Independent research commissioned by the Scottish Artists Union examining the impact of legislation changing the conditions for pubic entertainment licensing.
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.
Drawing on research with musicians in the North East of England, this article explores musicians’ understandings of their working lives within the new entrepreneurial agenda brought about by organizational restructuring and the emergence of the creative industries as an economic power.
This article is concerned with the relationship between performers and audiences in the live performance of popular music, a relationship that is examined through the concept of genre culture and a microsociological study of improvised music as a territory for behaviour.
A report by UK Music outlining the strength of the UK’s music industry and setting out its ambitions for the future, calling for action to support growth from both government and industry.
An introduction to the Live Music Research Project at the root of Live Music Exchange: conceptualising live music, the political economy of live music , typology of venues, ten themes to be explored (“ten things you never knew about live music”)
This is Arts Council England’s major report on the New Audiences Programme. It represents the culmination of a five year scheme which supported audience development initiatives across the country.
This is an attempt to articulate the potentialities of carnivals for enacting both hegemonies and oppositional political formations – both are present and this piece examines their relationship and the symbolic politics of carnivals.
