriation by the Proud Boys, a US far-right white supremacy group and other extremist groups as Antifa and hooligans. The nature and actions of the group mean that Fred Perry runs the risk of losing control over its brand equity. This brand hijack means that Fred Perry risks alienating some of its customers by openly opposing the group but also by embracing this subculture’s appropriation. Practically, the brand opposed the appropriation in a press release and by putting an end to the sale of the black and yellow polo shirts in the USA and Canada. Fred Perry has also made a lot of efforts to reposition the brand away from extremist groups while maintaining its strong historical and cultural roots. Through this case study, students will have the opportunity to discuss this topic and explore solutions for brands that face this type of dilemma.

This case is designed to be used in a marketing management, brand strategy or consumer behavior/culture course, especially in the subfield of market segmentation in the telecommunications sector. Specifically, this case is designed for college seniors or master students with basic strategic marketing training. This case will help students understand the difference between the brand identity that the brand owners intend and the brand image that consumers actually perceive. It provides the basis of discussions on the topics of brand management, consumer culture, consumers-brands relationships, brand architecture, brand equity, brand appropriation and repositioning strategy.

The purpose of this article is to discuss how the mastery of resilience in operations and supply chains plays a significant role in the transition to a more sustainable future. Furthermore, it is supposed to propose avenues for future research on operational and supply chain resilience, interacting with the sustainability literature in our field.

A conceptual review of resilience and sustainability themes within operations and supply chain management research is conducted. Reflections on the topic are informed by relevant literature published over the last decade.

The major conceptual contributions are threefold: (1) This article elaborates on the understanding of operational resilience and supply chain resilience concepts and reviews their respective primary research streams. (2) It proposes resilience as the missing element in the pursuit of excellence in organizations that want to contribute to a more sustainable future. (3) The article offers a research framework that provides a future research agenda at the intersection of resilience and sustainability in operations and supply chain management research.

The article highlights gaps in current research and illustrates further areas of research that need to be addressed to maximize the contribution of operations and supply chain management research in supporting practitioners to achieve a more sustainable future.