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.

Full Product Details

Author:   Professor Ewa Mazierska (University of Central Lancashire, UK) ,  Les Gillon (University of Central Lancashire, UK) ,  Tony Rigg (University of Central Lancashire, UK)
Publisher:   Bloomsbury Publishing Plc
Imprint:   Bloomsbury Academic USA
Weight:   0.331kg
ISBN:  

9781501391743

ISBN 10:   1501391747
Pages:   248
Publication Date:   30 December 2021
Audience:   College/higher education ,  Tertiary & Higher Education
Format:   Paperback
Publisher's Status:   Active
Availability:   Manufactured on demand  
We will order this item for you from a manufactured on demand supplier.

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

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) *

Author Information

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.

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