Reluctant entrepreneurs: musicians and entrepreneurship in the 'new' music industry

Music in business and management studies: a systematic literature review and research agenda

Music is the background of life, representing an international language that connects different cultures. It is also significant with respect to economies, markets, and businesses. The literature in the music field has identified several issues related to the role of digitalization in the revolution of music, the distribution of music products, the management and organization of music events, music marketing strategies, and the position of musicians as entrepreneurs. This paper comprises a systematic literature review of the most recent articles discussing the numerous connections between music, business, and management (2017–2022). Through a rigorous protocol, this research discusses the effects of the digital revolution on the music industry, with particular reference to the persisting oligopoly of major labels and the new business models that integrate music streaming and social networks. The findings show the renaissance and relevance of live music events, the fundamental role of segmentation strategies for managing festivals, and the limited presence of sustainability as a priority during festivals and events management. Furthermore, the literature highlights the relevance of discussions concerning musicians’ identity, especially in light of the complex relationship between the bohemian and the entrepreneurial nature of their profession. This is followed by numerous reflections on future research opportunities, recommending theoretical and empirical in-depth studies of music industry competition, futuristic management philosophies and business models, and the roles of technology, sustainability, and financial elements in fostering artists’ success in the digital era. Finally, the paper discusses business models and strategies for musicians, festivals management, stores, and sustainability.

Street performers and donations in an online environment in the wake of COVID-19

The spread of coronavirus (COVID-19) has meant that street performers can no longer perform on the street. This has changed the landscape for the exchange for money between a street performer and their audience. The paper uses a unique data set from the online busking platform ‘The Busking Project’ (https://busk.co) to analyse whether sign up by performers to the platform and donation by individuals to street performers through the platform has changed since the World Health Organization declared COVID-19 to be a pandemic on March 11, 2020. The results show a lift both in street performers signing up to the platform and in individuals' donations to street performers after the announcement. The recovery of cities and the cultural economy from COVID-19 will not be immediate. As we move to a post COVID-19 world our results have implications for performers, for donors and for (local) governments as street performers return to the street.

The Gig Economy: Current Issues, the Debate, and the New Avenues of Research

In the context of the debate on platform economy, on the one hand, and the gig economy, on the other, this paper delineates the conceptual boundaries of both concepts to query the gig economy research included in the Web of Science database. The initial search, cutoff date February 2020, targeting “gig economy” returned a sample of 378 papers dealing with the topic. The subsequent analysis, employing the science mapping method and relating software (SciMAT), allowed to query the body of research dealing with gig economy in detail. The value added by this paper is fourfold. First, the broad literature on gig economy is mapped and the nascent synergies relating both to research opportunities and economic implications are identified and highlighted. Second, the findings reveal that while research on gig economy proliferates, the distinction between “platform” and “gig” economy frequently remains blurred in the analysis. This paper elaborates on this issue. Third, it is highlighted that the discussion on gig economy is largely dispersed and a clearer research agenda is needed to streamline the discussion to improve its exploratory and explanatory potential. This paper suggests ways of navigating this issue. Fourth, by mapping the existing research on gig economy and highlighting its caveats, the way toward a comprehensive research agenda in the field is highlighted.

The composition of precarity: 'emerging' composers' experiences of opportunity culture in contemporary classical music

This paper examines the precarious working lives of 'emerging' composers attempting to build a career in the world of new classical music in the UK. This topic is approached by considering the 'composition opportunity', success in which is seen as an important element in 'making it' in this sphere. We argue that such schemes in fact manifest a crucial tension in the nature of artistic labour, and are, at the very least, problematic in their function as conduits towards full professional identity. They may instead act to maintain the precarious working situation of composers in a neoliberal age. The working lives of artists are all too rarely illuminated, and new music composers are no exception; this survey of 47 emerging composers is the largest study of such individuals in the UK.