A report commissioned by Sennedd Research to examine the ‘state of play’ in the post Covid-19 music industries in Wales.
Author(s): Patrycja Rozbicka, Craig Hamilton, Adam Behr, Patricia Correa Vila, Luke John Davies Organisation: Aston University/Birmingham City University/Newcastle University Date: 2019 A report produced through collaborative research work undertaken at Aston University, Newcastle University and Birmingham City University. It seeks to look at the ways in which the live music ecology of Birmingham is constituted and how the sector is approaching challenges related to local, national …
This article considers the value of “ecology” as an analytic concept (rather than just a buzzword) and compare an ecological account of the setting in which music happens to the use of previous spatial metaphors with which to understand live music.
This study investigates the idea and practice of liveness in modern music, drawing on case studies including Glenn Gould and the White Stripes.
Simon Frith reflects on the Live Music Exchange project in the context of ‘knowledge exchange’.
This article examines the policies of the British Musicians’ Union towards the employment of musicians who were not UK citizens in the period from the 1920s to the 1950s, with particular emphasis on an alleged ban on American musicians entering the country.
Analysis of changes to the popular music market, and the balance between the live and recorded sectors, due to shifts in consumption patterns over the previous decade.
Introduction to a special issue of Social Semiotics dedicated to ‘the business of live music’. Outlines the contents and provides links to free articles from the journal
Presents ethnographic work on open mic nights in Edinburgh, a hitherto under examined activity that lies in the hinterland of professional live music and serves as a junction between professional and amateur practice. Details implicit and explicit codes of behaviour and a typology of different nights.
This study examines the responses of fans engaged in online activity around concerts, identifying the key themes and patterns apparent within this behaviour, arguing that fans are using social media and mobile technology in an effort to contest and reshape the boundaries of live music concerts.