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 paper explores what it means to talk of live music as a right by looking at the ways in which courts and other actors constitute music as a political entity to which such rights might be attached, with case studies of grime artist Giggs and the merger of Live Nation and Ticketmaster.
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.
Editorial for special edition of Social Semiotics – explains the relationship between the articles and provides an overview of the theoretical terrain of ‘the business of live music’
Analysis of festival visitors using conceptual frameworks and outlining six broad ‘motive domains’ – cultural exploration, novelty/regression, recover equilibrium, known group socialization, external interaction/socialization, and gregariousness.
This article draws together critical tourism studies and events tourism literature offering insights into the diverse motivations for, and barriers to, attending the predominantly lesbian and separatist feminist festival, Michigan Womyn’s Music Festival.
Recognizing the potential for music festivals to contribute to host communities, this study aims to explore motivations for attending a large, multi-day music festival. Uses on-site interviews conducted at Celebrate Fairfax!, an annual music festival held in Virginia (USA).
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.
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.
A ‘Live Music Kit’ provided by the Musicians’ Union containing practical and creative advice for venues to coincide with the implementation of the Live Music Act on 1 October 2012.