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.
Based on a series of interviews conducted between 2008 and 2011 with UK-based concert promoters, this article seeks to examine the world-views of a group of individuals whose activities are currently economically dominant within the broader music industries but have hitherto largely escaped academic attention.
Article on how musicians deal with inebriated audiences, based on qualitative research, and exploring whether musicians require training in alcohol-related issues.
Author(s): Hasan Bakhshi, Alan Freeman and Peter HiggsPublisher: NestaDate: January 2013 Click here to read the full report This paper argues that, despite its strengths, the UK Department of Culture, Media and Sport (DCMS) classification of the creative industries contains inconsistencies which need to be addressed to make it fully fit for purpose. It presents an improved methodology which retains …
Executive summary of the results of New World Symphony’s trial of four different concert formats, designed to attract new and different audiences.
An examination of the possible motivations, and practical aspects, of late arrival on stage at rock gigs and the ‘expectant void’ that it leaves for the audience.
A ‘Live Music Kit’ provided by the Musicians’ Union containing practical and creative advice for venues to coincide with the implementation of the Live Music Act on 1 October 2012.
This article is concerned with the relationship between performers and audiences in the live performance of popular music, a relationship that is examined through the concept of genre culture and a microsociological study of improvised music as a territory for behaviour.
Paper investigating promoters, drawing on interviews to show how they invest aesthetic values into their live music products to attract “like‐minded” people and “engineer great moments” for audiences.
This book explores the relationship between popular music and the city using Liverpool as a case study. It highlights popular music’s unique role and significance in the making of cities, in processes of deindustrialization and in producing and promoting local culture.