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Purpose – The purpose of this chapter is to develop a framework for understanding deviant genres of music. Although it seems destructive, deviant music has positive effects, and can encourage greater socialization into the larger society.

Design/methodology/approach – By looking at deviant music of the past, it is possible to see more clearly why such music was created, and what functions it has in society. Three main functions were identified: social criticism, spreading the news, and public catharsis of outstanding events.

Findings – These three functions are found in deviant music today. But there are differences. Heavy metal, a counter culture, uses offensive language and images to repel unwanted outsiders and thus avoids commercialization. Grunge, music of a drop out culture, became popular and lost some of its alternative identity. Rap started as a legitimate African American youth art form but was hijacked by the music industry and has expanded beyond a meaningful art world. This has left both artists and listeners vulnerable to a distorted image.

Originality – The real value of deviant music is its historical record of the inner world of subcultures.

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.

Wicke and Shepherd (1993) stated that socialist rock (and, by extension, metal) is more authentic than its capitalist counterpart because authenticity is tied to commercialism. This is, however, a very Western view of authenticity. Cushman's (1995) interviews suggest that rock musicians were themselves discussing authenticity in the late 1980s and with this comes notions of a socialist authenticity hitherto unexplored, related not to the official and unofficial cultures of Soviet Russia but rather to culture beyond that dichotomy. Other markers of authenticity also become more important: the Russian language is paramount here as the style of metal most prevalent at the time required clear lyrics, and so being able to be identified as a local, Russian, metal musician adds credence to one's status as an authentic, and particularly Russian, metal scene member. This chapter explores the precise circumstances in the early-mid-1980s which brought about metal music in Soviet Russia and how authenticity was determined among scene participants. It highlights the genesis of Russian metal in Russian rock and Western metal music. Then, a replacement is proposed for commercialism, the main marker of authenticity, in the Soviet Russian context, based on Yurchak's (2005) concept of vnye (meaning, approximately, to exist outside of or beyond Soviet society), as well as investigating other, less important markers of authenticity in their uniquely Russian context. One exemplar band, Aria, held both official and unofficial statuses, is used to illustrate the difficulty of making metal music in the Soviet period, as well as how certain aspects of authenticity could vary among rock and metal bands.

The purpose of this paper is to unfold factors anchored in visitors’ experiences possibly determinant of the success or failure of cultural festivals.

The studied data included 931 experience descriptions, 23 interviews and 51 empathy-based stories collected from 17 cultural festivals around Finland during the summers of 2012 and 2013. The nature of the study was exploratory, the theoretical framework was social constructionism, and the analysis was done using Foucauldian discourse analysis. The Method of Empathy Based Stories, a non-active role-playing technique, was used in the data collection.

The identified success factors were the programme, good quality food, sense of community, chill-out opportunities and building blocks of one’s identity. The factors that might cause failures were commercialised and low-quality programme, the low quality of services, commercialism demonstrated by elevated ticket and service pricing, VIP services confronting egalitarianism, crowd control and queueing and anti-social behaviour.

Three areas of particular interest were: how to nurture identity construction and personal well-being, how to enhance egalitarianism within the festival community, and how to promote the desired code of conduct without applying unnecessary rules and restrictions. If successful in these, the festival could boast of features that are not easy to replicate and that could create a competitive edge.

Empathy-based stories combined with discourse analysis contributed new insights on the issues of the success and failure of festivals. The empathy-based stories were particularly useful in retrieving informants’ perceptions of the future and for identifying factors that might cause failures.

This paper aims to examine Indonesian independent musicians' (indie) adaptation to the environmental business model. The research on institutional entrepreneurship (IE) has been used in organizational studies, including the music profession. However, the music industry's information and technology advancement has not been scrutinized in a less developed country (LDC) context.

A qualitative approach is used to conduct semi-structured interviews with 14 independent music professionals and enthusiasts. The interview result was three stages of coding, including open, axial and selective, as well as generating appropriate themes.

The results summarize entrepreneurial behavior, socio-economy and technology factors. The existing literature supports these results, though new perspectives are only identified in the LDC context. Internal factors drive IE, while socio-economy, including music literacy, education and legal issues, influence its sub-setting. On the other hand, technology positively or negatively impacts IE based on individual utilization.

Despite the massive piracy and copyright issues, independent musicians require creativity and innovation beyond product creation. Weak and unclear regulations in Indonesia prevent musicians from revealing their identity and publishing their artwork, preventing or obstructing them from their goals.

This paper illustrates the urgency to implement copyright regulations for musicians in Indonesia, which are insufficiently enforced by law enforcement. Such conditions prevents musicians from revealing their identity and publishing their artwork.

This paper addresses the extent to which a community such as independent musician, struggles to find its identity toward the changing of its business model. By mapping the factors associated with an independent musician, the paper suggests that this community has strategic economic potential as a creative entity.

This paper examines the music industry in less-developed nations by contextualizing their institutions using the IE framework. It contributes to identifying the environmental factors influencing independent institutional musicians. Internal and external factors significantly contribute to identifying Indonesia's independent musician setting through IE.

In recent years, about one in five American children-some 12 to 14 million-have lived in families in which cash income failed to exceed official poverty thresholds. Another one-fifth live in families whose incomes were no more than twice the poverty threshold.⁸Today's economically based reorganization of the U.S. society is reshaping family structure through distinctive racial patterns. Families mainly headed by women have become permanent in all racial categories, with the disproportionate effects of change more visible among racial ethnics.⁹

To make sense of the relationship between the festival attendance and the aims in arts festival management, the purpose of this paper is to explore the key characteristics for success and analyze the perceptions of the future in arts festival productions.

This qualitative study uses interviews with festival managers and empathy-based stories (MEBS) written by members of festival audience. Discourse analysis is employed for answering the questions: What are the characteristics of a successful festival, and what could ruin it?

The paper highlights the importance of interaction with the audience orchestrated by the festival organization. Such interaction co-constructs a more holistic festival experience valued by both parties, which supports the sustainability and future success.

The research data are limited to one country, and music festivals dominate the data.

Among managers, there is a need to consider audiences as consumers and as producers in the current competitive climate in the arts and cultural field and clarify the role of the audience as a partner in the networked festival production by placing the attendee at the core of the strategic planning process of arts festivals.

The research combines the views of the demand-and-supply side. It adds to the knowledge in arts and festival management by exploring the relationship between attendance and the aims of arts festival management in general, and the key characteristics of success in the arts festival context in particular. MEBS offers new interesting opportunities for future research in qualitative festival research.

The author examines the inter-relationship between authenticity, music and gender in relation to a particular contemporary genre, emotional hardcore or emo. Noting how hard rock often defined itself as authentic in contrast to (feminine) pop music, the author argues that it is possible to see the ‘persistence of masculinism’ in wider debates around the performance of (appropriate) fandom. Drawing on a wealth of online data from platforms such as Reddit, Tumblr and Facebook, the author observes that even as male fans of emo distance themselves from hyper-masculine forms of hard (or cock) rock, they also critique the presence of female fans as ‘inauthentic’.

The purpose of this paper is to examine the relative cultural shift from professionalism to commercialism in the accounting profession, based on an analysis of the promotional brochures used by the Ordre des comptables agréés du Québec (Institute of Chartered Accountants of Québec), over the last 40 years, to attract new members.

The study's specific objectives are: to examine accountancy's cultural representations depicted in promotional brochures; to evaluate the extent to which these representations are indicative of the commercialist shift as documented in the literature; and to establish whether the representations under study provide further insight into the nature of the cultural shift. Drawing on the semiotic approach developed by Roland Barthes, the authors' analysis is predicated on the idea that promotional brochures and advertisements, though often simple in appearance, constitute complex representations that convey meaningful information about influential values and cultural change.

The authors found that commercial values are increasingly apparent through the celebration of multidisciplinary services and the emphasis on generous compensation and high dynamism.

Barthes' framework was especially useful to analyze the interplay between images and text to gain insight into the historical emergence of what has become the accountant's representation of today. As such, this study points to promotional representations participating to the inculcation of a cosmopolitan culture, where the internationalization of business is supposedly natural, inevitable, and beneficial to everyone. The authors' research also highlights the increasingly significant role played by marketing experts in designing professional institutes' brochures, consistent with the broader view of marketization as a key trend within the accounting industry.

Purpose – This study explores music as a philosophical reflection of protest. It focuses on two movements: one from each end of the philosophical protest continuum, the civil rights movement, based in community (modernist), and the Punk Movement, based in individualism (postmodernist). The music of each movement is interpreted to explain how its style illuminates the underlying philosophical values and beliefs from which it comes.

Design/methodology/approach – This chapter first analyzes the background music of the civil rights movement and subsequently investigates the same themes in the Punk Movement. Analytically, a comparison of the two musical styles and their philosophical foundations are offered.

Findings – The philosophical values of each movement were reflected in its music.

Originality/value of paper – Music is often overlooked in the field of criminal justice. This chapter is an introduction to a comparison of different types of protest music. It shows the value and importance music serves to those involved in fights for justice.