Presents ethnographic work on open mic nights in Edinburgh, a hitherto under examined activity that lies in the hinterland of professional live music and serves as a junction between professional and amateur practice. Details implicit and explicit codes of behaviour and a typology of different nights.
This study examines the responses of fans engaged in online activity around concerts, identifying the key themes and patterns apparent within this behaviour, arguing that fans are using social media and mobile technology in an effort to contest and reshape the boundaries of live music concerts.
Editorial for special edition of Social Semiotics – explains the relationship between the articles and provides an overview of the theoretical terrain of ‘the business of live music’
Analysis of festival visitors using conceptual frameworks and outlining six broad ‘motive domains’ – cultural exploration, novelty/regression, recover equilibrium, known group socialization, external interaction/socialization, and gregariousness.
This article draws together critical tourism studies and events tourism literature offering insights into the diverse motivations for, and barriers to, attending the predominantly lesbian and separatist feminist festival, Michigan Womyn’s Music Festival.
Article exploring assumptions and experiences of audience members new to classical music. Data from focus groups and interviews reveals that feelings of inclusion and participation in the performances were important predictors of the participants’ enjoyment of the concert. Considers the implications of these findings for orchestras and concert organisations.
Drawing on research with musicians in the North East of England, this article explores musicians’ understandings of their working lives within the new entrepreneurial agenda brought about by organizational restructuring and the emergence of the creative industries as an economic power.
The aim of this research paper is to examine why concert promoters sometimes advertise sold-out live music shows when nobody can buy tickets any longer. It suggests that the Durkheimian model illuminates a point of connection between commerce and affect in the reception of star performances.
This paper uses the Wireless Festival held in Leeds in 2008 to look at the different motivations of attendees across the two days where the programming was directed towards different music interests.
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.