This study aims to provide an in-depth understanding of the innovation system and the learning processes involved in a very specific cultural field: the production of early music. [Design/methodology/approach]: A single case study of the generic value chain in the music production industry describes and analyses the process and the actors involved in editing a new early music collection resulting from the collaboration between a record company and a public research organization. [Findings]: There is a need for new knowledge in the various stages of performance and publication of a new recording. The early music sector is a knowledge-intensive, science-driven sector that can be characterized as a system because the interactions among actors substantially influence final products. [Research limitations/implications]: The single case study represents a specific sector within the music industry. However, its conclusions can be applied to other fields in the cultural heritage sector. [Originality/value]: The literature on innovation in the cultural field primarily focuses on the relationship between art and information and communication technology (ICT). This paper is novel in analysing a case where scientific knowledge is key to new product development, and suggesting that we need to take account of the interactions among cultural heritage entities, universities and other knowledge production organizations. It concludes that these organizations should be involved institutionally in other aspects of the innovation process.

El presente artículo estudia la recepción en las primeras décadas del siglo XX de la música de Juan García de Salazar, maestro de capilla de la catedral de Zamora entre 1668 y 1710. Se analizan la pervivencia de su música durante la celebración de los oficios litúrgicos, su revalorización estética a partir del Motu Proprio `Tra le sollecitudine¿, promulgado por Pío X, sobre la música sacra y la llegada de sus composiciones a las salas de concierto de la mano de la ¿Real Coral Zamora¿, dirigida por el maestro Inocencio Haedo. Por último, se estudia la recepción de su obra a través de las transcripciones y arreglos que hizo el maestro Haedo.

Este trabajo es la aportación del Grupo de Investigación «Aula Música Poética» a los actos de conmemoración en 2016 del III Centenario del fallecimiento del organista, compositor y maestro de capilla Sebastián Durón (1660-1716). Consiste en una antología de cincuenta tonos y villancicos religiosos a una, dos, tres, cuatro, cinco, seis y ocho voces, y la misa a ocho voces sobre el «Dios te salve, María». Uno de los objetivos de este volumen es ampliar el conocimiento sobre la obra religiosa en romance de Sebastián Durón, mucho menos conocida que su repertorio escénico.

This chapter takes an in-depth look at innovation in cultural festivals, in particular in early music festivals, which is a type of festival aimed at a generally local and minority audience. It identifies and analyses types of innovations, the strategies used by early music festivals to innovate and the results of these innovations in the framework of a collaboration with the European Early Music Network, whose members, festival directors, agreed to participate in the survey designed for this purpose. Different types of product, production and pre-production process, marketing and communication innovations are identified but also maintain traditional products and communication channels for their most loyal audience. The analysis shows that early music festivals engage in a range of innovations and employ a meaningful combination of innovation strategies with diverse stakeholders. Innovation efforts have led to several intangible and tangible improvements, including increased prestige and bigger and more diverse audiences. Although some of the innovations identified are common to other cultural festivals, many product innovations depend on musicology research; therefore, similar to other science-based sectors, relationships with researchers are very important.