The Future of Live Music

by Ewa Mazierska (Editor), Les Gillon (Editor), Tony Rigg (Editor)

Overview

What 'live music' means for one generation or culture does not necessarily mean 'live' for another. This book examines how changes in economy, culture and technology pertaining to post-digital times affect production, performance and reception of live music. Considering established examples of live music, such as music festivals, alongside practices influenced by developments in technology, including live streaming and holograms, the book examines whether new forms stand the test of 'live authenticity' for their audiences. It also speculates how live music might develop in the future, its relationship to recorded music and mediated performance and how business is conducted in the popular music industry.

Product Details

ISBN-13:	9781501355882
Publisher:	Bloomsbury Publishing
Publication date:	05/14/2020
Sold by:	Barnes & Noble
Format:	eBook
Pages:	256
File size:	5 MB

About the Author

Ewa Mazierska is Professor of Film Studies at the University of Central Lancashire, UK. She has published over 20 books on film and popular music, including Popular Music in the Post-Digital Age, with Les Gillon and Tony Rigg (Bloomsbury, 2018).

Les Gillon is Principal Lecturer at the University of Central Lancashire, UK. He is the author of The Uses of Reason in the Evaluation of Artworks: Commentaries on the Turner Prize (2017).

Tony Rigg is a music industry professional and educator affiliated with the University of Central Lancashire, UK. He has occupied senior management roles for market-leading companies including Operations Director for Ministry of Sound and has extensive experience working in areas relating to the social consumption of music.
Ewa Mazierska is Professor of Film Studies at the University of Central Lancashire, UK. She has published over twenty monographs and edited collections on film and popular music, including Contemporary Cinema and Neoliberal Ideology (co-edited with Lars Kristensen, 2018), Sounds Northern: Popular Music, Culture and Place in England's North (2018), Popular Music in Eastern Europe: Breaking the Cold War Paradigm (2016) and Relocating Popular Music (co-edited with Georgina Gregory, 2015). Her recent monograph on popular electronic music in Vienna is forthcoming in 2019. Mazierska's work has been translated into over twenty languages. She is also principal editor of Studies in Eastern European Cinema.
Les Gillon is a researcher, musician and teacher based at the University of Central Lancashire, UK. In addition to his research in the field of popular music, he also writes about aesthetics and the visual arts. His recent monograph, The Uses of Reason in the Evaluation of Artworks: Commentaries on the Turner Prize (2015), uses the Turner Prize as a case study in order to investigate fundamental questions about the nature, purpose and value of art. He is also active in practice-based music research that explores composition and improvisation techniques, the use of non-western music traditions and interdisciplinary collaborations with dance, moving image and spoken word practitioners.
“Tony Rigg is a Music Industry Advisor, Practitioner, Business Consultant, and Educator affiliated with the University of Central Lancashire, UK, where he leads the Master of Arts Programme in Music Industry Management. He has occupied senior management roles in market-leading organizations including Operations Director for Ministry of Sound, overseen the management of more than one hundred music venues and delivered thousands of music events. As an artist/ producer he has a chart pedigree with tracks featured on chart-topping and gold-selling albums. Notable publications include Popular Music in the Post-digital Age: Politics, Economy, Culture and Technology (2018), The Future of Live Music (2020) and The Evolution of Electronic Dance Music (2021), which he co-edited with Ewa Mazierska and Les Gillon and The Present and Future of Music Law (2021), which he co-edited with Ann Harrison.”

Table of Contents

List of figures
List of contributors
Introduction: The continuous significance of live music (Ewa Mazierska, Tony Rigg and Les Gillon, University of Central Lancashire, UK)
Part One Approaches
1 Theorizing the production and consumption of live music: A critical review (Arno van der Hoeven, Erik Hitters, Pauwke Berkers, Martijn Mulder and Rick Everts, Erasmus Univeristy Rotterdam, the Netherlands)
2 Challenges for the future of live music: A review of contemporary developments in the live music sector (Arno van der Hoeven and Erik Hitters, Erasmus Univeristy Rotterdam, the Netherlands)
Part Two Technology
3 The silent stage: The future of on-stage sound systems(Steven Kerry, Futureworks School of Media, UK)
4 Networked performance as a means of transcending geographical barriers in live music performance(Duncan Gallagher, Independent Researcher, UK)
5 Digital performances: Live streaming music and the documentation of the creative process (Mark Daman Thomas, University of Gloucestershire, UK)
6 Surrogate musicianship in the age of in-vitro intelligence: Redefining the live performer (Darren Moore, LASALLE College of Arts, Singapore&Guy Ben-Ary and Nathan Thompson, SymbioticA, Australia)
7 'Death is no longer a deal breaker': The hologram performer in live music (Alan Hughes, Univeristy of Central Lancashire, UK)
Part Three Spaces
8 Sound spaces: Pop music concerts and festivals in urban environments (Robert Kronenburg, Univerisity of Liverpool, UK)
9 Live music playbour: A piece of the puzzle (Les Gillon, University of Central Lancashire, UK)
10 The present and the future of Polish coastal music festivals (Ewa Mazierska, University of Central Lancashire, UK)
Part Four Evaluations
11 Raves in the twenty-first century: DIY practices, commercial motivations and the role of technology (Beate Peter, Manchester Metropolitian University, UK)
12 The eternal course of live music: Views and experiences of an audience (Michael Tsangaris, University of Piraeus, Greece)
13 Have a good night: CNBLUE, band music and the uses of live performance in K-pop (Valerie Soe, San Francisco State University, USA)

Index

Editorial Reviews

"This collection adds highly informed and insightful perspectives to the growing body of work focussed on a long neglected area of popular music studies. It should be an essential text for the international scholarly communities investigating the multi-disciplinary field of the live music industries." --Martin James, Professor of Creative and Cultural Industries, Solent University, UK

"An international collection of possibilities that shows us live music has a robust and exciting future. With perspectives ranging from the commercial to the esoteric, the political and technical, this book explores the boundaries and current debates of what live music is and can be." --Cat Hope, Professor of Music, Monash University, Australia, and author of Sounding Art (2017)

"This volume provides an engaging introduction to the culture and business of popular music performance. It shows how the term 'live music' has become a key concept in pop aesthetics and inspires analyses of fascinating developments in production and consumption. I applaud the editors for making the topic accessible to a wider readership and bringing new and relevant voices into the conversation." --Fabian Holt, Associate Professor, Department of Arts and Communication, University of Roskilde, Denmark, and author of Everyone Loves Live Music: A Theory of Performance Institutions (2020)

From the Publisher