Purpose

This paper aims to explore the nature of the marketing of concerts 1672–1749 examining innovations in the promotion and commodification of music, which are witness to the early development of music as a business.

Design/methodology/approach

The study takes as its basis 4,356 advertisements for concerts in newspapers published in London between 1672 and 1749.

Findings

Musicians instigated a range of marketing strategies in an effort to attract a concert audience, which foreground those found in more recent and current arts marketing practice. They 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 with complementary ticket-selling locations.

Originality/value

Whilst there is some literature investigating concert-giving in this period from a musicological perspective (James, 1987; Johnstone, 1997; McVeigh, 2001; Weber, 2001; 2004b; 2004c; Wollenberg, 1981–1982; 2001; Wollenberg and McVeigh, 2004), what research there is that uses marketing as a window onto the musical culture of concert-giving in this period 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 17th- and 18th-century England and laid the foundations of its own development as a business.

中文翻译：

---

伦敦1672–1749年的音乐会营销

目的

本文旨在探讨1672年至1749年音乐会的行销性质，考察音乐的推广和商品化方面的创新，这些创新见证了音乐作为商业的早期发展。

设计/方法/方法

这项研究以1672年至1749年在伦敦出版的报纸上举办的音乐会广告4,356个为基础。

发现

为了吸引音乐会观众，音乐家们制定了一系列的营销策略，这些策略是在最近和当前的艺术营销实践中发现的。他们推广了具有明确计划编制意识的定期音乐会，以吸引听众，举办了各种不同类型的音乐会，并利用了多种定价策略。音乐会在越来越多的场馆举行，并有相辅相成的售票地点。

创意/价值

虽然有一些文献从音乐学的角度研究了这一时期的音乐会（James，1987; Johnstone，1997; McVeigh，2001; Weber，2001; 2004b; 2004c; Wollenberg，1981–1982; 2001; Wollenberg和McVeigh，2004 ），在这一时期使用营销作为了解音乐会音乐文化的窗口的研究缺乏细节（McGuinness，1988; 2004a; 2004b; McGuinness and Diack Johnstone，1990; Ogden et al。，2011）。本文说明了如何开发由音乐制成的公共商业音乐会，而音乐是一种新型的文化消费者所提供和要求的商品。因此，音乐参与了17世纪和18世纪后期英格兰的休闲商业化，并奠定了其自身业务发展的基础。