Eileen Hogan, of University College Cork, discusses the annual Arthur’s Day celebration and the relationship of Guinness – along with its parent company Diageo – to live music, along with the wider implications of corporate sponsorship for cultural activity and identity.
Visual artist Jenny Soep discusses her experiences of drawing live music, the pros and cons of using ‘traditional’ and digital materials, her personal guidelines for drawing live music, and links to other artists who draw or visualise live music in one form or another.
Today’s guest post is by James Hadfield, an English writer and photographer based in Tokyo, where he writes about music and other subjects for The Japan Times and Tokyo TimeOut amongst others. In this piece he looks at the ubiquity of pay-to-play, or noruma, in the Japanese capital.
This guest post by Darren Mueller- saxophonist, teacher and PhD candidate at Duke University – reflects on how live jazz performances are haunted, and infused, by the recordings of the past.
Richard Sutherland offers a well-informed summary of the changes to Canada’s visa rules for musicians, brought in July 31st 2013.
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.