Researching Live Music

Researching Live Music offers an important contribution to the emergent field of live music studies, a field which has, over the past ten years, seen a steady growth in publications that examine the history of live music venues and promoters, the economics of the live music industry, and the operations of the sector.

Researching Live Music offers an important contribution to the emergent field of live music studies.

Featuring paradigmatic case studies, this book is split into four parts, first addressing perspectives associated with production, then promotion and consumption, and finally policy. The contributors to the book draw on a range of methodological and theoretical positions to provide a critical resource that casts new light on live music processes and shows how live music events have become central to raising and discussing broader social and cultural issues. Their case studies expand our knowledge of how live music events work and extend beyond the familiar contexts of the United States and United Kingdom to include examples drawn from Argentina, Australia, France, Jamaica, Japan, New Zealand, Switzerland, and Poland.

*Researching Live Music* is the first comprehensive review of the different ways in which live music can be studied as an interdisciplinary field, including innovative approaches to the study of historic and contemporary live music events. It represents a crucial reading for professionals, students, and researchers working in all aspects of live music.

Autorentext

Chris Anderton is Associate Professor in Cultural Economy at Solent University, Southampton. He is the author of Music Festivals in the UK: Beyond the Carnivalesque (2019) and co-author of both Understanding the Music Industries (2013) and Music Management, Marketing and PR: Creating Connections and Conversations (forthcoming). He is also co-editor of Media Narratives in Popular Music (forthcoming) *and has guest edited issues of the journals Rock Music Studies and Arts and the Market*.

Sergio Pisfil is a Lecturer and researcher at Universidad Peruana de Ciencias Aplicadas. His PhD, gained at the University of Edinburgh under the supervision of Simon Frith, focused on the history of live sound and its connections to rock music between 1967 and 1973. His research interests include live music, and the history and esthetics of popular music. His work has been published in various edited collections, including The Bloomsbury Handbook of Rock Music Research, Gender in Music Production, and the forthcoming Oxford Handbook of Progressive Rock; and in journals such as Popular Music and Society and Communiquer (forthcoming). He is currently guest editing a special issue on live music for the journal Arts and the Market.

Klappentext

Researching Live Music offers an important contribution to the emergent field of live music studies. Featuring paradigmatic case studies, this book is split into four parts, first addressing perspectives associated with production, then promotion and consumption, and finally policy. The contributors to the book draw on a range of methodological and theoretical positions to provide a critical resource that casts new light on live music processes and shows how live music events have become central to raising and discussing broader social and cultural issues. Their case studies expand our knowledge of how live music events work and extend beyond the familiar contexts of the United States and United Kingdom to include examples drawn from Argentina, Australia, France, Jamaica, Japan, New Zealand, Switzerland, and Poland. Researching Live Music is the first comprehensive review of the different ways in which live music can be studied as an interdisciplinary field, including innovative approaches to the study of historic and contemporary live music events. It represents a crucial reading for professionals, students, and researchers working in all aspects of live music.

Inhalt

List of illustrations

List of contributors

Acknowledgments

Live Music Studies in Perspective

Chris Anderton and Sergio Pisfil ****

PART I: Promotion

1. Festivals, Free and Unfree: Alex Cooley and the American Rock Festival ** Steve Waksman

2. As Long As They Go Home Safe: The Voice of the Independent Music Festival Promoter **
   Danny Hagan

3. Under the Cover of Darkness: Situating "Covers Gigs" within Live Music Ecologies ** Pat O'Grady

4. Showcase Festivals as a Gateway to Foreign Markets ** Patryk Galuszka

5. Disruption and Continuity: Covid-19, Live Music, and Cyclic Sociality ** Chris Anderton

   **** PART II: Production

6. Live Sound Matters ** Christopher James Dahlie, Jos Mulder, Sergio Pisfil, and Nick Reeder

7. Mobile Spectacle: Es Devlin's Pandemonium Tour Design ** Glyn Davis

8. Fulfilling the Hospitality Rider: Working Practices and Issues in a Tour's Supply Chain ** Gabrielle Kielich

9. Vocaloid Liveness? Hatsune Miku and the Live Production of the Japanese Virtual Idol Concerts ** Kimi Kärki

   **** Part III: Consumption

10. Making Music Public: What Would a Sociology of Live Music Promotion Look Like? ** Loïc Riom

11. Dead Stars Live: Exploring Holograms, Liveness, and Authenticity ** Kenny Forbes

12. Live ... as You've Always Heard It Before: Classic Rock, Technology, and the Re-positioning of Authenticity in Live Music Performance ** Andy Bennett

13. Approaching the Live from a Distance: The Unofficial Led Zeppelin Archive ** Stephen Loy

    **** Part IV: Policy

14. Music Cities, or Cities of Music? ** Christina Ballico and Dave Carter

15. State of Play: Tensions and Interventions in Live Music Policy ** Adam Behr

16. "Por Más Músicas Mujeres en Vivo!": The Live Music Female Quota Law and Its Implications for Argentine Music Festivals ** Sarah Lahasky

17. Beyond Live Shows: Regulation and Innovation in the French Live Music Video Economy Gérôme Guibert, Michaël Spanu, and Catherine Rudent

Index