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.
This paper attempts to explain the growth in the number of classical music and opera festivals, examining demand side and supply side factors.
Practical advice on developing noise-control strategies in the music and entertainment industries to prevent or minimise the risk of hearing damage from the performance of both live and recorded music and meet legal obligations under the Control of Noise at Work Regulations (2005).
The creative industries are a key driver of Britain’s economic growth but the creative workforce suffers from poor social representation. A range of experts offer their thoughts on why social mobility is so low in the creative industries, and how policymakers and the industry can improve it.
This report presents the conclusions and recommendations from a study commissioned by Creative Scotland. The overall purpose was to identify an appropriate approach and method for examining the economic impact of the Arts and Creative Industries in Scotland.
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.
A report by UK Music outlining the strength of the UK’s music industry and setting out its ambitions for the future, calling for action to support growth from both government and industry.