Article on the impact of jazz festivals, focusing on economic impact, socio-political impact; temporal impact and intensification and transformation of experience; creative impact – music and musicians; discovery and audience development; place-making; the mediation of jazz festivals; and environmental impact.
A new report, written by Emma Webster and George McKay and published online last week, highlights the impact of British music festivals and shows that festivals are now at the heart of the British music industry, forming an essential part of the worlds of rock, classical, folk and jazz. Funded by the Arts and Humanities Research Council’s (AHRC) Connected Communities programme, the report is based on a critical literature review of more than 170 books, papers and reports.
Funded by the Arts and Humanities Research Council, the purpose of this report is to chart and critically examine available writing about the impact of British music festivals, drawing on both academic and ‘grey’/cultural policy literature in the field.
Catherine Tackley writes about amateur music-making from a personal point of view, touching on the social benefits of musical interaction, the changing relationship between audiences and performers, and the value of amateur music-making to the music economy.
A repost of a blog post by Dr. Stephen Henderson, an authority on event marketing and management and Senior Lecturer at Leeds Metropolitan University. Here he discusses the matter of ‘impact’ and points towards the need for a clear-sighted approach to defining it.
Using the example of Low at the Rock the Garden show, Andrea Swensson questions the unspoken contract between artist and audience to ask what it actually is that we are buying when we purchase a concert ticket.
Book chapter on the changing landscape of festivals in Australia which explores the human needs fulfilled by music and understand why such festivals and events have become so popular with policy makers and researchers alike.
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.
Report by the chief economist for the PRS offering an economic view of how best to approach the question of whether live music will overtake the recorded sector.
The paper offers a framework to help understand the economics behind the commonly held observation that the price of recorded music is ‘heading towards zero’. This economic approach helps show us how recorded music has long lost any notion of being a ‘pure private good’ and now risks becoming a ‘pure public good’.