权益分类	功能权益	普通用户	{{item.name}}会员
{{category.name}}	{{benefitItem.name}}

The Cultural Value of Live Music: A Case Study of Enthusiast, State-funded, and Commercial Events at the Queen's Hall

现场音乐的文化价值：以女王大厅的爱好者、国家资助和商业活动为例

基本信息

批准号：
AH/L004933/1
负责人：
Matt Brennan
金额：
$ 3.9万
依托单位：
University of Edinburgh
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2013
资助国家：
英国
起止时间：
2013 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FL004933%2F1
关键词：
Cultural Value Live Music Case

项目摘要

Since 2008 the value of the live music industry in the UK has consistently exceeded that of the recorded sector (Page and Carey 2009, 2010, 2011, PRS for Music 2012). In addition live music in England and Wales has been the subject of a great deal of political interest since the changes in the licensing of it brought about by the passing of the 2003 Licensing Act and the subsequent repealing of some aspects of this via the Live Music Act, 2012. Within Scotland proposed changes to local licensing regulation of live events also caused some political concern in 2012. In sum, live music is the subject of a great deal of political and media attention. This has, however, frequently focused too narrowly on economic value or political intrigue. Less often has the cultural value of live music been considered. We aim to begin to remedy this via an in-depth case study of one venue, the Queen's Hall in Edinburgh. Built in 1823, and in use as a music venue since 1979, the Queen's Hall is a multi-genre music venue based close to Edinburgh's Royal Mile. It is host to a wide range of musical events ranging from pop gigs, through jazz shows to full orchestral performances. At each of these shows different forms of cultural value are being promoted, performed and received. We will examine the different forms of cultural value that are in evidence via a detailed analysis of the promotion, performance and reception of three musical events. A central area of inquiry here concerns the ways in which different forms of musical value are articulated and perceived across musical genres. Our starting point is promotional practice. Here we build on the previous work of the investigators in constructing a typology of promotional practice - conceived of as enthusiast, state-funded, and commercial. We will examine the ways in which different types of concert promoter understand the musical events which they are constructing and the audiences they are trying to attract. Key questions here concern the sort of cultural values which are illustrated in promotional materials (press, internet, flyers etc) and the ways in which the event itself is constructed on the night (configuration of seating, location of stage etc). We will also examine the ways in which the performers at the events articulate different forms of cultural value. Of particular interest here will be how they construct themselves as performers and audiences as audiences. In what senses are cultural value shared across different audiences and performers. In what ways are cultural values imparted from performers to audiences? However, our main focus will be on cultural value and audiences. Significant issues to arise here will include the ways in which cultural value is perceived and subsequently articulated by audiences. Via a series of audience surveys we will analyse how audiences come to know about musical events, how they determine which ones to attend, what cultural value they place on those events they attend and how they perceive the events following attendance. The use of reflective diaries (covering the period from initial booking to a period of two weeks after the event) will allow for detailed analysis of the perceptions of cultural value attached to different types of live music event and how these are perceived over time. Our interest here is how the articulation of cultural value revealed through our examination of audience surveys and reflective diaries is (or isn't) mediated by promotional practice and, relatedly, genre. Interviews with promoters, performers and venue staff will give further insight into how cultural values are mediated within the live music ecology.

自2008年以来，英国现场音乐行业的价值一直超过唱片行业（Page和Carey 2009，2010，2011，2012年音乐PRS）。此外，英格兰和威尔士的现场音乐一直是政治利益的主题，因为2003年通过的《许可法》带来了许可证的变化，随后通过2012年的《现场音乐法》废除了其中的某些方面。2012年，苏格兰对当地直播活动许可证规定的拟议修改也引起了一些政治关注。总之，现场音乐是政治和媒体关注的主题。然而，这常常过于狭隘地关注经济价值或政治阴谋。很少有人考虑现场音乐的文化价值。我们的目标是开始，以纠正这一点，通过深入的案例研究的一个地点，在爱丁堡女王大厅。女王大厅建于1823年，自1979年以来一直用作音乐场地，是一个多流派的音乐场地，靠近爱丁堡的皇家大道。它举办了各种各样的音乐活动，从流行音乐会，通过爵士乐表演，以充分管弦乐表演。在每一个这样的节目中，都有不同形式的文化价值得到宣传、表演和接受。我们将通过对三个音乐活动的推广、表演和接受的详细分析，来探讨不同形式的文化价值。这里的一个中心调查领域涉及不同形式的音乐价值的表达方式和跨音乐流派的感知。我们的出发点是促销活动。在这里，我们建立在以前的研究工作，在构建一个类型学的促销活动-设想为热心，国家资助，和商业。我们将研究不同类型的音乐会推广人如何理解他们正在构建的音乐活动以及他们试图吸引的观众。这里的关键问题涉及宣传材料（新闻，互联网，传单等）中说明的文化价值观以及活动本身在夜间构建的方式（座位配置，舞台位置等）。我们还将研究表演者在活动中表达不同形式的文化价值的方式。这里特别感兴趣的是他们如何将自己构建为表演者和观众。不同的观众和表演者在什么意义上共享文化价值。表演者如何将文化价值观传递给观众？然而，我们的主要重点将是文化价值和受众。这里出现的重要问题将包括观众感知和随后表达文化价值的方式。通过一系列的观众调查，我们将分析观众如何了解音乐活动，他们如何决定参加哪些活动，他们对他们参加的活动有什么文化价值，以及他们如何看待出席后的活动。使用反思日记（涵盖从最初预订到活动结束后两周的时间）将允许详细分析对不同类型现场音乐活动的文化价值的看法，以及随着时间的推移如何看待这些价值。我们在这里的兴趣是如何通过我们的观众调查和反思日记的检查所揭示的文化价值的表达是（或不是）介导的促销活动，以及相关的，体裁。与发起人，表演者和场地工作人员的访谈将进一步深入了解文化价值观是如何在现场音乐生态中进行调解的。