Developing knowledge exchange in the live music sector
Lead Research Organisation:
University of Edinburgh
Department Name: Sch of Arts Culture and Environment
Abstract
The purpose of the proposed project is to develop activities to maximise the impact of a three year research project on the history of live music promotion in Britain. In the course of that project we had many conversations with promoters and other participants in the live music sector which enabled us to think more clearly about the importance of academic research findings for their everyday practice. In particular our discussions with promoters thus suggested the need for
-an accessible archive of reliable research data so that each new policy initiative, whether at local or national level, doesn't have to begin with a 'mapping' of the field, the re-gathering of data that has been gathered many times before;
-a consensual understanding of best research practice, drawing on comprehensive critical knowledge of the various academic and other research studies of the UK's music sector;
- music business training programmes providing properly informed teaching of the skills required in the promotional business;
-better public understanding of the live music business.
With these needs in mind this follow-on project will focus on a variety of knowledge exchange processes: the development of an on-line research based commentary on and forum for the discussion on live music issues; the provision of research reports as the basis of an accessible online data base; the organisation of research panels, workshops and other events; the development of training material.
In general terms the follow-on project is designed not just to improve the efficiency and effectiveness of the dissemination of our own research findings but also to explore the ways in which academic research can be used as a mechanism for improving the public understanding of the live music sector and provide mechanisms for communication between different interest groups within that sector.
-an accessible archive of reliable research data so that each new policy initiative, whether at local or national level, doesn't have to begin with a 'mapping' of the field, the re-gathering of data that has been gathered many times before;
-a consensual understanding of best research practice, drawing on comprehensive critical knowledge of the various academic and other research studies of the UK's music sector;
- music business training programmes providing properly informed teaching of the skills required in the promotional business;
-better public understanding of the live music business.
With these needs in mind this follow-on project will focus on a variety of knowledge exchange processes: the development of an on-line research based commentary on and forum for the discussion on live music issues; the provision of research reports as the basis of an accessible online data base; the organisation of research panels, workshops and other events; the development of training material.
In general terms the follow-on project is designed not just to improve the efficiency and effectiveness of the dissemination of our own research findings but also to explore the ways in which academic research can be used as a mechanism for improving the public understanding of the live music sector and provide mechanisms for communication between different interest groups within that sector.
Planned Impact
This project is designed to increase and improve the impact of our original research project, which addressed the history of live music promotion in Britain. Our non-academic beneficiaries are therefore, to begin with, music promoters, who will benefit from being given access to systematic, archived research data, from the provision of clear, research based conceptualisation of the issues the sector currently faces, and from the greater public understanding of the sector that out research can foster (in all this we are responding to expressed needs). But our ecological approach to this music industry sector also means we would expect to have more specific impact on more particular non-academic beneficiaries.
First, within the promotion business itself a healthy economy depends on a balance of large and small, national and local promoters. We therefore expect to have an impact on competition in the sector by paying attention to and providing advice and support for new entrants and small and local players in the live music economy.
Second, as our research clearly shows, the live music sector is extensively regulated at both national and local levels, and therefore involves ongoing relations - often fraught - between promoters and a variety of regulatory bodies (licensing authorities, health and safety officials, etc). This follow-on project is therefore planned to have an impact improving on the smooth running and efficiency of live events by clarifying areas of dispute between promoters and regulators and mechanisms of mediation.
Third, we believe that our research can feed directly into the ways in which the training of new and established employees in the live music sector should be developed. We would therefore expect to have an impact on training courses through the provision of teaching materials.
Finally, our research reveals the political significance of the live music sector in Britain. At both national and local levels the state is important not just as a regulator but also as an investor in live music (in building and maintaining venues, for example) and, indeed, as a promoter itself in various guises (including Arts Councils, the BBC, and the education sector). Our activities will also be designed to improve public and therefore political understanding of the economics of live music (for example, in political debates over state subsidy and alcohol sponsorship).
First, within the promotion business itself a healthy economy depends on a balance of large and small, national and local promoters. We therefore expect to have an impact on competition in the sector by paying attention to and providing advice and support for new entrants and small and local players in the live music economy.
Second, as our research clearly shows, the live music sector is extensively regulated at both national and local levels, and therefore involves ongoing relations - often fraught - between promoters and a variety of regulatory bodies (licensing authorities, health and safety officials, etc). This follow-on project is therefore planned to have an impact improving on the smooth running and efficiency of live events by clarifying areas of dispute between promoters and regulators and mechanisms of mediation.
Third, we believe that our research can feed directly into the ways in which the training of new and established employees in the live music sector should be developed. We would therefore expect to have an impact on training courses through the provision of teaching materials.
Finally, our research reveals the political significance of the live music sector in Britain. At both national and local levels the state is important not just as a regulator but also as an investor in live music (in building and maintaining venues, for example) and, indeed, as a promoter itself in various guises (including Arts Councils, the BBC, and the education sector). Our activities will also be designed to improve public and therefore political understanding of the economics of live music (for example, in political debates over state subsidy and alcohol sponsorship).
Organisations
People |
ORCID iD |
| Simon Frith (Principal Investigator) | |
| Martin Cloonan (Co-Investigator) |