A report containing the findings of the Edinburgh live music census, held in June 2015, and subsequent recommendations to Edinburgh City Council.
Throwing A Lifeline To Grass Roots Music Venues – Horace Trubridge
Horace Trubridge, Assistant General Secretary of the Musicians’ Union reflects on his experience of music venues and the increasingly challenging environment in which they operate. He suggests that if a healthy grass roots live scene is key to the emergence of the talent which fuels the music industry, shouldn’t the industry be doing more to help?
Live Music Exchange’s Professor Simon Frith discusses the audience as a collective and then questions its sociological role in concerts and the problems that attracting an audience poses for promoters, arts organisations and academics as they engage in audience building and audience research.
Executive summary of the results of New World Symphony’s trial of four different concert formats, designed to attract new and different audiences.
This guest post by Lucy Bennett discusses the effect of mobile phone technology on live events – connecting them to fans outside the gig whilst disrupting and altering the nature of audience engagement in the venue itself.
This paper considers the ways in which jazz audiences participate in and contribute to musical events, and examines the roles that music plays in their lives and identities through analysis of a large-scale survey and in-depth interviews.
Today’s guest contribution is by renowned scholar Professor John Sloboda, a leading writer on the psychology of music, Emeritus Professor at Keele University and Research Professor at the Guildhall School of Music and Drama. Here he introduces research into Understanding Audiences and post concert events which allow creative musicians to elicit feedback from audience members in a constructive environment.
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.
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.