Catherine Tackley writes about amateur music-making from a personal point of view, touching on the social benefits of musical interaction, the changing relationship between audiences and performers, and the value of amateur music-making to the music economy.
In the latest addition to the ‘Live Music 101’ series of theory-based posts, Emma Webster and Adam Behr seek to offer some answers to the question of what makes for a good city for music and set out various formulations as to what makes for a ‘healthy’ live music ecology, an examination of the interplay between national and local policy and the musical city, followed by a case study of Glasgow as an archetypal ‘healthy’ musical city.
Our latest guest post is by Luis-Manuel Garcia, of the Max Planck Institute for Human Development, Berlin. It provides a brief overview of the author’s in-depth article for Resident Advisor. Here he explains the background to the dispute that has erupted regarding the German royalty collection society’s proposed tariff reforms and their potential effect on the nightclub scene.
Sheffield-based singer-songwriter Neil McSweeney explores the idea that, for a healthy live music ecosystem within a locality, there might be an optimum number – or at the least, a minimum provision – of rehearsal spaces, recording facilities and performance spaces for a given population with a given demographic make-up. In doing do, he paves the way towards further research while highlighting its importance for policy makers and local governments.
This video is the keynote address from the Live Music Exchange: Cardiff event, November 10th, 2012. Professor George McKay gives a wide ranging presentation, which covers the history of music festivals in the context of the music industry, and also deals with its relationship to a sense of place in terms of both society and geography.