Professor Graham Welch, Chair of Music Education at the Institute of Education, discusses the latest research on the positive effects of live music on premature babies.
MJ Hibbett offers musicians a survival guide to the Edinburgh Fringe, and some thoughts on the difference between Fringe gigs and regular gigs along with why bands are well equipped to deal with it.
Following last week’s post about what makes for a healthy ‘musical city’ Adam Behr looks at the concepts that underpin the legislative agenda on live music, and the issues that surround the difference between music and noise.
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.
Emma Webster examines festival headliners and what makes for an ‘ideal’ way to close the main stage each day.
This guest post is by Laura Merry, part of the Muscular Dystrophy Campaign’s network of young Trailblazers. In it, Laura introduces the recent Trailblazers report on the subject of disabled access at live music events and provides a first hand account of some of her own experiences.
Jordan Canada offers advice to musicians by pointing out three things that musicians should not do with social media to get a gig.
A blog post to flag up the opportunity to contribute to The Purple Guide to Health, Safety and Welfare at Music and Other Events, currently being rewritten (2013).
Using the example of Low at the Rock the Garden show, Andrea Swensson questions the unspoken contract between artist and audience to ask what it actually is that we are buying when we purchase a concert ticket.
Today’s guest post is by Dr. Abigail Gardner, Subject Group Leader for Media courses at the University of Gloucestershire. Here she discusses festivals, and heritage acts, in the context of how audiences experience them and their roles as living ‘archives’ of personal and musical history.