Entrepreneurship and the Creative Economy
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Entrepreneurship and the Creative Economy

Process, Practice and Policy

Edited by Colette Henry and Anne de Bruin

Entrepreneurship and the Creative Economy contains a range of theoretical and empirically based research contributions that collectively consider and debate the process, policy and practice of the creative economy.
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Chapter 10: Music to Our Ears: New Market Creation and Creative Influences in the Popular Music Industry

Erik Noyes, Salvatore Parise and Elaine Allen


Erik Noyes, Salvatore Parise and Elaine Allen INTRODUCTION The broader transition from industrial economies to knowledge and service economies has increased the need to understand the production and distribution of creative goods in the global economy, including factors that shape the growth and structure of creative industries. This chapter contributes to advancing understanding of the creative industries by seeking answers to the question: in a creative industry, what pattern of creative influences increases the likelihood that an artist will pioneer a new market? We analyse all major artists in the popular music industry between 1950 and 2008 and their unique creative influences to examine if certain structural positions in the complete network of influences make one more or less likely to be a first mover in new markets. Creative influences are the set of recognized social predecessors in a creative industry (‘forefathers’ or ‘foremothers’) who are credited for prior achievements in a creative industry; artists commonly recognize, celebrate and give credit to their creative influences. Applying resource dependency theory, we examine each artist’s structural pattern of creative influences as an idiosyncratic resource base from which to fashion industry-shaping musical innovations. Our aim is to help disentangle the importance of an artist’s individual abilities versus the effect of his or her creative influences in pioneering a new market. Broadly, our analysis examines whether artists who pioneer new markets are tortured individualists who work in isolation (for example those who have few or only peripheral creative influences) or, conversely, highly socialized actors...

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