Entrepreneurship in the Creative Industries
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Entrepreneurship in the Creative Industries

An International Perspective

Edited by Colette Henry

The creative industries represent a vital, exciting and rapidly changing field of activity; one that is now recognised as a key growth sector in the knowledge-based economy. However, there is still a general lack of understanding of what is meant by the term ‘creative industry’, and thxe creative sector has not, to date, been the subject of concerted academic research. This book redresses the balance by providing valuable insights into the creative entrepreneurial process and platforming some of the key challenges yet to be addressed.
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Chapter 3: Art-Entrepreneurship in the Scandinavian Music Industry

Maria Aggestam


Maria Aggestam INTRODUCTION Music industries, part of the creative industries, represent an evident example of the contemporary socio-economic changes moving from production industries to knowledge and creativity-oriented businesses. Creative industries are defined as activities which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property (DCMS, 2001). Developments in the creative industries provide an example of business survival in post-industrial economies. The Scandinavian countries have fairly small domestic markets but remarkably large international business activities. The international markets are critical for Scandinavian industries. Their successes are highly dependent on art-entrepreneurs and their creative entrepreneurship. Creative entrepreneurship, especially in the music industry, is a significant international billion-euro business. The music business is highly specialised and consists of a wide variety of support activities, knowledge and technology. In Scandinavia, the music industry is continuing to grow in terms of sales, employment and global reach. The aim of this chapter is to shed light on the dynamics and dimensions of the music industry as a part of the creative industry sector, in particular, popular music as a setting for art-entrepreneurs in Scandinavian countries. As individual entrepreneurs move into so-called creativity-oriented societies and the post-industrial age, creative entrepreneurship, with its immense capabilities to produce new commodities, has not yet begun to elicit interests within entrepreneurship scholarship. This study attempts to fill some of these gaps by looking at the conglomerate of art-entrepreneurs each of whom...

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