bluuebunny/crossref_metadata_2025_split huggingface dataset:
Small hospitality enterprises and local produce: a case study
Authors: Duarte Alonso Abel , O'Neill Martin 
Published: October 2010

PurposeContemporary academic research generally discusses positive spillovers that consumption and purchase of local foods/produce may have for consumers, farmers and local economies from which these products come. In a hospitality industry context, local produce can enhance culinary experiences as well as benefit regions and businesses that promote it. However, to what extent are hospitality businesses aware and receptive to the range of local products available? Furthermore, are small hospitality enterprises (SHEs), particularly those near rural areas, actively involved in utilising local products on their menus? And if so, to what extent is this demand driven or an attempt to seek out a unique selling proposition on the part of SHEs? The present paper seeks to answer these questions from the hospitality operators' perspective.Design/methodology/approachA total of 21 SHEs located in the southern United States were interviewed via telephone and face‐to‐face.FindingsDespite their close geographical proximity to farms that grow fresh produce and a near‐by farmers' market open in the summer, SHEs' involvement with local foods in this study is very fragmented. In fact, more respondents are not involved in purchasing local products than those who are, while others are only marginally involved. Furthermore, convenience of direct deliveries by out‐of‐state food distributors and unawareness of existing fresh local produce availability are reasons expressed for not engaging in efforts to buy locally.Research limitations/implicationsThe narrow geographical area chosen and low number of participating businesses in this study may not allow for making generalizations with regards to the findings.Practical implicationsThe dysfunctional nature of the current relationship identified between SHEs and local food producers may be conducive to very unfavourable long‐term impacts for both parties, including lost sales opportunities by not providing fresher, higher quality produce that appeals to increasingly discerning customers.Originality/valueThe present study offers new insights into the relationship between SHEs and local food producers, an area that has been largely neglected in contemporary research.
Measuring retailers' commitment toward regional foods: the CIBLE‐Chaire Bombardier Index
Authors: Coderre François , Boivin Caroline , Etaabaa Idriss 
Published: October 2010

PurposeThis paper aims to present the methodology used to develop an index for assessing retailers' efforts to promote regional foods, and to provide an analysis of the evaluation of 278 retailers.Design/methodology/approachA three‐step procedure was used to develop the index. First, the dimensions of the index were identified through a literature review and interviews with retailers. Next, face‐to‐face interviews with retailers, food producers and regional development experts were conducted to define the best way to measure the index dimensions. Finally, a Delphi approach with an expert panel was used to determine the relative importance of the dimensions. The index was used to evaluate 278 food retailers from the province of Quebec in Canada. Data collection was conducted through store observation and interviews with managers or owners.FindingsThe results reveal a weak level of commitment toward regional foods. Only a small group of retailers, 16 per cent of the sample analysed, adopted practices that demonstrated commitment toward regional foods. A lower level of commitment was observed among corporate stores and discount supermarkets.Research limitations/implicationsThe index provides an overview of retailers' level of commitment toward regional foods within a region. It is simple to use and the results are easy to communicate. However, further research is needed to validate the index dimensions and their relative importance.Originality/valueThis is the first study to provide a means of measuring retailers' commitment toward regional foods based on their behaviour.
Predicting hygienic food handling behaviour: modelling the health action process approach
Authors: Mullan Barbara A. , Wong Cara L. , O'Moore Kathleen 
Published: October 2010

PurposeThe purpose of the current paper is to investigate the determinants of hygienic food handling behaviour using the health action process approach (HAPA) and to examine if the volitional components of the model or the addition of past behaviour could explain additional variance in behaviour.Design/methodology/approachA prospective four‐week study investigating the predictive ability of HAPA variables and past behaviour was used. At time 1, 109 participants completed self‐report questionnaires regarding their action self‐efficacy, risk awareness, outcome expectancies and intentions to hygienically prepare food and past behaviour. At time 2, participants returned a follow‐up questionnaire, which measured behaviour, planning, maintenance and recovery self efficacy. Structural equation modelling was used to compare three versions of the HAPA model.FindingsThe first model showed that intention was a significant predictor of behaviour explaining 40 per cent of the variance and was the best fit. The second model, which included the volitional components of the HAPA model, did significantly increase the proportion of behaviour explained. The third model, which included past behaviour, increased the variance explained but was not a superior fit to the previous two models.Practical implicationsThe results of this study confirm that aspects of the HAPA may be useful in determining hygienic food handling behaviour. However, volitional variables do not appear to be important in this behaviour. The implications of this for future research and interventions are elucidated.Originality/valueThe current study is one of the first to use the HAPA model to predict hygienic food handling behaviour.
Prevalence of Salmonella spp. and Listeria monocytogenes in different cheese types produced in Turkey
Authors: Kahraman Tolga , Ozmen Gursel , Ozinan Basak , Omer Goksoy Ergun 
Published: October 2010

PurposeThe present paper seeks to determine the prevalence of Salmonella spp. and Listeria (L.) monocytogenes in several cheese varieties.Design/methodology/approachA total 280 cheese samples (105 white cheese, 70 processed cheese, 45 dil cheese and 60 kasar cheese) purchased from supermarkets in six provinces of Turkey were collected at intervals between March 2007 and February 2008.FindingsThe results showed that 1.9 percent of white cheese samples were contaminated with Salmonella spp, whereas the L. monocytogenes prevalence was 4.8 percent in this type of cheese sample. The prevalence of L. monocytogenes in processed cheese and kasar cheese were found to be 1.4 percent and 1.7 percent, respectively. No Salmonella spp. was isolated from these cheese varieties. Neither Salmonella spp. nor L. monocytogenes were found in dil cheese samples examined.Originality/valueCheese is a ready to eat product that with a low incidence of contamination may pose great public health concerns. Microbiological evaluation of different cheese samples produced with different manufacturing methods and the possible effects of manufacturing methods on the microbiological quality of these cheese samples are the originality criteria of the study. The cheeses were also sold in a very restricted area of Turkey. The results of this study indicate that white cheese has the highest rates of contamination due to the lack of standardized procedures of manufacturing and ripening.
Influence of antioxidant information on consumer preference for a Thai chilli paste product
Authors: Toontom Nitchara , Meenune Mutita , Posri Wilatsana 
Published: October 2010

PurposeThe purpose of this paper is to examine the effects of providing information regarding antioxidant content on the liking for a food item consumed in relatively small quantities as a complement to main dishes.Design/methodology/approachHeavy users consuming chilli paste three to four times a week were recruited for consumer tests (n=129). Two sessions of taste tests (with and without antioxidant information) were conducted for hedonic measurement of six ready‐to‐eat Thai chilli pastes. Antioxidant activity of the samples were analysed by DPPH and hydroxyl scavenging methods and reported relative to vitamin C. The four experimental and two commercial samples tested ranged between mild to medium hot levels classified by capsaicin quantity and were served using balanced first‐order carry‐over effect design. Principal component analysis and analysis of variance for split‐plot design of the experiment were employed for data analysis.FindingsThe key finding is that the antioxidant information had no significant effect on consumer liking (p > 0.05). Even though one of the research samples presented high antioxidant efficiency (1.63‐1.80 times higher than commercial samples sold in market places), the sample received only low liking scores and liking was not increased when the antioxidant information was attached. An interaction effect occurred when commercial samples gained high liking scores and increased to even higher when antioxidant information was given with the samples.Research limitations/implicationsThe research was based on a target group of Thai consumers whose ages ranged between 18‐40 years old and who were frequent consumers of the product. Also, the product tested in this research was not a principal meal item but was a condiment. Hence, caution must be exercised in generalising to other target groups or food products.Practical implicationsHealth benefit labelling by producers needs to take into account the usage context of the food. Health information provision may not boost consumer demand in all contexts.Originality/valueThis is one of very few studies exploring the effect of health information provision on liking for a food that is not consumed as a main dish in large quantities, but rather as a condiment consumed in small quantities.
Music piracy: ethical perspectives
Authors: Bonner Steven , O'Higgins Eleanor 
Published: October 2010

PurposeThis paper aims to examine the issue of illegal downloading of music under an ethical lens.Design/methodology/approachThe theoretical framework observed was one which included three independent variables: individual, situational and experimental elements. The dependent variable of the study was legal vs illegal downloading of music. A 20‐item questionnaire was completed by 84 respondents. The final four questions in the study were guilt‐inducing questions (which the respondent was informed of in compliance with ethical primary research); the remainder of the questions were neutral in nature.FindingsThe paper finds that the respondents illegally download despite viewing the act as immoral. Respondents choose to morally disengage from the non‐ethical nature of the act in an attempt to avoid feeling guilty about illegal downloading and also to avoid any blame being attributed to them personally. Many respondents feel the act of illegal downloading is simply today's reality and that there is nothing wrong or immoral about illegal downloading. Those who illegally download were less likely to attack the activity for being wrong. Active music fans were more likely to engage in illegal downloading than passive ones. Being a student versus being gainfully employed did not affect downloading behaviour.Research limitations/implicationsA limitation of the study was the difficulty in getting people to disclose the truth about their own ethical violations. A related limitation was the difficulty in obtaining respondents, since participation in such a study meant revealing their music consumption behaviour. However, in the end, social networking proved to be a successful way of recruiting participants.Practical implicationsThe results cast light on the obstacles managers in the music business face in eliminating music piracy.Social implicationsThe results show the reasons for the difficulties in eliminating this widespread crime, because of the ethical ambiguity involved.Originality/valueThe study has the effect of explaining music piracy very clearly through the application of ethical/psychological theory. This has not been done before.
Genre‐deviating artist entry: the role of authenticity and fuzziness
Authors: Mattsson Juha T. , Peltoniemi Mirva , Parvinen Petri M.T. 
Published: October 2010

PurposeThe purpose of the paper is to conceptually elaborate two important mechanisms, authenticity and fuzziness, that affect how audiences react to deviations from existing genres by artists that are making their first entry. In cultural industries such as music, social categorization systems play an important role in the success of actors. Audience members evaluate entering artists vis‐à‐vis the existing, collective system of categories and related normative social codes, and may or may not impose penalties for code violations.Design/methodology/approachThis is a conceptual paper and the conceptual framework is built on recent theorization regarding social categories in organizational fields. A key premise is that such categories, including musical genres, are fuzzy with blurred boundaries and partial membership. Such fuzziness is likely to affect organizational viability and dynamics.FindingsBased on the conceptualization, the baseline proposition is that artists making their first entry are likely to face higher penalties by audiences if they deviate from existing genres. However, the higher the idiosyncratic authenticity of an artist, the smaller such penalties are. Moreover, we expect penalties to be smaller when genre fuzziness increases.Practical implicationsBesides contributions to theory, the propositions that are stated in the paper should have relevance to record companies and artists when they are making strategic decisions regarding artist identity upon first entry.Originality/valueThe paper offers a novel perspective to extant research in music regarding genres, categories, and organizational identities. Furthermore, the paper contributes to recently emerged sociological theory on fuzzy categories and authenticity.
The myths of empowerment through information communication technologies
Authors: McLean Rachel , Oliver Paul G. , Wainwright David W. 
Published: October 2010

PurposeThe aim of this paper is to examine the impact of the digital culture on the music industries through an analysis of official and unofficial web sites, media reports and discussions with musicians.Design/methodology/approachA critical social theory approach is adopted to examine structures and processes related to communication between artists, fans, the media, as well as commercial and independent labels. The authors draw upon Habermas' theory using the concept of “communicative action” to inform an analysis of three vignettes or short case studies.FindingsAt first glance it would appear that technology has brought about greater opportunities for independent musicians to communicate, network, promote and distribute, which previously could not be widely published, and to organise against the commercial power of major labels (Majors).Research limitations/implicationsIn many spheres of the music industries this “empowerment” does not appear to be realised. For example, previous studies have shown that the domination of the Majors continues to impact on local music scenes to restrict and ultimately prevent the creative ideal deliver a situation that is necessary to empower independent musicians. Current media manipulation and corporate interests restrict and alienate independent musicians who often have more of an intellectual ownership and culture within their local music communities.Practical implicationsAlthough steps to enable improved visibility and cooperation have been made we are still a long way off musicians having a powerful enough voice to organise against the commercial power of the large labels and media conglomerates (e.g. Apple i‐Tunes). The ideal speech situation remains elusive and the hegemonic state remains unchallenged.Social implicationsMusic continues to be commodified and fans are increasingly constructed as “consumers”; the ultimate power remains in mass media and broadcasting rather than independent “narrowcast” and DIY artistry.Originality/valueThis paper extends debate on the impact of the developing “digital culture” focusing on independent musicians and the music industries. It raises issues for further research in this area.
The impacts of the differences between UK and US copyright laws for sound recordings on musicians
Authors: Mulhaney‐Clements Stephen 
Published: October 2010

PurposeThis paper aims to investigate the potential impacts that differences between UK and US copyright laws for sound recordings have on musicians. It also highlights the needs for continued standardisation of international copyright laws (particularly those for sound recordings), copyright law education for creators, and a need for musicians to re‐think future artistic and managerial decisions.Design/methodology/approachIn this critical analysis of current academic literature and legislation, significant differences between the domestic copyright laws of the UK and USA have been identified. The impacts of these differences on musicians are discussed and conclusions drawn.FindingsFindings suggest that there are several significant differences between the UK and US copyright laws for sound recordings, which do impact on musicians in both countries. However, determining the degree of impact is dependent on several contributing factors: the nationality of the musician; the level of success of the musician; the creative roles adopted by the musician; and the ambition of the musician.Research limitations/implicationsResearch scope was limited to the domestic copyright laws of the UK and USA only; and, specifically, the copyright laws for sound recordings. Findings were generalised for all musicians, regardless of type or genre.Originality/valueThis paper is one of the first to investigate the impact of differences in domestic copyright laws on musicians, and identifies several strategy issues that must be considered by musicians when making future artistic and managerial decisions.
Discovering the facets of copyright licensing for commercial composers
Authors: Roberts Amalie 
Published: October 2010

PurposeThe purpose of this paper is to examine the facets of copyright licensing for commercial composers. As traditional business models within the music industry wane, there emerges a tacit opportunity for composers to exploit copyright through partnerships with third‐party entrepreneurs, across sectors such as television, video games and film.Design/methodology/approachA case study is utilised to identify opportunities within the television sector for commercial composers who own both publishing and mechanical copyright. Despite the economic crisis facing the entertainment industries, the paper identifies facets for commercial composers through licensing their intellectual property (IP) to third‐party entrepreneurs.FindingsComposers who own both publishing and mechanical rights arguably hold a market advantage, resulting in an emergence of “one‐stop” licensing agreements – and less administrative fees – for major publishers.Research limitations/implicationsThe implications asserted within this paper relate specifically to the television sector and further research could be undertaken in order to examine the utilisation of similar practice across different sectors, such as video games, and film, within which different opportunities and limitations will undoubtedly exist.Practical implicationsThe implications for composers and managers is clear. A basic understanding of key legal terms, contract structure and the administrative functions of societies such as the MCPS‐PRS Alliance, are essential. This paper offers a valuable insight into very current changes across both the music and television sectors, identifying tangible opportunities for commercial composers.Originality/valueThis paper explores the facets of copyright licensing for commercial composers within new sectors including television. The author believes that sectors such as television, film and videogames can and do provide lucrative opportunities for independent musicians, composers and record labels. It is essential to explore such opportunities.
Customers' perceptions about concerts and CDs
Authors: Rondán‐Cataluña F. Javier , Martín‐Ruiz David 
Published: October 2010

PurposeTaking into account the increasing prices of attending concerts and gigs and the decreasing prices and better sound quality of CDs and music in file‐computer format, is the future of music events threatened by music CDs? Are clients' perceptions about concerts and CDs very different? This study aims to answer these research questions by comparing important perceptions of concert attendees and CD buyers.Design/methodology/approachAn empirical study is conducted in two different contexts: CD buyers and concert attendees. In order to answer the research questions outlined the most appropriate statistical tool is the student's t‐test. The variables to compare do not have normal distributions; therefore, non‐parametric tests have been conducted to confirm the results. In addition, a discriminant analysis has been applied in order to assure that both consumers sub‐samples differ with regard to the variables used in the study.FindingsThe future of music events is not threatened at all by music CDs. On one hand, the concert industry has been increasingly making more profits in many countries in last decade. On the other hand, consumer satisfaction, price fairness perception, willingness to pay, customer value, and product/service quality are significantly more highly ranked in concert attendees than in CD buyers. The statistical analyses show clients' perceptions about concerts and CDs are very different. All the variables analysed except image have been significantly different in both sub‐samples of consumers.Originality/valueThis paper examines customer perceptions of two of the most important sectors in the music industry: concerts and CDs, using variables that directly measure these perceptions. It is crucial for music managers to understand motives and feelings of music consumers of these basic sectors in order to make appropriate decisions.
The DIY artist: issues of sustainability within local music scenes
Authors: Oliver Paul G. 
Published: October 2010

PurposeThe aim of this paper is to aid the DIY artist in moving towards sustainability through the use of new technologies, which will be achieved by defining DIY music culture, identifying the creative and business needs of an artist as well as establishing a model for artists to be self‐sufficient.Design/methodology/approachThe research methodology consisted of a mixture of unstructured interviews, such as e‐mail, telephone and face‐to‐face. A total of 15 interviews were conducted with DIY artists from local music scenes around the UK.FindingsThe DIY musicology model is a foundation for the DIY artist to be self‐sufficient through the three main perspectives: artistic process, managerial process and information systems.Research limitations/implicationsMany artists and managers continue in their struggle to be independently sustainable, therefore it is necessary to continue this research on a wider scale.Practical implicationsBy gaining a more in‐depth understanding of the sub‐sectors within the music industries, artists and managers can understand more about how to manage their own creative activities or projects.Social implicationsThrough a strong DIY ethic, with an emphasis on creativity and self‐management, a clear understanding of local music scenes helps to identify one of the key sub‐sectors of the music industries as well as demonstrate that sub‐cultures have value.Originality/valueThe paper discusses issues of sustainability within local music scenes from the perspective of the DIY artist, which is a new area of academic research.