‘I’m there to play music not break up fights’: gigging entertainers’ experiences of alcohol-related misbehaviour by audiences and its impact on performance – Alasdair Forsyth, Jemma C. Lennox and Martin Cloonan (2016)
A Cure for the Soul? The Benefit of Live Music in the General Hospital – H Moss, E Nolan, D O’Neill (2007)
From 2005 to 2006 a professional orchestra (the Irish Chamber Orchestra) performed in a university teaching hospital with the aims of bringing live music to patients who could not access traditional concert venues and of improving quality of life for patients and staff.
The Show Must Go On Report: Environmental Impact Report and Vision for the UK Festival Industry – Powerful Thinking (2015)
Music: A snapshot of Sheffield’s music sector – University of Sheffield and Sensoria Festival (2015)
A report outlining how Sheffield is a leading Music City with 788 organisations active in the music sector, 465 active bands, 70 rehearsal rooms and innovation across all music genres – including electronic, folk, free noise and rock.
A survey of LIVE DMA member organisations, covering mostly small to medium venues in Spain, Belgium, Denmark, France, Norway and the Netherlands, covering topics such as ticket sales and level of subsidy.
This report, written by LMX’s own Emma Webster to celebrate the AIF’s sixth birthday, places the festival sector in its historical context and looks ahead to the future to see the issues currently facing festival promoters, with a focus on the AIF’s member festivals.
Live Music Matters: Planning for Live Music and Performance in Sydney: 2013 Live Music and Performance Action Plan – City of Sydney Live Music and Live Performance Taskforce
A Dynamic Mapping of the UK’s Creative Industries – Hasan Bakhshi, Alan Freeman and Peter Higgs (Nesta) (2013)
Author(s): Hasan Bakhshi, Alan Freeman and Peter HiggsPublisher: NestaDate: January 2013 Click here to read the full report This paper argues that, despite its strengths, the UK Department of Culture, Media and Sport (DCMS) classification of the creative industries contains inconsistencies which need to be addressed to make it fully fit for purpose. It presents an improved methodology which retains …
The Cultural Value of Live Music from the Pub to the Stadium: Getting Beyond the Numbers – Adam Behr, Matt Brennan and Martin Cloonan (2014)
This report was produced as part of the Arts and Humanities Council’s (AHRC) Cultural Value project and with the co-operation of UK Music, the Musicians’ Union and PRS for Music. It looks behind the headline numbers to examine the relationships between venues and provide a qualitative illustration of the live music ecology in three locations – Camden, Glasgow and Leeds.
What Can Participation in the Practice of Folk Music Teach Us About Participation in the Arts More Widely? – A Report for the AHRC – Katriona Holmes (2014)
Author(s): Katriona HolmesPublisher: Arts and Humanities Research CouncilDate: 2014 This report explores the meaning of the term ‘arts participation’ and considers how participation is understood and supported in the UK. It does so by looking at some of the ways that people participate in British folk music, both formally and informally, and considers the implications of this for enhancing arts participation in the …
Author(s): Jonathan Todd/UK MusicPublisher: UK MusicDate: 2013 UK Music has released an in-depth report into the music industry’s contribution to the economy. UK Music has assessed the economic contribution of the music industry in terms of GVA, exports and employment. £3.5bn the economic contribution of the core UK music industry This is made up of: £1.6bn from musicians, composers and songwriters; £634m from …
Author(s): UK MusicPublisher: UK MusicDate: 2014 Imagine is a report which looks at the unrealised potential of music heritage tourism in the UK. Millions of music tourists make pop pilgrimages to museums, take tours and visit the homes of the UK’s most loved bands every year. UK Music’s report examines how music tourists translate pop into pounds. Liverpool has been a standard …
Wish You Were Here: Music Tourism’s Contribution to the UK Economy – UK Music /Oxford Economics (2013)
Author(s): Oxford EconomicsPublisher: UK Music/Visit BritainDate: October 2013 UK Music have identified that 6.5 million music loving tourists attended a festival or gig, generating £2.2 billion spending in the process. The study reveals that tourists at live music events not only add billions to the UK economy but offer astounding regional tourism benefits, motivating Britain-wide travel. Music tourism provides a massive boost to the UK’s nations, …
Author(s): The Musicians’ UnionPublisher: The Musicians’ UnionDate: 2012 With more practical guidance and advice, musicians can avoid unfair deals and just play the most worthwhile shows. To aid MU members, following extensive research, an advisory resource has been created for both musicians and promoters. The MU’s ‘Fair Play’ guide contains practical advice about co-promotion shows and other live issues, such as showcase …
A report produced from research conducted under an AHRC Cultural Engagement grant, looking at state provision of support for Scottish music industry practitioners, with a particular emphasis on showcasing activities.
New World Symphony: Summary Report: 2010 – 2013 Concert Format Assessment – Alan Brown and Rebecca Ratzkin (2013)
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.
Popular music, mapping, and the characterization of Liverpool – Brett Lashua, Sara Cohen and John Schofield (2009)
Article examining the iconic Liverpool venues of the Cavern Club, Eric’s Club, and Cream, but which ‘decentres’ the ‘master map’ of the three venues by paying attention to hidden or alternative histories of the city’s live music scene.
Sponsorship, funding and strategic function: Carling Festival and V-festival – Paul Walters and Razaq Raj (2004)
Book chapter that discusses two outdoor festivals in the UK with reference to the public entertainment licenses, economic impact to local communities and how principal sponsors add to the dynamic nature and long-term sustainability of outdoor festivals.
Experimenting with Fandom, Live Music, and the Internet: Applying Insights from Music Fan Culture to New Media Production – Tim Wall and Andrew Dubber (2010)
This article maps and theorizes online jazz fandom activities around live music, and then reports on applied experimental work that the authors undertook with jazz promoters and musicians to explore ways in which live music can be situated in the activities of online fandom.
Book chapter on the changing landscape of festivals in Australia which explores the human needs fulfilled by music and understand why such festivals and events have become so popular with policy makers and researchers alike.
Outdoor music festivals: Cacophonous consumption or melodious moderation? – Theresa Martinus, John McAlaney, Liam J. McLaughlin, Hilary Smith
Financial survey of the music industry in Finland 2011 – Eero Tolppanen, Tommi Tuomainen, and Elements Music (2012)
International Perspectives of Festivals and Events: Paradigms of Analysis – Jane Ali-Knight et al (eds.) (2008)
Liveness in Modern Music Musicians, Technology, and the Perception of Performance – Paul Sanden (2012)
Alien invasions: the British Musicians’ Union and foreign musicians – Martin Cloonan and Matt Brennan (2013)
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.
Martin Cloonan offers some initial impressions of the potential policy implications of conducting research in to live music; the article examines issues of regulation, the black economy and sharp business practices, and developments in concert ticketing
A world first- taking a census of all the musical activity in a city on one night, illustrating Melbourne’s music scene and providing rich data regarding music making and consumption in the state of Victoria in both small and large scale contexts.
The Good Food for Festivals Guide – Food Legacy / Ethical Eats / A Greener Festival / Sustain (2012)
Survey: Audience Concerns about Environmental Impact of Live Music – A Greener Festival / Buckinghamshire New University (2012)
A study that conducts a comparative life cycle carbon audit to examine the environmental burdens of ticketing options. It adopts a holistic perspective and models each activity involved in the ticketing life cycle – from ticket printing and email creation to delivery and processing.
Government Honours for Artists – International Federation of Arts Councils and Culture Agencies (2013)
Research into local authority responses to changing conditions for public entertainment licences on behalf of the Scottish Artists Union – Lorraine Simpson (2012)
Towards ‘pure’ sound: The case for raising audio standards at live music events – Davies Roberts (2012)
An economic impact report on the cultural and creative industries (CCI) sector in Oxfordshire which also proposes practical steps for the support of the sector by development agencies such as Oxford Inspires.
How green was my festival: Exploring challenges and opportunities associated with staging green events – Jennifer Laing and Warwick Frost (2010)
Paper analysing the market functions of intermediaries between artist and performer, such as booking agents and presenting organisations, drawing implications for enhanced effectiveness of the performing arts market.
A practical and basic guide for orchestras, commissioned by ABO and Orchestras Live and authored by Julie’s Bicycle, it addresses the environmental impacts of their work: from office-based work to marketing and rehearsals.
A ‘how-to’ guide for music companies and individuals interested in greening their activities – from touring to offices, recording studios to festivals. Shows how the industry can meet London’s ambitious targets of cutting its emissions by 60% by 2025.
Findings of the report First Step: UK Music Industry Greenhouse Gas Emissions 2007 which identified that annual audience travel to music events accounts for 43% of greenhouse gas emissions from the UK music industry. Of this, music festivals contribute 24% of all music audience travel emissions, 68% of the festival sector’s total emissions.
Moving Arts: Managing the Carbon impacts of our touring – Volume 2: Orchestras – Julie’s Bicycle (2010)
Julie Bicycle’s research project that assesses the carbon impacts of bands, orchestras and theatres touring the UK and internationally. The research is funded by the music industry, the British Council, Arts Council and Orchestras Live with support from the Association of British Orchestras.
Julie’s Bicycle project that assesses the carbon impacts of Bands, Orchestras and Theatres touring the UK and internationally. The research is funded by the music industry, the British Council, Arts Council and Orchestras Live with support from the Association of British Orchestras.
The production process has apparent and hidden impacts. This guide navigates the environmental consequences of production through the key areas of lighting and sound, set design, set disposal, rehearsal, recording and musical instruments.
Audience travel is the greatest contributor to the carbon footprint of the arts. While not directly under the control of venues and companies, this guide is designed to help you exercise the influence that you have over audiences to inform them of the environmental benefits of travelling green, and provide sustainable travel options for them.
Research into the impacts of touring bands, orchestras and theatres with a series of recommendations for how touring companies and productions can reduce their environmental impacts, often with little cost attached.
The Powerful Thinking Campaign Toolkit is designed to help festival promoters, production managers, and power suppliers better understand energy usage on site, in order to improve efficiencies and increase the use of renewable power at festivals.
The Power Behind Festivals: a guide to sustainable power at outdoor events – Green Festival Alliance (2012)
Live and prerecorded popular music consumption – Juan D. Montoro-Pons and Manuel Cuadrado-García (2011)
The real “crossroads” of live music: the conventions of performance at open mic nights in Edinburgh – Adam Behr (2012)
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.
Patterns of listening through social media: online fan engagement with the live music experience – Lucy Bennett (2012)
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.
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.
Does the music matter? Motivations for attending a music festival – Heather E.Bowen and Margaret J.Daniels (2005)
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).
New Audiences for Classical Music: The Experiences of Non-attenders at Live Orchestral Concerts – Melissa C. Dobson (2010)
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.
Understanding Jazz Audiences: Listening and Learning at the Edinburgh Jazz and Blues Festival – Karen Burland and Stephanie E.Pitts (2010)
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.
Collaborating in a competitive world: musicians’ working lives and understandings of entrepreneurship – Susan Coulson (2012)
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.
The aim of this research paper is to examine why concert promoters sometimes advertise sold-out live music shows when nobody can buy tickets any longer. It suggests that the Durkheimian model illuminates a point of connection between commerce and affect in the reception of star performances.
Dance To The Music: Fans and Socialites in the festival audience – Stephen Henderson and Emma Wood (2009)
Genre and the cultural politics of territory: The live experience of free improvisation – Chris Atton (2012)
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.
Control of noise at work in music and entertainment – Sound Advice/Health and Safety Executive (2008)
Practical advice on developing noise-control strategies in the music and entertainment industries to prevent or minimise the risk of hearing damage from the performance of both live and recorded music and meet legal obligations under the Control of Noise at Work Regulations (2005).
The creative industries are a key driver of Britain’s economic growth but the creative workforce suffers from poor social representation. A range of experts offer their thoughts on why social mobility is so low in the creative industries, and how policymakers and the industry can improve it.
Scoping Study into the Economic Impact of the Arts and Creative Industries in Scotland – EKOS Ltd (2011)
This report presents the conclusions and recommendations from a study commissioned by Creative Scotland. The overall purpose was to identify an appropriate approach and method for examining the economic impact of the Arts and Creative Industries in Scotland.
Paper investigating promoters, drawing on interviews to show how they invest aesthetic values into their live music products to attract “like‐minded” people and “engineer great moments” for audiences.
YouGov report on festival attendance, indicating a marked downturn between 2011 and 2012 and providing statistics of festival goers’ responses to the economic downturn and changes in the festival market.
The event safety guide: A guide to health, safety and welfare at music and similar events (2nd edition) – Health and Safety Executive (1999)
Affectionately referred to by many as ‘The Purple Book’, the Event Safety Guide aims to help those who organise music events so that the events run safely, bringing together information needed by event organisers, contractors and employees to help them satisfy legal requirements.
Hamsard and Academy Music: A report on the proposed acquisition of a controlling interest in Academy Music Holdings Limited by Hamsard 2786 Limited [full report / appendices and glossary] – Competition Commission (2007)
Competition Commission report into acquisitions in the live music sector – includes analysis of the popular live music industry, an overview of the state of negotiations and the effects of the proposed merger.
Ticketmaster and Live Nation: A report on the completed merger between Ticketmaster Entertainment, Inc and Live Nation, Inc [full report / appendices and glossary] – Competition Commission (2010)
Ticketmaster and Live Nation: A report on the anticipated merger between Ticketmaster Entertainment, Inc and Live Nation, Inc [full report / appendices and glossary] – Competition Commission (2009)
Competition Commission report into the merger between Ticketmaster Entertainment, Inc and Live Nation – includes analysis of the live music industry in the UK and the competitive effects of the merger in the market for the primary retailing of tickets for live music events and in the markets for live music promotion and live music venues.
A paper considering the aesthetic and commercial success of the ‘early music’ movement during the 1970s and 1980s, paying particular attention to discourses of authenticity and their relationship to the market-driven commercial exploitation of this form of performance.
This paper aims to examine the cultural heritage of outdoor rock and pop music festivals in Britain since the mid-1960s, and relates it to developments in, and critiques of, corporate sponsorship in the contemporary music festival sector
This paper seeks to explore the design of popular music performance space, focusing particularly on recent developments that are changing the form and operation of permanent venues and travelling stages.
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”)
Opportunities for Growth in the UK Events Industry: Roles & responsibilities: A report to the All Party Parliamentary Group For Events – Britain for Events (2011)
Counting the Notes: The economic contribution of the UK music business – C. Dane and K. Manton (2002)
Summary and analysis of the overseas earnings and payments of the British music industry for 1993, including data from the recording industry, music publishing, performance income, musical instruments, musical theatre.
Playing Wales: the relationship between higher education and the live music industry in Wales – Paul Carr (2012)
With a focus on Wales, this report investigates the potential opportunities for collaboration between the live music industries and Higher Education in addressing the skills gap identified by Creative and Cultural Skills and others.
Tells the story of American dance music culture in the 1970s – from its subterranean roots in NoHo and Hell’s Kitchen to its gaudy blossoming in midtown Manhattan and transmission through America’s suburbs and urban hotspots.
This book is a practical, step-by-step guide through the key aspects of how to understand and manage the impacts of events of any type and scale – with checklists for action and tools for measuring performance.
The development of competitive advantage through sustainable event management – Stephen Henderson (2011)
This paper aims to develop thinking around the sustainable event and its contribution to competitive advantage and considers different positions that might be adopted by private and public sector organisations.
This book explores the relationship between popular music and the city using Liverpool as a case study. It highlights popular music’s unique role and significance in the making of cities, in processes of deindustrialization and in producing and promoting local culture.
This book delineates and discusses rock culture in Liverpool as a way or style of life, highlighting its associated conventions, rituals, norms, and beliefs within the city’s own unique social, economic, cultural, and political environment. It deals with the hitherto little explored music-making by ‘local’, ‘amateur’ rock bands.
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.
This book reveals the previously hidden history of the censorship of popular music in Britain. This is detailed from the point of production in record companies, through retail outlets, attempts to prosecute records (and covers) in radio and television bans and in banned concerts and raves.
An account of a unique victory for musicians against repressive entertainment licensing laws with a study of the social, political, cultural and legal conditions surrounding a change in law and public attitudes toward vernacular music in New York City.
A guidebook to negotiating the rock circuit- from formation of an act to interacting with agents, managers and promoters, describing what they (along with technical crew) do and notes on how to work successfully with them. Includes sample expenses sheets and details about the flow of money.
Based on of ethnographic research amid Springsteen’s fans, and informed by the author’s own experiences as a fan, this is an interdisciplinary study of the ways in which ordinary people form special, sustained attachments to a particular artist and his songs, and of how these attachments function in their lives.
A history of the Bunjies coffee house- central to the folk movements of the 1950s and 1960s and home to performances from artists such as Bob Dylan, Paul Simon, Al Stewart, Bert Jansch and John Renbourn. Features accounts by performers and regulars.
Autobiography of producer, club promoter and tour manager Joe Boyd – details his experiences of working with big names like Bob Dylan, Nick Drake and Pink Floyd, as well as portraitss of figures from jazz and folk. A first hand account of the music scene in the 1960s.
The Land Without Music: Music, culture and society in twentieth-century Britain – Andrew Blake (1997)
An examination of how Britons have tried to find a distinctive musical voice and how musicians in Britain and its former colonies have proposed ‘national’ musics – analyses a wide range of genres and debates to emphasise music a generator of value and identity.
London live : from the Yardbirds to Pink Floyd to the Sex Pistols: the inside story of live bands in the capital’s trail-blazing music clubs – Tony Bacon (1999)
A celebration of London’s live music from the 1950s to 1970s featuring eyewitness accounts and covers famous and lesser-known acts and venues. Includes colour photographs, and reproductions of tickets, posters, contracts and other memorabilia.
An oral history of the Glastonbury Festival old in the words of everyone involved with the festival, from Michael and Emily Eavis and Arabella Churchill to Glastonbury village residents and local policemen and a wealth of celebrity contributions.
UK Government report with an overview of the services provided to consumers by ticket agents in the U.K. Contains overall figures for ticket sales and the split between primary and secondary sellers and recommendations for the industry.
Can Opera Be Brought to the Masses?: A Case Study of Carmen the Opera – Graeme Currie (1994)and Carrie Hobart
Article addressing the question of whether opera can be brought to ‘the masses’ (defined as socio-economic groups other than A and B). Describes methodology used to gather data and analyses audience profile of opera-goers and non-attenders, making recommendations regarding marketing.
A report providing an evaluation of the Test Drive: North West (TD: NW) audience development project by Arts About Manchester which used spare capacity at performances and venues to offer a ‘smart discount’ or free tickets to first-time attenders.
Standing Room Only: Strategies for Marketing the Performing Arts – Philip Kotler and Joanne Scheff (1997)
This book applies the full spectrum of marketing principles to the performing arts industries, drawing on a wide variety of primary and secondary sources and reviewing a range of contexts from management and PR in fields such as music, theatre and dance.
This publication provides a commentary on the report ‘Sound Performance – The Economic Value of Music to the United Kingdom’ which summarises the statistical dimensions of the UK music industry, with particular reference to expenditure, turnover, ‘value added’ and overseas earnings.
Pop Festivals: Advisory [Stevenson] Committee on Pop Festivals Report and Code of Practice – HMSO (1973)
Music and the Middle Class. The Social Structure of Concert Life in London, Paris, and Vienna, 1830-1848 – William Weber (1975)
A classic text on the social history of music, bringing together sociological and historical methods to address major themes such as the role of class in cultural definition and the establishment of a musical canon.
The Birth of the Orchestra: History of an Institution, 1650-1815 – John Spitzer and Neal Zaslaw (2004)
House of Commons: Culture, Media and Sport Committee Ticket touting: Second Report of Session 2007–08 – DCMS (2007)
Report, including committee minutes along with oral and written evidence, on the matter of ‘ticket touting’- i.e: the secondary market. Contains representations from event organisers, ticket agents (including those in the secondary market).
Mapping the music industry in Scotland: a report – John Williamson, Martin Cloonan and Simon Frith (2003)
The paper offers a framework to help understand the economics behind the commonly held observation that the price of recorded music is ‘heading towards zero’. This economic approach helps show us how recorded music has long lost any notion of being a ‘pure private good’ and now risks becoming a ‘pure public good’.
A survey of live music in England and Wales in 2007 – Tim Hanson, Bruce Hayward, and Andrew Phelps (2007)
This report presents the findings of a survey designed to measure the provision of live music in venues in England and Wales whose core business is not the staging of live music and to provide insight into the early effects of the Licensing Act 2003 on the staging of live music in these venues.
The arts festival sector in Yorkshire: economic, social and cultural benefits, benchmarks and development – Philip Long and Elizabeth Owen (2006)
Supporting UK musicians abroad: Funding and development opportunities for British musicians and music organisations to export and develop international markets for their work – Julia Payne and Adam Jeanes (Arts Council England / British Council) (2010)
Measuring the economic and social impact of the arts: a review – Michelle Reeves/Arts Council England (2002)
National Venue & Promoter Directory: A user-friendly resource for Black-led music groups in the UK – London Arts (2002)
Vanishing Acts: A report on the live music sector in New South Wales – Shane Homan and Bruce Johnson (2002)
Building a stronger future for the arts: Arts Council of Wales Plan 2009-2012 – Arts Council of Wales (2009)
Creative Connections: a 5 years plan for developing the arts 2007-2012 – Arts Council of Northern Ireland (2007)
The Hope Collective: Challenging accepted music industry practices in Ireland – Michael Murphy (2011)
A paper illustrating how organisations can operate in the live music sphere with practices and ideologies distinct from commercial live music promoters, using Dublin’s Hope Collective as a case study.
‘Live music in Wales’: interim findings of a research project funded by the Welsh Assembly Government – Paul Carr (2011)
Chastising and romanticising heavy metal subculture: Challenging the dichotomy with figurational sociology – Gary Sinclair (2011)
Author(s): Live Music Forum Organisation / Affiliation: Live Music Forum Date: 04/07/2003 Source: Industry / Government Detailed analysis of the impact of the 2003 Live Music Act on the provision of Live Music in the U.K. Provides case studies of discrepancies between how the terms of the act itself and how they were perceived, by practitioners, the media and the public. …
The History of Live Music in Britain, Volume 3: 1985-2009: From Live Aid to Live Nation – Simon Frith, Matt Brennan, Martin Cloonan and Emma Webster (forthcoming)
The History of Live Music in Britain, Volume 2: 1968-1984: From Hyde Park to the Hacienda – Simon Frith, Matt Brennan, Martin Cloonan and Emma Webster (forthcoming)
The History of Live Music in Britain, Volume 1: 1950-1967: From Dance Hall to the 100 Club – Simon Frith, Matt Brennan, Martin Cloonan and Emma Webster (2013)
Having an impact? Academics, the music industries and the problem of knowledge – John Williamson, Martin Cloonan and Simon Frith (2011)
Article discussing higher education’s quest for ‘knowledge transfer’ in the face of ‘knowledge resistance’; academic methodologies and impartiality may not be what is required from the creative industries themselves.
Analysing Live Music in the UK: Findings One Year into a Three-Year Research Project – Simon Frith (2010)
Author(s): Will Page and Chris Carey Organisation / Affiliation: Performing Right Society Date: 08/04/2011 There were significant downturns in both recorded and live music, attributable to increased pressures on domestic income and, amongst other factors, the fact that many major touring acts were not on the road in 2010. UK music exports continue to grow, outstripping even the US Total …
Author(s): Will Page Organisation / Affiliation: Performing Right Society Date: 20/07/2009 Report assessing the total value of the U.K music industry. Addresses methodological issues in creating such a figure and provides comparative date- including estimates of figures for different sectors. Notes the likely effect of the wider economic downturn. Total figure given as £3.6 billion for 2008. Live music grew …
Code of Practice for Outdoor/Large Venue Concerts – Musicians’ Union and the Association of British Orchestras (2002)
RECENT RESOURCES POSTS
The Welsh Music Industries in a Post-Covid World: A Report for the Culture, Welsh Language and Communications Committee – Professor Paul Carr