Elia Pizzolitto – University G. DโAnnunzio โ Chieti-Pescara, Viale Pindaro, 42 โ 65122 Pescara (PE) โ Italy
7th International Scientific-Business Conference – LIMEN 2021 – Leadership, Innovation, Management and Economics: Integrated Politics of Research – CONFERENCE PROCEEDINGS, Online/virtual, December 16, 2021, published by the Association of Economists and Managers of the Balkans, Belgrade; Printed by: SKRIPTA International, Belgrade, ISBN 978-86-80194-54-7, ISSN 2683-6149, DOI: https://doi.org/10.31410/LIMEN.2021
Keywords:
Music;
Musicians;
Entrepreneurship;
Entrepreneurs;
Identity;
Capitalism;
Homogenization;
Conformism
Abstract
In this narrative literature review, we employed the grounded theory for studying the scientific debate, the contradictions, and the tenยญsions between entrepreneurship and music activity. In particular, this work represents a preliminary study for a more in-depth future analysis of this relationship. The analysis let emerge two superordinate structures, five themes, and eight subthemes. The two superordinate structures represent the most relevant tensions we found in the analyzed articles. The first tenยญsion highlights the complicated relationship between musiciansโ identity and the entrepreneurial nature of their job. The second tension studies the needed compromises that musicians have to consider between the individยญualistic nature of their art and the needed conformism imposed by the capยญitalistic environment of the music market. Finally, in the discussion section, we consider this preliminary studyโs limitations and propose several further research opportunities.
Download file
LIMEN Conference
Creative Commons Nonย Commercial CC BY-NC: This article is distributed under the terms of the Creative Commons Attribution-Non-Commercial 4.0 License (https://creativecommons.org/licenses/by-nc/4.0/) which permits non-commercial use, reproduction and distribution of the work without further permission.ย
References
Albinsson, S. (2018). Musicians as entrepreneurs or entrepreneurs as musicians? Creativity and Innovation Management, 27(3), 348โ357. https://doi.org/10.1111/caim.12254
Cartwright, P. A., Gillett, A., & Smith, G. D. (2015). Valuing networks for emerging musicians. Les tendances technico-รฉconomiques de la Valeur. Paris, France: โlโHarmattan
Corbin, J. M., & Strauss, A. (1990). Grounded theory research: Procedures, canons, and evaluaยญtive criteria. Qualitative Sociology, 13(1), 3โ21. https://doi.org/10.1007/bf00988593
Coulson, S. (2012). Collaborating in a competitive world: musiciansโ working lives and underยญstandings of entrepreneurship. Work, Employment and Society, 26(2), 246โ261. https://doi. org/10.1177/0950017011432919
Dawe, K. (1998). Bandleaders in Crete: Musicians and entrepreneurs in a Greek island economy. British Journal of Ethnomusicology, 7(1), 23โ44. https://doi.org/10.1080/09681229808567271
DeNora, T. (1997). Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792โ1803 (1st ptg. ed.). University of California Press.
Eiriz, V., & Leite, F. P. (2017). The digital distribution of music and its impact on the business models of independent musicians. The Service Industries Journal, 37(13โ14), 875โ895. https://doi.org/10.1080/02642069.2017.1361935
Everts, R., & Haynes, J. (2021). Taking care of business: The routines and rationales of early-caยญreer musicians in the Dutch and British music industries. International Journal of Cultural Studies, 24(5), 731โ748. https://doi.org/10.1177/13678779211004610
Everts, R., Hitters, E., & Berkers, P. (2021). The working life of musicians: mapping the work activities and values of early-career pop musicians in the Dutch music industry. Creative Industries Journal, 1โ20. https://doi.org/10.1080/17510694.2021.1899499
Giorello, S. (2016, September 15). In pochi minuti Frank Zappa riassume lโintero declino dellโindustria musicale. RockIt. Retrieved December 29, 2021, from https://www.rockit.it/ news/frank-zappa-declino-industria-musicale
Haynes, J., & Marshall, L. (2017). Reluctant entrepreneurs: musicians and entrepreneurship in the โnewโ music industry. The British Journal of Sociology, 69(2), 459โ482. https://doi. org/10.1111/1468-4446.12286
Johansson, K. (2012). Experts, entrepreneurs and competence nomads: the skills paradox in higher music education. Music Education Research, 14(1), 45โ62. https://doi.org/10.1080/ 14613808.2012.657167
Kaya, M., Steffens, P., Hearn, G., & Graham, P. (2010). How can entrepreneurial musicians use electronic social networks to diffuse their music. In J. Langan-Fox (Ed.), Proceedings of the 7th AGSE International Entrepreneurship Research Exchange (pp. 679โ691). Australยญian Graduate School of Entrepreneurship, Swinburne University.
Marttila, K. (2012). Musicians as entrepreneurs. JAMK University of Applied Science.
Schumpeter, J. A. (2021). The Theory of Economic Development (Routledge Classics) (1st ed.). Routledge.
Scott, M. (2012). Cultural entrepreneurs, cultural entrepreneurship: Music producers mobilisยญing and converting Bourdieuโs alternative capitals. Poetics, 40(3), 237โ255. https://doi. org/10.1016/j.poetic.2012.03.002
Strauss A, Corbin J (1997) Grounded theory in practice, 1st ed. SAGE Publications, Inc., New York
van Zuilenburg, P. L. (2013). Personality traits of successful music entrepreneurs. Acta Academยญica, 45(1).
Wilson, N. C., & Stokes, D. (2005). Managing creativity and innovation. Journal of Small Business and Enterprise Development, 12(3), 366โ378. https://doi.org/10.1108/14626000510612286
Wilson, N., & Stokes, D. (2002). Cultural Entrepreneurs and Creating Exchange. Jourยญnal of Research in Marketing and Entrepreneurship, 4(1), 37โ52. https://doi. org/10.1108/14715200280001465