The Marketing of Concerts in London 1672–1749. / Harbor, Catherine.

In: Journal of Historical Research in Marketing, 04.09.2020.

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The Marketing of Concerts in London 1672–1749. / Harbor, Catherine.

In: Journal of Historical Research in Marketing, 04.09.2020.

Research output: Contribution to journalArticlepeer-review

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Harbor, Catherine. / The Marketing of Concerts in London 1672–1749. In: Journal of Historical Research in Marketing. 2020.

BibTeX

@article{794261ec36014750a5ffffd8126cc371,
title = "The Marketing of Concerts in London 1672–1749",
abstract = "Purpose – This paper explores the nature of the marketing of London concerts 1672–1749 examining innovations in the promotion and commodification of music.Methodology/approach – It takes as its basis 4356 advertisements for concerts in newspapers published in London between 1672 and 1749. Findings – Concert promoters instigated a range of marketing strategies in an effort to attract an audience which foreground those found in more recent and current arts marketing practice. Musicians 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 and complementary ticket-selling locations.Originality/value – Whilst there is literature investigating seventeenth- and eighteenth-century concert-giving from a musicological perspective (Johnstone, 1997; McVeigh, 1989b; 1993; 2001; Weber, 1975; 2001; 2004a; 2004b; 2004c; Wollenberg and McVeigh, 2004), research on marketing of concert-giving 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 seventeenth- and eighteenth-century England and laid the foundations of its own development as a business.",
author = "Catherine Harbor",
year = "2020",
month = sep,
day = "4",
doi = "10.1108/JHRM-08-2019-0027",
language = "English",
journal = "Journal of Historical Research in Marketing",
issn = "1755-750X",
publisher = "Emerald Group Publishing Ltd.",

}

RIS

TY - JOUR

T1 - The Marketing of Concerts in London 1672–1749

AU - Harbor, Catherine

PY - 2020/9/4

Y1 - 2020/9/4

N2 - Purpose – This paper explores the nature of the marketing of London concerts 1672–1749 examining innovations in the promotion and commodification of music.Methodology/approach – It takes as its basis 4356 advertisements for concerts in newspapers published in London between 1672 and 1749. Findings – Concert promoters instigated a range of marketing strategies in an effort to attract an audience which foreground those found in more recent and current arts marketing practice. Musicians 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 and complementary ticket-selling locations.Originality/value – Whilst there is literature investigating seventeenth- and eighteenth-century concert-giving from a musicological perspective (Johnstone, 1997; McVeigh, 1989b; 1993; 2001; Weber, 1975; 2001; 2004a; 2004b; 2004c; Wollenberg and McVeigh, 2004), research on marketing of concert-giving 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 seventeenth- and eighteenth-century England and laid the foundations of its own development as a business.

AB - Purpose – This paper explores the nature of the marketing of London concerts 1672–1749 examining innovations in the promotion and commodification of music.Methodology/approach – It takes as its basis 4356 advertisements for concerts in newspapers published in London between 1672 and 1749. Findings – Concert promoters instigated a range of marketing strategies in an effort to attract an audience which foreground those found in more recent and current arts marketing practice. Musicians 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 and complementary ticket-selling locations.Originality/value – Whilst there is literature investigating seventeenth- and eighteenth-century concert-giving from a musicological perspective (Johnstone, 1997; McVeigh, 1989b; 1993; 2001; Weber, 1975; 2001; 2004a; 2004b; 2004c; Wollenberg and McVeigh, 2004), research on marketing of concert-giving 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 seventeenth- and eighteenth-century England and laid the foundations of its own development as a business.

U2 - 10.1108/JHRM-08-2019-0027

DO - 10.1108/JHRM-08-2019-0027

M3 - Article

JO - Journal of Historical Research in Marketing

JF - Journal of Historical Research in Marketing

SN - 1755-750X

ER -