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This article reports the findings of some commissioned research, which was conducted by the authors in 2012. The research sought to examine the extent of Popular Music Studies (PMS) undergraduate programmes in the United Kingdom, determine their key differences, report the findings and make recommendations to the funders about its future policies for PMS practitioners. We report our findings and the implications for PMS practitioners.
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This article considers live music policy in relation to wider debates on the cultural (as opposed to instrumental) value of the arts. The findings are based on research into amateur/enthusiast, state-funded and commercial concerts across a range of genres – classical, traditional folk, jazz, singer–songwriter and indie – using the Edinburgh Queen’s Hall venue as a case study. We argue that (1) articulations of the cultural or intrinsic value of live music across genres tend to lapse back into descriptions of instrumental value; (2) although explanations vary from audiences, artists and promoters as to why they participate in live music, they also share certain characteristics across genres and sometimes challenge stereotypes about genre-specific behaviours; and (3) there are lessons to be learned for live music policy from examining a venue that plays host to a range of genres and promotional practices.