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The Art of Re-enchantmentMaking Early Music in the Modern Age$
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Nick Wilson

Print publication date: 2013

Print ISBN-13: 9780199939930

Published to Oxford Scholarship Online: January 2014

DOI: 10.1093/acprof:oso/9780199939930.001.0001

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Everything to Play for

Everything to Play for

Chapter:
(p.157) 9 Everything to Play for
Source:
The Art of Re-enchantment
Author(s):

Nick Wilson

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199939930.003.0009

Whilst the primary level of analysis in the preceding two chapters islargely focused on institutions, this chapter puts Early Music’s founder-directors under the spotlight. In particular, the aim here is to better account for their crucial role as ‘cultural entrepreneurs’ (a term that many musicians prefer not to attribute to themselves). The chapter structures a review of the entrepreneurial qualities and capabilities of the movement’s leading musical directors according to key features of entrepreneurship: social capital, networking, spotting opportunities, entrepreneurial decision-making,and leveraging resources. This reveals some clear differences between individuals. The chapter then teases out these differences in more depth through a novel analysis involving the’rhetorics of play’. Whilst drawing particular attention to the role of David Munrow as the creative ‘trickster’, capable of joining up and boundary-crossing, the chapter nonetheless emphasizes the singular contributions made by each of Early Music’s cultural entrepreneurs to the movement’s success.

Keywords:   cultural entrepreneurship, social capital, networking, spotting opportunities, entrepreneurial decision-making, effectuation, leveraging resources, David Munrow, trickster, creative destruction

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