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.
Monthly Archives: October 2012
Understanding Jazz Audiences: Listening and Learning at the Edinburgh Jazz and Blues Festival – Karen Burland and Stephanie E.Pitts (2010)
Musicians’ Union ‘Live Music Kit’ (2012)
Live Music 101 #3 – Why Concert Promoters Matter – Matt Brennan and Emma Webster
In the third of our series on the theories that underpin our research into live music, Matt Brennan and Emma Webster attempt to define the promoter and how they operate, in an extract from ‘Why Concert Promoters Matter’, originally published in Scottish Music Review in 2011. The authors analyse existing accounts of live music promoters and offer their own analysis of what a promoter is and does, concluding that promoters may use one or more of three basic models of promotion within rock and pop: ‘independent’, ‘artist-affiliated’, and ‘venue’.
Live Music Exchange Digest – w/c 01/10/2012
Welcome to our weekly digest of live music news and events in industry, academia and more. The Live Music Act: a blog post from the archives:- Today – Monday 1st October 2012 – the Live Music Act 2012 (LMA) comes into effect, which frees up smaller venues to provide live music. To mark this event, we delved into the archives …