Musicians as entrepreneurs or entrepreneurs as musicians?

Abstract

This study investigates how Swedish musicians in the non‐profit sector accept the “entrepreneur” label for themselves. The background section describes how identity work among “serious” musicians has, historically, made them shun any facet related to money‐making. The qualitative study shows that there is some remaining reluctance. But it is obvious that freelance musicians recognize the need for entrepreneurial skills. A majority of those interviewed regard themselves as “entrepreneurs”, although in most cases it is out of necessity. It seems that the older generations are more hesitant than the younger. I conclude that it would be beneficial if musicians, during their higher education, were introduced to basic entrepreneurial skills.

With their feet on the ground: a quantitative study of music students’ attitudes towards entrepreneurship education

“…A major part of those music industries have become severely mediated markets, in which few can rely on professional services by agents and promotors who now expect artists to have a level of 'entrepreneurial consciousness' (Haynes and Marshall 2018, 471). Most musicians cannot bank on those in-between agents and have to create opportunities in the music industry themselves, which demands a lot of self-promotion (Albinsson 2018), insights into the networked nature of the business (Scott 2012) and resilience, all elements to which arts entrepreneurship education can contribute.…”

“…However, in the cultural sectors, creatives are frequently urged to starting a business because of the lack of other career options (Coulson 2012;Hausmann 2010). Hence, selfemployment is often the only remedy for creatives to legally and viably sustain in the arts sector, a phenomenon due to which this creative workforce has also been referred to as 'necessity' or 'accidental' entrepreneurs (Coulson 2012;Hausmann 2010) and even 'reluctant' entrepreneurs (Haynes and Marshall 2018;Albinsson 2018). Taking this into account, it becomes questionable if the endeavour of setting up one's own artistic enterprise may automatically be termed 'entrepreneurial'.…”

“…artists) and perceive their social identity to be distinct from that of others, are likely to conform to the dominant schemes of the group they believe to be belonging to (Leonardelli, Pickett, and Brewer 2010). As it has been elicited that the disdain among artists for market recognition and commercial success is still very vivid (Albinsson 2018;Jacobs 2013), students who identify with artists may be more reluctant to arts entrepreneurship education compared with students who perceive themselves to be skilled professionals. We thus propose our last hypothesis:…”

“…The perception (or prejudice!) that entrepreneurship is irrelevant, redundant or even boring, results in a strong disinclination to embrace it (Albinsson 2018;Haynes and Marshall 2018;Sternal 2014;Penaluna and Penaluna 2011). Students' scepticism towards entrepreneurship may originate in the belief that entrepreneurship encompasses only businesslike practices that aim at commercializing art and making financial gains, which come to the detriment of artistic imperatives (Bridgstock 2013).…”

Growth strategies in creative industries

“…Studies of cultural and creative entrepreneurship confirm the conflict between art and business (HKU, ). Eikhof and Haunschild () coined the term bohemian entrepreneur to explain how artists bridge the gap, and in the music industry, Albinsson () finds that musicians identify as entrepreneurs, but primarily out of necessity. The question is, how this attitude influences firms in the CIs, in particular their attitudes towards growth.…”