Today’s guest contribution is by renowned scholar Professor John Sloboda, a leading writer on the psychology of music, Emeritus Professor at Keele University and Research Professor at the Guildhall School of Music and Drama. Here he introduces research into Understanding Audiences and post concert events which allow creative musicians to elicit feedback from audience members in a constructive environment.
Our latest guest post features Dr. Mark Doffman, from the University of Oxford, introducing his research on improvised jazz performances – digging beneath the apparent mystery of spontaneous musical group creativity to examine the interactions and gestures that lie beneath and the context in which they operate.
This guest post looks at the ways in which wristbands are put to use beyond simply serving as a token of entry to a concert. The focus of nostalgia, and collectors items in a burgeoning marketplace, their applications outlast the event itself and he gives some insights into the resale market as well as looking to the future and the growing use of RFID (Radio Frequency Identification) tagged bands.
In an introduction to new joint research taking place at the Universities of Brighton and Stockholm, Karolina Doughty looks beneath the surface of busking and street music to provide an account of the different cultural and policy debates surround the practice and how they fit into the ‘affective management’ of modern cities.
This is a video from the Live Music Exchange, Leeds event. It features Dr. Paul Carr, Head of the Music Academy at the University of Glamorgan, discussing the research that led to his recently published report ‘Playing Wales: the relationship between higher education and the live music industry in Wales.’ The paper covers the methodology of the research, including an online questionnaire, and looks at some of the specific features of the Welsh live music landscape. It also examines ways in which Higher Education institutions can build a more mutually productive relationship with the live music sector, including techniques such as giving credits for industrial experience, helping musicians to apply for grants and engaging in knowledge transfer partnerships.
In the second of the ‘Live Music 101’ series of blog posts detailing the themes and ideas that developed over the course of the initial live music project, Simon Frith examines the political economy of live music, and defines two basic models of performance as a starting point with which to examine the economic transactions between artist, venue, audience, and promoter.
This is a video from the Live Music Exchange, Leeds event that featured a panel of academics and representatives from Leeds and beyond. The theme of the conference was ‘Interesting Times for Live Music’ and the panel discussed the threats and opportunities to local live music in the current economic downturn. Chaired by Martin Cloonan (University of Glasgow), the panel featured, Simon Frith (University of Edinburgh / Mercury Prize), Whiskas (Live at Leeds Unconference / Honour Before Glory / ¡Forward Russia!), Nick Simcock (Dead Young Records/Oporto), Ben Kirby (Manager of The Subways).
Now that The Games are almost afoot, naysaying is an increasingly unfashionable position. They’re here now – enjoy. Not the most consistent of arguments – it’s like saying, “I’ve been threatening to crash your house and hold a party for weeks, but now that it’s in full drunken flow, you’re as well grabbing a beer and getting into the swing of things”. I ponder here on a couple of the issues arising from later curfews for Olympic gigs in public parks than others that have taken place this year.