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In this study, we applied the strategy-as-practice (SAP) framework to analyse strategic communication practices. SAP implies approaching strategy as something that organisational members do and is useful for understanding the tensions between emergence and formalisation and between planning and improvisation that characterise the everyday communication work of communication practitioners.

The paper is based on an ethnographic study of a record company and on qualitative interviews with various actors from the music industry.

Tensions exist between the emergence of inputs from active consumers that require flexibility and attempts to strategically formalise and continuously adapt plans and encourage consumers to act in anticipated ways. The findings revealed five strategic communication practices—meetings, working in the office, gathering and analysing consumer engagement and related data, collaboration and storytelling—that practitioners used to conduct strategic communication and navigate the tensions.

The study contributes to understanding the role of strategic communication practices in contemporary organisations and how practitioners manage the tensions within them. The study shows that an SAP approach can account for improvisation and emergence, as well as planning and formalisation. It also shows how SAP resonates with emergent and agile strategic communication frameworks.

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.

The purpose of this study is to examine the trends and developments of subscription business models (SBMs) over the past two decades.

The study extracted 469 documents (articles and reviews) from the Scopus database during 2000–2022 and analysed 132 documents (articles and reviews). A bibliometric methodology of scientific mapping was employed, including a cluster analysis based on the bibliographic coupling of documents. Content analysis was also conducted to reveal emerging trends in SBMs.

The study revealed six emerging themes in SBMs related to consumer behaviour, digital advertising, online news media, journal publications, circular economy and sustainability strategies.

The results of this study provide new and unique insights into the development and trends of SBMs over the past two decades and offer guidance for future researchers to investigate further the phenomenon of SBMs in emerging areas.

Blockchain (BC) is a technological innovation that emphasizes the opposite paradigm compared to the available technology. This paradigm enables changing the firm’s business models (BMs) and has been elaborated by many experts. However, the discussion is scattered in various sources, particularly academic journals. This study aims to investigate the literature on the coexistence of BCs and BMs and depict the currently available situation that has not been discussed.

This study investigated articles focusing on the coexistence of BCs and BMs through heterogeneous academic databases, namely, Emerald, ProQuest, Taylor & Francis, ScienceDirect and Scopus. The systematic approach and development of inclusion criteria used in this study resulted in 52 key articles for further review. This systematic review followed the PRISMA framework and a timeframe between 2012 and 2022.

This study classifies literature based on specific themes, the integration of BC (interaction and evolution) and BM innovation (innovativeness, new value system and system logic), including the research design. As expected, the literature on BCs and BMs appears to be focused on particular themes since this topic appears to have grown. This study identifies gaps in the literature and describes future research to accommodate the study discrepancy.

The major limitation of this study is the research bias. Such a bias might occur due to the misinterpretations of researchers in this study. In the process of devising databases and keywords, this study identified the potential for misinterpretation. This study sought to use rigid protocols through a manual approach to mitigate the potential bias. A research bias also has the potential to arise in the literature classification. A literature categorization is performed back and forth, by referring to the theory or concept of a particular topic. The next limitation is limited access to scientific databases. This study drew upon several reputable scientific journal databases. However, the researcher considered the journal selection to be built upon a journal’s accessibility, multi-disciplinary nature and data size compared to other journals. It allows the analysis results to be biased, as they do not represent all available databases. However, the study used the available formal access to maintain the integrity of this research.

This study conducts a systematic review that discusses the coexistence of BCs and BMs. Furthermore, it provides a profound understanding of the discussion carried out through certain themes and the outlook for the future.

The COVID-19 pandemic has prompted the fast growth of online music festivals. This paper explores how festivalgoers' experience affects their satisfaction and drives their loyalty to re-attend online music festivals in China.

Based on an understanding of the music festival experience and the characteristics of live-streamed performances, this paper investigates five factors that affect festivalgoers' satisfaction and loyalty, namely the music experience, ambience experience, separation experience, social experience and novelty experience. The relationships between festivalgoers' experience, satisfaction and loyalty are also explored using structural equation modelling techniques.

The empirical results suggest that four of the above-mentioned five factors of the online music festival experience directly affect festivalgoers' satisfaction and loyalty. The online mode is a rapid adaptation of and preferred alternative to offline music festivals, whilst the creation of the experience, along with satisfaction with and loyalty to the online music festival, are determined by different factors compared to offline modes. Overall festival satisfaction positively enhances the relationship between festivalgoers' experience and loyalty to online music festivals.

This study offers a range of practical and managerial implications for organisers of online music festival, similar activities such as live-streaming concerts and stage performances and hybrid events.

This study explores a phenomenon that has evolved quickly since COVID-19 and will, potentially, have an ongoing and enduring impact on the music festival sector. It differentiates the understanding of festivalgoers' experience in online and offline modes, which is a new addition to the literature. It also enriches the theoretical understanding of the experience of, satisfaction with and loyalty to online music festivals.

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 examines the US opera sector as a means for interrogating how varying forms of non-standard work shape gender inequality in the creative industries.

The authors draw on 16 seasons of opera production data from Operabase.com to conduct a gender-based exploratory data analysis of the key creative roles of conductor, director and designers, as well as the hiring networks through which teams are formed, at the 11 largest opera companies in the United States.

The authors find that women, as a group, experienced gender-based disadvantage across the key creative roles of opera production, but particularly in the artistic leadership roles of conductor and director. The authors also find that women's exclusion in the field is being further perpetuated by the sector's non-standard and overlapping employment structures, which impacts women practitioners' professional visibility and career opportunities.

The study can help organizations implement strategic hiring practices that acknowledge the relationship between gender inequality and varying forms of non-standard work with the aim of increasing women's representation.

This study work establishes the scale of gender inequality operating within a sector that has received minimal scholarly attention as a site of employment. The study analysis also offers important insight for the wider creative industries and highlights opportunities to redress gender inequality in other sectors where project-based work is prevalent.

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 paper addresses the growing fragmentation between traditional and digital service innovation (DSI) research and offers a unifying metatheoretical framework.

Grounded in service-dominant (S-D) logic's service ecosystems perspective, this study builds on an institutional and systemic, rather than product-centric and linear, conceptualization of value creation to offer a unifying framework for (digital) service innovation that applies to both physical and digital service provisions.

This paper questions the commonly perpetuated idea that DSI fundamentally changes the nature of innovation. Instead, it highlights resource liquification—the decoupling of information from the technologies that store, transmit, or process this information—as a distinguishing characteristic of DSI. Liquification, however, does not affect the relational and institutional nature of service innovation, which is always characterized by (1) the emergence of novel outcomes, (2) distributed governance and (3) symbiotic design. Instead, liquification makes these three characteristics more salient.

In presenting a cohesive service innovation framework, this study underscores that all innovation processes are rooted in combinatorial evolution. Here, service-providing actors (re)combine technologies (or more generally, institutions) to adapt their value cocreation practices. This research demonstrates that such (re)combinations exhibit emergence, distributed governance and symbiotic design. While these characteristics may initially seem novel and unique to DSI, it reveals that their fundamental mechanisms are not limited to digital service ecosystems. They are, in fact, integral to service innovation across virtual, physical and blended contexts. The study highlights the importance of exercising caution in assuming that the emergence of novel technologies, including digital technologies, necessitates a concurrent rethinking of the fundamental processes of service innovation.