Based on research carried out in the UK between 2008 and 2011, this paper examines the implications of the shift in discourse from recorded to live as ‘the’ popular music experience.
A report containing the findings of the Edinburgh live music census, held in June 2015, and subsequent recommendations to Edinburgh City Council.
This report, written by LMX’s own Emma Webster to celebrate the AIF’s sixth birthday, places the festival sector in its historical context and looks ahead to the future to see the issues currently facing festival promoters, with a focus on the AIF’s member festivals.
Author(s): UK MusicPublisher: UK MusicDate: 2014 Imagine is a report which looks at the unrealised potential of music heritage tourism in the UK. Millions of music tourists make pop pilgrimages to museums, take tours and visit the homes of the UK’s most loved bands every year. UK Music’s report examines how music tourists translate pop into pounds. Liverpool has been a standard …
PRS for Music’s 2013 financial results briefing paper showed that the collection society achieved an income of £665.7m, a 3.7% increase on 2012 – live music earned £25.7m.
A report produced from research conducted under an AHRC Cultural Engagement grant, looking at state provision of support for Scottish music industry practitioners, with a particular emphasis on showcasing activities.
Report co-produced by the Musicians’ Union and UK Music which assesses the impact of the Live Music Act 2012, published one year after the introduction of the Act.
Paper analysing the market functions of intermediaries between artist and performer, such as booking agents and presenting organisations, drawing implications for enhanced effectiveness of the performing arts market.
A practical and basic guide for orchestras, commissioned by ABO and Orchestras Live and authored by Julie’s Bicycle, it addresses the environmental impacts of their work: from office-based work to marketing and rehearsals.
A ‘how-to’ guide for music companies and individuals interested in greening their activities – from touring to offices, recording studios to festivals. Shows how the industry can meet London’s ambitious targets of cutting its emissions by 60% by 2025.