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The purpose of this paper is to introduce a programme of workshops facilitated on inpatient wards in NSFT which promote recovery through the discussion of spiritual themes.

An introduction to the design principles of the workshops followed by service user narrative.

The contributions by service users demonstrate how addressing their spirituality promotes recovery.

This is the first time workshops on spirituality have been given a structure in a linked series of topics and then evaluated by service users.

Taiwan is one of several leading countries in the mobile music context. Accordingly, Taiwan's experiences in promoting mobile music service diffusion are of importance and interest to international practitioners and researchers. Applying Rogers' innovation diffusion theory, this study aims to employ econometric models to investigate whether the diffusion of mobile music service adoption is affected by external influences (e.g. mass media advertising, salespeople, and service providers), internal influences (e.g. interactions and imitations among acquaintances), or a combination of such influences.

To determine which influence best explained the diffusion of mobile music adoptions, the external, internal, and Von Bertalanffy mixed influence diffusion models were tested in this study. GNUS, a strongly functional language and environment to statistically explore data sets, was used to estimate the parameters of each model. The performance of each diffusion model was then examined using the Akaike AIC and Schwarz BIC statistics.

Findings indicated that the Von Bertalanffy mixed influences model best describes the diffusion pattern of mobile music service adoption and that acquaintances' influence in terms of interactions is the dominant factor influencing mobile music service adoption decision in Taiwan.

How managers of a mobile music service provider can use the internal and external influences interchangeably to effectively accelerate the mobile music diffusion at the different stage of product lifecycle is presented in this study. Indeed, the mobile music service is one of the most important industries worldwide not only because its penetration rate in many countries is over 50 percent, but also because of its killer applications. In light of this, the study contributes highly to theoretical and empirical examinations because the diffusion of the mobile music services within a society is the essence of the development/usage of the m‐commerce or music industries.

The purpose of this paper is to gain a deeper understanding of how independent craftspeople adopt and use social media (SM) in order to promote their creative enterprise. However, some of these opportunities may place a demand for specific knowledge, business and technical skills on untrained artists. The purpose of this paper is to look into this emerging phenomena, the challenges and opportunities it presents and to propose solutions or recommendations to independent artists, training organisations, and government bodies who may wish to promote the creative industries.

In order to identify different modes of adoption of SM and some of the related challenges within this domain, interviews were conducted with independent craftspeople in order to explore these topics and identify emergent themes. The research focuses on an ethnographic study through an interpretive lens; Habermas' theory of communicative action is drawn on to explore the adoption and use of technology by craftspeople to promote their work and business.

The paper identifies some of the most current challenges for the independent craftsperson in adopting SM to promote and sell products. While participants are aware of benefits of SM technologies, lack of time, lack of technical knowledge and unfamiliarity with new media technologies are all highlighted as barriers to adoption. Proposed recommendations include training and support offered by government development agencies, and cooperatives employing social media experts.

Situated within the context of an ongoing ethnographic study, this study was a specific episode carried out at a craft fair to investigate the specific theme of SM adoption for product promotion. Given more time further interviews could be carried out to include a greater range of participants. Craftspeople who work entirely out of a workshop and do not attend events such as craft fairs could be interviewed to give further insight. A future study will present an analysis of the content of web sites, third party portals and social media posts to understand the interactions that take place through web technologies and social media.

The findings of this paper can be used in shaping support solutions for independent craftspeople wishing to adopt SM as a method of promoting their product or craft. The discovered challenges may be used to identify potential problems of the Internet and SM for the independent craftsperson. Findings can also be used to inform hosts of e‐commerce sites for independent artists, they may also be used to inform government and funding bodies.

The purpose of this study is to gain insight into craft and do-it-yourself (DIY) communities of practice (COPs) and how the use of technology provides ways for participants to connect, share and create. Gaining deeper insights into the practices of these communities may provide new opportunities to utilise within this flourishing domain.

Qualitative methods were adopted to collect data and analysed through an interpretivist lens. Semi-structured interviews were conducted with members of craft and DIY COPs to gain a deep understanding of the broader ethnographic study. Existing theoretical perspectives surrounding COPs have been applied to further current perspectives.

Findings from this study suggest that being part of a COP allows participants to connect to others, build creative enterprise and learn or enhance skills. Insights gained from this study indicate some of the detailed ways in which the application of technology redefines craft and DIY COPs.

This study provides a succinct exploration of a vast and fluid domain; if presented with more time and wider resources, the research would include further exploration of virtual COPs.

The investigation provides a rich insight into the use of information and communication technologies (ICTs) within craft and DIY COPs. The application of theoretical perspectives from the area of Information Systems (IS) and Technology Management to this domain is regarded as an original research and furthers knowledge in these areas.

The investigation provides a rich insight into the use of ICTs within craft and DIY COPs. The application of theoretical perspectives from the area of IS to the domain of craft and DIY culture is original research and extends existing concepts to include skills sharing as a previously unexplored domain.

The aim of this paper is to aid the DIY artist in moving towards sustainability through the use of new technologies, which will be achieved by defining DIY music culture, identifying the creative and business needs of an artist as well as establishing a model for artists to be self‐sufficient.

The research methodology consisted of a mixture of unstructured interviews, such as e‐mail, telephone and face‐to‐face. A total of 15 interviews were conducted with DIY artists from local music scenes around the UK.

The DIY musicology model is a foundation for the DIY artist to be self‐sufficient through the three main perspectives: artistic process, managerial process and information systems.

Many artists and managers continue in their struggle to be independently sustainable, therefore it is necessary to continue this research on a wider scale.

By gaining a more in‐depth understanding of the sub‐sectors within the music industries, artists and managers can understand more about how to manage their own creative activities or projects.

Through a strong DIY ethic, with an emphasis on creativity and self‐management, a clear understanding of local music scenes helps to identify one of the key sub‐sectors of the music industries as well as demonstrate that sub‐cultures have value.

The paper discusses issues of sustainability within local music scenes from the perspective of the DIY artist, which is a new area of academic research.

The purpose of this paper is to examine intrinsic forms of motivation and particular incidents of play, socialisation, fun and amusement on an online crowdsourced citizen science platform. The paper also investigates gamised activity (Greenhill et al., 2014) as a form of intrinsic motivation adding a sense of play to work and tasks (Xu et al., 2012). These concepts are explored through close scrutiny of the online citizen science platform Zooniverse.org.

Qualitative techniques with an interpretivist approach are used to analyse online content found within citizen science platforms, related forums and social media by examining incidents of play, socialisation, fun and amusement to investigate how these aspects are applied as a form of user motivation.

The authors find that when users classify crowdsourced tasks voluntarily it does not matter how users are classifying as long as it is accurately. However, what does matter is why they are doing it particularly because of the complex processes that builds relationships between users and the platform. The authors present a conceptual model to enable deeper understandings of how forms of social interaction and play are motivating users contributing to citizen science project to participate in the online processes.

The findings of this paper provide practical implications for how citizen science, and also other crowdsourcing platforms, can engage with notions of play and gamification to motivate participation.

Using detailed examples of online content, the authors reveal how participants of the Zooniverse.org demonstrate aspects of “gamised” behaviour. The authors argue that the exploration of gaming as well as play provides evidence that contributing to citizen science projects can be both utilitarian and hedonic.

This paper aims to investigate the potential impacts that differences between UK and US copyright laws for sound recordings have on musicians. It also highlights the needs for continued standardisation of international copyright laws (particularly those for sound recordings), copyright law education for creators, and a need for musicians to re‐think future artistic and managerial decisions.

In this critical analysis of current academic literature and legislation, significant differences between the domestic copyright laws of the UK and USA have been identified. The impacts of these differences on musicians are discussed and conclusions drawn.

Findings suggest that there are several significant differences between the UK and US copyright laws for sound recordings, which do impact on musicians in both countries. However, determining the degree of impact is dependent on several contributing factors: the nationality of the musician; the level of success of the musician; the creative roles adopted by the musician; and the ambition of the musician.

Research scope was limited to the domestic copyright laws of the UK and USA only; and, specifically, the copyright laws for sound recordings. Findings were generalised for all musicians, regardless of type or genre.

This paper is one of the first to investigate the impact of differences in domestic copyright laws on musicians, and identifies several strategy issues that must be considered by musicians when making future artistic and managerial decisions.

The purpose of the paper is to conceptually elaborate two important mechanisms, authenticity and fuzziness, that affect how audiences react to deviations from existing genres by artists that are making their first entry. In cultural industries such as music, social categorization systems play an important role in the success of actors. Audience members evaluate entering artists vis‐à‐vis the existing, collective system of categories and related normative social codes, and may or may not impose penalties for code violations.

This is a conceptual paper and the conceptual framework is built on recent theorization regarding social categories in organizational fields. A key premise is that such categories, including musical genres, are fuzzy with blurred boundaries and partial membership. Such fuzziness is likely to affect organizational viability and dynamics.

Based on the conceptualization, the baseline proposition is that artists making their first entry are likely to face higher penalties by audiences if they deviate from existing genres. However, the higher the idiosyncratic authenticity of an artist, the smaller such penalties are. Moreover, we expect penalties to be smaller when genre fuzziness increases.

Besides contributions to theory, the propositions that are stated in the paper should have relevance to record companies and artists when they are making strategic decisions regarding artist identity upon first entry.

The paper offers a novel perspective to extant research in music regarding genres, categories, and organizational identities. Furthermore, the paper contributes to recently emerged sociological theory on fuzzy categories and authenticity.

Taking into account the increasing prices of attending concerts and gigs and the decreasing prices and better sound quality of CDs and music in file‐computer format, is the future of music events threatened by music CDs? Are clients' perceptions about concerts and CDs very different? This study aims to answer these research questions by comparing important perceptions of concert attendees and CD buyers.

An empirical study is conducted in two different contexts: CD buyers and concert attendees. In order to answer the research questions outlined the most appropriate statistical tool is the student's t‐test. The variables to compare do not have normal distributions; therefore, non‐parametric tests have been conducted to confirm the results. In addition, a discriminant analysis has been applied in order to assure that both consumers sub‐samples differ with regard to the variables used in the study.

The future of music events is not threatened at all by music CDs. On one hand, the concert industry has been increasingly making more profits in many countries in last decade. On the other hand, consumer satisfaction, price fairness perception, willingness to pay, customer value, and product/service quality are significantly more highly ranked in concert attendees than in CD buyers. The statistical analyses show clients' perceptions about concerts and CDs are very different. All the variables analysed except image have been significantly different in both sub‐samples of consumers.

This paper examines customer perceptions of two of the most important sectors in the music industry: concerts and CDs, using variables that directly measure these perceptions. It is crucial for music managers to understand motives and feelings of music consumers of these basic sectors in order to make appropriate decisions.