Search results

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.

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.

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 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.

This paper aims to examine the cultural heritage of outdoor rock and pop music festivals in Britain since the mid‐1960s, and relates it to developments in, and critiques of, corporate sponsorship in the contemporary music festival sector.

The paper uses extant research materials to construct an account of British music festival history since the mid‐1960s. It then draws upon Bakhtin's concept of the carnivalesque and the literature on sponsorship, experiential marketing and branding, in order to understand critiques of corporate sponsorship and the changing nature of the sector.

Outdoor rock and pop music festivals were dominated by the ideologies of a “countercultural carnivalesque” from the late 1960s until the mid‐1990s. In the 1990s, changes in legislation began a process of professionalization, corporatization, and a reliance on brand sponsorships. Two broad trajectories are identified within the contemporary sector: one is strongly rooted in the heritage of the countercultural carnivalesque, while the other is more overtly commercial.

It is argued that experiential marketing and brand activation are key methods for achieving a balance between the competing aspects of commerce and carnival. Hence, festival organisers and sponsors need to understand the history of the sector and of their own events and attendees in order to use corporate sponsorship more effectively.

This paper adds historical and theoretical depth to the debate between commerce and carnival within the music festival sector, and makes connections between cultural theory and the literature on sponsorship and branding.

The purpose of this paper is to use user-generated content (UGC) on social media platforms to infer the possible place brand identities of two famous metropolitan areas in Bangkok, Thailand, namely, Khaosan Road and Yaowarat (Bangkok’s Chinatown), both of which are famous for their street vendors and nightlife. These two places are interesting study sites because of recent identity conflicts among their stakeholders. The method developed in this research can help other places to better understand place brand identities and, as such, effectively plan for and manage those places.

The author used content analysis to study 782 user-generated images on Flickr and 9,633 user-generated textual reviews of Khaosan Road and Yaowarat from TripAdvisor and Google Maps’ Local Guide. MAXQDA was used to code all the images. User-generated textual reviews were studied using Leximancer. The author also introduced a positivity of concept analysis to identify positive and negative components of place brand identity.

The author developed a place brand identity framework that includes three pillars, namely, place physics, place practices and place personality. Content analysis of the images generated 105 codes and a count of the frequency of the codes that represent place brand identity. Content analysis of textual reviews created the concepts in the three pillars and identified the positive and negative concepts for both places. The results of both image and text analyses showed that street food vending is one of the most salient components of place brand identity for both Khaosan Road and Yaowarat.

The author suggested several place branding strategies for the Bangkok Metropolitan Administration such as turning Khaosan Road into a music scene for both visitors and locals, controlling excessive and aggressive commercialism, sponsoring the production of creative and authentic content, initiating a compelling online campaign that focusses on the items sold in Yaowarat, hosting a spotlight event such as a seafood festival and improving hygiene and walkability.

Both the advancement of digital technologies and the complexity of stakeholders create a need for empirical studies on place branding involving the participation of the widest possible range of stakeholders and studies on the influence of social media. This research is the first to use both image and text analyses to study place brand identity from UGC. The use of both analyses allows the two methods to complement one another while mitigating the weaknesses of each.

Attempts to investigate differences in marketing imagery that exist between New Zealand produced and foreign music videos. Explores marketing imagery and role‐model behaviour differences by genre. Looks at culture by genre differences in consumption imagery. Indicates that New Zealand videos contained fewer depictions of alcohol, or weapons, drugs and tobacco or heavy rock and rap music than in foreign videos. Suggests that, by genre, rap has more sunglasses, earrings and jewellery than heavy rock or pop music. Provides directions for future research.

This paper aims to explore how accounting is entwined in the cultural practice of popular music. Particular attention is paid to how the accountant is constricted by artists in art and the role(s) the accountant plays in the artistic narrative. In effect this explores the notion that there is a tension between the notion of the bourgeois world of “the accountant” and the world of “art for art's sake”.

This paper draws on the cultural theory of Pierre Bourdieu to understand how the character of the accountant is constructed and used by the artist. Particular attention is paid in this respect to the biography and lyrics of the Beatles.

Accounting and accountants play both the hero and the villain. By rejecting the “accountant villain”, the artist identifies with and reinforces artistic purity and credibility. However, in order to achieve the economic benefits and maintain the balance between the “art” and the “money”, the economic prudence of the bourgeois accountant is required (although it might be resented).

The analysis focuses on a relatively small range of musicians and is dominated by the biography of the Beatles. A further range of musicians and artists would extend this work. Further research could also be constructed to more fully consider the consumption, rather than just the production, of art and cultural products and performances.

This paper is a novel consideration of how accounting stereotypes are constructed and used in the field of artistic creation

A content analysis of 191 music videos from New Zealand television examined three research questions: what levels and types of violence are evident? What products and brands are associated with violence? Do differences exist between different musical genres, and videos of New Zealand performers versus overseas artists? Results revealed that violence is evident in a significant proportion of music videos, and that particular products are associated with displays of people‐focused, object‐focused and combined types of violence. Furthermore, foreign heavy rock was not associated with people‐focused violence. Implications are discussed regarding perceptual context, encoding and marketing ethics.