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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.

“Marketing, as it relates to the arts, is not about intimidation or coercion or abandoning an artistic vision. It is not ‘hard‐selling’ or deceptive advertising. It is a sound, effective technology for creating exchanges and influencing behaviour that, when properly applied, must be beneficial to both parties involved in the exchange” (Kotler and Scheff, 1997). The focus of this paper is on how owners/managers of small and medium sized Independent businesses in the music industry (“cultural entrepreneurs”) create exchange and influence behaviour when accessing finance for their businesses. The paper is based on Leadbeater and Oakley’s (1999) description of a “new” model of work and creative production, derived from cultural entrepreneurs’ characteristic “independence”. With reference to initial findings from a major Government‐sponsored research project looking at the extent to which access to finance acts as a barrier to growth for small and medium‐sized enterprises (SMEs) in the Music Industry, the paper identifies some potential difficulties such independence might lead to in creating beneficial exchange. The importance of appropriate partnership and promotion strategies, effective communication skills, and financial self‐sufficiency are highlighted in the context of the Industry’s uncertain environment. In conclusion, it is argued that the reconciliation of the entrepreneurs’ independence on the one hand with the qualities that allow mutually beneficial exchange on the other, is a primary requisite for effective cultural entrepreneurship.

This paper aims to examine how blockchain technology is disrupting business models for new venture finance.

The role of blockchain technology in the evolution of new business models to monetize the creative economy is explored by means of a case study approach. The focus is on the recorded music industry, which is in the vanguard of new forms of intermediation and financialization. There is a particular focus on emerging artists.

This paper provides novel case study insights and concludes by considering how further research can contribute to building a theory of technology-driven business models which apply to the development, on the one hand, of new forms of financial intermediaries, more correctly referred to as “infomediaries,” and on the other hand, to new forms of direct monetization by artists.

This paper provides early insight into the emerging potential applications of blockchain technologies to streamline music industry business service models and improve finance streams for new artists. The findings have far-reaching implications across the creative sector.

To provide an initial assessment of the nature and extent of the involvement of Asian‐owned firms in the creative industries in London; to identify and assess any barriers they face; and draw out the implications for policy.

An empirical study, undertaken in late 2002. Data sources included official statistical data and previous reports, as well as a programme of semi‐structured, in‐depth interviews with 23 Asian entrepreneurs spread across eight sub‐sectors.

Asians are making a significant contribution to London's creative sectors, although they do face a number of specific constraints. Some of these are specific to the creative industries but others are shared with other small firms. However, few of these constraints appear to be exclusively Asian.

There are some limitations relating to the small scale of the study and its focus on a single geographical location.

The research shows how (cultural) diversity can contribute to creativity and the competitiveness of regional economies, as well as individual businesses. This particularly applies in the creative industries because of extensive interlinkage with firms in other sectors.

In creative activities, cultural diversity is a source of potential competitiveness, because of the positive relationships between diversity, creativity and innovation. Asian owned firms in the creative sectors contrast with the low value added nature of many traditional areas of Asian business activity in the UK.

The exponential growth of digital technologies and their increased importance in both organizational and everyday life poses new challenges to paradox research within management studies. Management scholars taking a paradoxical lens have predominantly focused on social paradoxes within the confines of the organization. Technological change has often been treated as an exogenous force bringing previously latent tensions to the fore. Such newly salient paradoxes are viewed as instigating managerial sensemaking and exploration of strategic responses that will re-establish equilibrium. Our investigation of how digital innovations disrupted London taxiwork and global music distribution shows something different. The paradoxical tensions raised by emerging digital technologies inevitably play out at industry and societal levels. Concomitant changes in boundaries, categories, and potentials for action that shape and channel ongoing industry transformation call for organizational responses and adaptation. Critically, such tensions must be interpreted within the context of industry arrangements absent a centrally controlling actor. Rather than episodes of exogenous change, the nature of the digital, along with interactions across multiple sources of agency, continually surface complex dynamic and systemic tensions within and across industries. Our findings highlight the importance of explicitly accounting for the inter-relatedness and mutual dependence of the social and technical elements of change. As digital innovation expands and starts to impact all aspects of human experience it is critical for management scholars to reflect how the paradoxical perspective can be expanded to better understand these contemporary large-scale changes.

We advance theory of how founder identity affects business model (BM) design during new venture creation and contribute to the cognitive perspective on BMs. We look at BM design as a longitudinal process involving a variety of cognitive work that is co-shaped by the founder identity work. Based on an in-depth nine-year process study of a single venture managed by three founders, we observed that a novelty-centered BM design resulted from cognitive work co-shaped by founder identity construction and verification processes. Yet, more remarkably, we noted that founder identity verification decreased over time and observed a process that we labeled “identity-business model decoupling.” It meant that the founders did not alter their founder identity but, over time, attentively grew self-aware and mindfully disengaged negative identity effects to design an effective BM. Our results provide a dynamic view on founder identity imprinting on ventures’ BMs and contribute to the identity, BM, and entrepreneurship literatures.

The purpose of this research paper is to consider the aesthetic and commercial success of the “early music” or “historically informed performance” (HIP) movement during the 1970s and 1980s in the UK. Particular attention is given to the relationship between HIP performers and “the authenticity business” (i.e. the market‐driven commercial exploitation of this form of musical performance).

Through applying the metaphor of the “false relation” (a musical compositional device characteristic of the renaissance period), the paper explores the contradictory relationship between HIP and the market. The research is based on a detailed literature review relating to the emergence of the early music labour market, and interviews with 40 experts in the field (including HIP music directors, performers, agents, broadcasters, record company directors and instrument makers in the UK).

Far from being a mere backdrop to the ideologically driven practice of HIP, the paper demonstrates the close connection between market‐led entrepreneurial activity of some performers, and the subsequent success of early music performance. Particular attention is brought to the mediating role of authenticity discourse in bridging the art‐commerce divide and marketing early music successfully.

The paper offers a novel perspective from which to understand the artistic and commercial development of this cultural movement. It is suggested that the emphasis on the mediating role of authenticity discourse; and the closeness of the relationship between performance ideology and market‐based practices warrants further research across artistic and cultural movements more broadly.

The Barbican Library is the headquarters of the City of London's lending library service. It includes a music library and a children's library as well as a special section devoted to the fine and performing arts. Anyone who lives, works or studies in the City may apply to be a member. Others who wish to join may do so under the interavailability scheme.