Changing labour conditions in the creative industries - with celebrations of autonomy and entrepreneurialism intertwined with increasing job insecurity, portfolio careers and short-term, project-based contracts - are often interpreted as heralding changes to employment relations more broadly. The position of musicians' labour in relation to these changes is unclear, however, given that these kinds of conditions have defined musicians' working practices over much longer periods of time (though they may have intensified due to well-documented changes to the music industry brought about by digitization and disintermediation). Musicians may thus be something of a barometer of current trends, as implied in the way that the musically derived label 'gig economy' is being used to describe the spread of precarious working conditions to broader sections of the population. This article, drawing on original qualitative research that investigated the working practices of musicians, explores one specific aspect of these conditions: whether musicians are self-consciously entrepreneurial towards their work and audience. We found that, while the musicians in our study are routinely involved in activities that could be construed as entrepreneurial, generally they were reluctant to label themselves as entrepreneurs. In part this reflected understandings of entrepreneurialism as driven by profit-seeking but it also reflected awareness that being a popular musician has always involved business and commercial dimensions. Drawing on theoretical conceptions of entrepreneurship developed by Joseph Schumpeter we highlight how the figure of the entrepreneur and the artist/musician share much in common and reflect various aspects of romantic individualism. Despite this, there are also some notable differences and we conclude that framing musicians' labour as entrepreneurial misrepresents their activities through an overemphasis on the economic dimensions of their work at the expense of the cultural.

General rightsThis document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/pure/about/ebr-terms 1 Beats and Tweets: Social Media in the Careers of Independent Musicians. Jo Haynes and Lee Marshall, SPAIS, University of Bristol AbstractWhile mainstream accounts of the impact of internet technologies on the music industry have emphasised the crisis of the major-dominated mainstream recording industry, a more optimistic discourse has also been promoted, emphasising the opportunities that the internet creates for independent musicians. These same new technologies, it is argued, enable artists to reach new global audiences and engage with them in ways that can facilitate more stable, financially self-sustaining independent careers. Little research has been conducted, however, on the effect of new internet technologies on the careers and practices of independent musicians. This paper, part of a pilot project on the working experiences of independent musicians, examines how musicians signed to small labels in the South-west of England use social media in their careers and discusses their understanding of its benefits and disadvantages. It concludes that social media use is an essential tool in the arsenal of an independent musician, and does provide advantages for them, but significant disadvantages have also emerged and thus the benefits for independent musicians have likely been overstated.

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World music has been immersed in a series of complex ethical, political and aesthetic debates since its emergence as a new musical category in the 1980s. These debates have been fuelled by competing perspectives that portray world music as either an exemplar of progressive cosmopolitan politics that foster cultural hybridity or as reinforcing fixed and unitary conceptions of difference through an essentializing representation of cultures.By utilizing interviews with key people involved in the organization of world music in Britain, this article centralizes this tension by examining the role of difference in world music. Bourdieu's concept of cultural intermediary is used here as a descriptive label for the work of those involved in this research and as an explanatory tool to highlight how difference defines the interaction between the substantive and symbolic processes within the British world music scene.This article argues that the work of cultural intermediaries demonstrates the ambivalent cultural processes within the performance, management and consumption of world music. This is evident in the series of recursive shifts within world music that employ a model of difference that draws on both the binary logic of traditional meanings of race/ethnicity and hybridity. In so doing, this article also examines how world music affinity and consumption, which takes people across arbitrarily ascribed boundaries, challenges the idea that normative racialized identities are meant to provide a fixed set of cultural values, musical tastes and social attitudes.

This article provides a unique contribution to the debates about archived qualitative data by drawing on two uses of the same data - British Migrants in Spain: the Extent and Nature of Social Integration, 2003-2005 - by Jones (2009) and Oliver and O'reilly (2010), both of which utilise Bourdieu's concepts analytically and produce broadly similar findings. We argue that whilst the insights and experiences of those researchers directly involved in data collection are important resources for developing contextual knowledge used in data analysis, other kinds of critical distance can also facilitate credible data use. We therefore challenge the assumption that the idiosyncratic relationship between context, reflexivity and interpretation limits the future use of data. Moreover, regardless of the complex genealogy of the data itself, given the number of contingencies shaping the qualitative research process and thus the potential for partial or inaccurate interpretation, contextual familiarity need not be privileged over other aspects of qualitative praxis such as sustained theoretical insight, sociological imagination and methodological rigour.

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