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, 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.
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.
Inhaltsangabe
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
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
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