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Through digitization and globalization, corporate incubators have gained new relevance as tool to foster innovation within established companies. Although many studies address business incubators in general, the specifics of corporate incubators are often neglected in the literature. The paper aims to discuss this issue.

The author systematically reviewed academic articles regarding corporate incubation, published in peer-reviewed journals. In the course of a subsequent analysis, open questions for further research were identified and addressed.

Corporate incubators differ significantly from business incubators. Based on an analysis of 45 academic papers, the main features of corporate incubators have been identified and addressed.

The present work suggests that it is one of the first that systematically analyze the literature on corporate incubation. Based on the literature review, a holistic framework was constructed that highlights the different elements of corporate incubation and also considers the incubator as knowledge broker between business units and ventures.

The success of corporate innovation is based less upon the success of a single innovation program than on a holistic and overarching corporate innovation system integrating various activities. Taking this perspective, the purpose of this paper is to extend existing research on the design of innovation programs.

Utilizing an inductive theory-building case study approach, this study provides a detailed analysis of how one of the largest and most successful German technology companies structures its many innovation activities.

The analysis identifies key elements of innovation programs and suggests three configurations that illustrate how these generic elements can be structured so as to offer the best fit with the underlying logic of the respective innovation program. Furthermore, this study highlights how the identified configurations come together to deliver overarching strategic innovation goals.

Existing research too often focuses solely on single innovation programs. The current research is among the first to take a holistic and overarching perspective, considering different innovation programs within a single company and analyzing their configuration and their interplay.

Examines key general marketing texts to produce a consistent set of claims termed the nine tenets of marketing. States that these are core to conventional marketing teaching and thought. Argues that they have little epistomological basis. Shows that marketing professionals do not enjoy the same status as those in law and accountancy, concluding that to convince others of the profession’s worth, the whole basis may need renovation.

The purpose of this paper is to identify and discuss the drivers behind the rise and fall of the Australian Doctor of Business Administration (DBA) and to assess its future.

Data covering the period 1993-2013 was sourced from the Commonwealth Department of Education and Training to provide a comprehensive analysis of the rise and fall of the Australian DBA.

In Australia, the DBA was introduced in 1993. In the first 11 years of the programme, enrolments increased from only nine candidates in 1993 to 1,505 candidates in 2004. However, by 2013, the number of candidates had fallen to 869 candidates. The authors argue that the principal rationale for the dramatic fall in enrolments points to the challenges and issues of managing overseas candidates by second tier and regional universities rather than a decline in the market per se.

The challenge for universities is to determine whether they can or are able to offer the DBA under a quality framework that requires academic rigour equal to the PhD.

This paper presents – for the first time – the most comprehensive description of trends in the Australian DBA programme from its inception to the present day. It also offers valuable insights and cautionary lessons for other countries thinking of introducing or expanding their current DBA programmes.

The purpose of this paper is to investigate examiner reactions to doctorate of business administration (DBA) theses at an Australian university applying Perry’s structured approach to thesis presentation, which had its origin in the marketing discipline, but is now widely applied to other business disciplines.

This paper examines 49 DBA examiner reports relating to 19 DBA theses using the structured Perry approach, with emphasis paid to comments relating to thesis structure and presentation. Only those theses that acknowledged Perry or demonstrated Perry-like characteristics were interrogated.

The use of Perry’s structured approach can lead to DBA theses that place excessive emphasis on description rather than practical outcomes, as should occur with a professional doctorate, and also fosters excessive repetition and scaffolding that unduly interferes with the candidate’s “story telling”. Many examiners found theses using Perry’s structured approach problematic, particularly with respect to a lack of integration with the literature and reflection on the findings in relation to previous studies.

The use of Perry’s structured approach potentially acts as a further barrier to DBA theses, and other professional doctorates by extension, sufficiently differentiating themselves from PhDs. This has implications for the examination of such theses, which are sometimes viewed as lower-quality PhDs instead of professional doctorates.

Applying a traditional PhD thesis structure, such as the model advocated by Perry with its use of five chapters, to DBA theses potentially exacerbates existing professional doctorate “image” issues, thereby leading to ambiguity for examiners and the candidates themselves.

Understanding a prima facie attraction of retro pop-rock by a broad spectrum of people and the role of technology innovation in driving the importance of this genre. A key idea of this paper is that ongoing popularity of retro pop-rock music is associated with a confluence of demand-side and supply-side factors. The demand side is thought to be characterized by a combination of psychological factors contributing to individuals’ desires to enjoy, reflect on, or even “live in” the past. On the supply-side, technology has roles in the production, distribution and consumption of music.

The approach of this paper is to provide an extensive search and synthesis of relevant literature and to present and analyze findings from online surveys.

The literature supports the idea that attraction to retro music is heavily influenced by psychological factors as well as technology innovation. The survey provides supporting evidence. Of particular interest are findings related to correlations between nostalgia and technology.

This study is, to the authors’ knowledge, one of the first to provide a survey-based link between the attraction to retro music to nostalgia and technology.

The aim of this paper is to examine the impact of the digital culture on the music industries through an analysis of official and unofficial web sites, media reports and discussions with musicians.

A critical social theory approach is adopted to examine structures and processes related to communication between artists, fans, the media, as well as commercial and independent labels. The authors draw upon Habermas' theory using the concept of “communicative action” to inform an analysis of three vignettes or short case studies.

At first glance it would appear that technology has brought about greater opportunities for independent musicians to communicate, network, promote and distribute, which previously could not be widely published, and to organise against the commercial power of major labels (Majors).

In many spheres of the music industries this “empowerment” does not appear to be realised. For example, previous studies have shown that the domination of the Majors continues to impact on local music scenes to restrict and ultimately prevent the creative ideal deliver a situation that is necessary to empower independent musicians. Current media manipulation and corporate interests restrict and alienate independent musicians who often have more of an intellectual ownership and culture within their local music communities.

Although steps to enable improved visibility and cooperation have been made we are still a long way off musicians having a powerful enough voice to organise against the commercial power of the large labels and media conglomerates (e.g. Apple i‐Tunes). The ideal speech situation remains elusive and the hegemonic state remains unchallenged.

Music continues to be commodified and fans are increasingly constructed as “consumers”; the ultimate power remains in mass media and broadcasting rather than independent “narrowcast” and DIY artistry.

This paper extends debate on the impact of the developing “digital culture” focusing on independent musicians and the music industries. It raises issues for further research in this area.

The purpose of this paper is to investigate the impact of transformational leadership on employee turnover intention through the mediating role of affective commitment.

The study examines conceptual relationships in the Ghanaian context, based on structural equation modelling with maximum likelihood estimation, using sample employees from the private sector organizations. In addition, the mediation analysis is conducted with Sobel’s test and 95 per cent CI bootstrap analysis.

The study shows that affective commitment would decline workers’ quitting intention and serves to promote a degree of trust and willingness to follow their leaders’ philosophy, ideology, vision and guidance in the organization. Hence, affective commitment fully mediates the relationship between transformational leadership and employee turnover intention.

To help lessen employees quitting intentions, both middle and top-level managers should endeavour to create an atmosphere of trust, admiration, loyalty and respect for their employees.

Overall it is shown that affective commitment was the mechanism through which transformational leadership influences employees’ turnover intentions in the SLCs in Ghana.