Executive summary of the results of New World Symphony’s trial of four different concert formats, designed to attract new and different audiences.
Report co-produced by the Musicians’ Union and UK Music which assesses the impact of the Live Music Act 2012, published one year after the introduction of the Act.
Eileen Hogan, of University College Cork, discusses the annual Arthur’s Day celebration and the relationship of Guinness – along with its parent company Diageo – to live music, along with the wider implications of corporate sponsorship for cultural activity and identity.
A paper examining the curious phenomenon of the encore ritual in live music events, which argues that while the encore began as a spontaneous display of audience enthusiasm, it has now become an expected and ritualized part of a live music performance.
Visual artist Jenny Soep discusses her experiences of drawing live music, the pros and cons of using ‘traditional’ and digital materials, her personal guidelines for drawing live music, and links to other artists who draw or visualise live music in one form or another.
Today’s guest post is by James Hadfield, an English writer and photographer based in Tokyo, where he writes about music and other subjects for The Japan Times and Tokyo TimeOut amongst others. In this piece he looks at the ubiquity of pay-to-play, or noruma, in the Japanese capital.
This guest post by Darren Mueller- saxophonist, teacher and PhD candidate at Duke University – reflects on how live jazz performances are haunted, and infused, by the recordings of the past.
Richard Sutherland offers a well-informed summary of the changes to Canada’s visa rules for musicians, brought in July 31st 2013.
The text from the Second Reading of Lord Clement-Jones’ Cultural and Community Distribution Deregulation Bill in the House of Lords, July 5 2013.
Professor Graham Welch, Chair of Music Education at the Institute of Education, discusses the latest research on the positive effects of live music on premature babies.