From pub to stadium: The ecology of public and commercial investment in British live music venues

现场音乐是英国文化领域更广泛问题的最好例证。随着直接资金因削减而枯竭，国家和地方的公共资金压力从较大的机构--交响乐团、歌剧院等--流向基层。与此同时，自2008年以来，现场音乐收入已经超过了唱片部门的收入。大型活动的门票在几个小时内就销售一空，正如游说团体英国音乐最近发布的关于音乐旅游的报告所显示的那样，现场直播部门是英国重要的收入来源。然而，人们感受到的好处并不均衡，而不仅仅是国家资助的艺术和健康的商业部门遭受了痛苦。对经济活动较低级别场馆命运的日益担忧反映在媒体和行业关于挣扎和关闭的报道中。这也不只是基于经济衰退。最近与音乐相关的关键立法--2012年现场音乐法--放松了对在获得许可的场所提供各种现场音乐的管制。但这是行业、草根阶层和立法者长期运动的结果，这场运动源于2003年较早的许可立法对场馆和从业人员的负面影响。更多放松管制的呼声也涉及到行业(英国音乐)和音乐家(音乐家联盟)的代表。陷入困境的不仅仅是音乐场所。关于如何支持文化的问题，取决于对如何评估其价值的评估--是为了经济利益还是内在的社会价值--并与关于国家和私人与公共投资的角色的评估相交。英国文化大臣玛丽亚·米勒(Maria Miller)和苏格兰文化部长菲奥娜·海斯洛普(Fiona Hyslop)发表的对立演讲，鲜明地展示了经济价值和内在价值之间的界限，作为投资的案例。在更广泛的辩论和现场音乐周围的辩论中，隐含着一种感觉，即活动规模上的不同点是相互依存的。今天的体育场表演始于酒吧和当地的热点地区，这些地方现在正在苦苦挣扎-换句话说，一种生态模式。同样，私营部门和公共部门的投入不是离散的，而是相互依存的。交通基础设施、敏感或严厉的地方许可制度、分区以及健康和安全政策都会影响当地的现场音乐生态，就像来自州、市政府或商业的直接投资一样。我们将通过在英国三个案例研究地区-伦敦卡姆登区、利兹区和格拉斯哥-的背景和实践来揭示这种互动-资金生态。我们将与三个关键的行业组织合作：PrS for Music，他们授权场地使用版权作品，将提供数据，使我们能够绘制每个区域的场地规模和类型。然后，我们将与英国音乐和音乐家联盟(MU)一起选择六个类别的场地容量案例研究：小型(200人以下)；中小型(200-500人)；中型(500-2,000人)；中型-大型(2,000-5,000人)；大型(5,000-20,000人)；非常大(20,000+)。与地方和国家政策制定者、议会官员、地区MU代表和场馆运营商的访谈将伴随着地图绘制工作，展示监管、财务、所有权和管理结构的相互作用如何在理论和实践中产生和反映现场音乐场馆生态的文化价值概念。投资和利益相关者活动背景下的音乐场馆生态模型将拓宽和加深我们对该行业的理解。它将说明公共和私人演员在塑造音乐事业作为不同经济活动水平相互依存的系统的环境中的叙述。地方和国家监管的影响，以及各种形式的直接补贴和间接支持(或阻碍)，都能以明显和隐藏的方式感受到。我们将为政策制定者、行业和从业者提供对现场音乐和整个文化活动的洞察。

Live music is a prime illustration of wider issues in the UK's cultural sector. Pressure on the public purse, nationally and locally, is felt from larger institutions - orchestras, opera companies, etc.- to the grassroots as direct funding dries up due to cuts. Meanwhile, live music has overtaken recorded sector revenues since 2008. Major events sell-out in hours and, as lobbying group UK Music's recent report on music tourism shows, the live sector is a significant source of income for the nation. Yet the benefits are felt unevenly, and not simply as a matter of suffering state subsidised arts and a healthy commercial sector. Growing concern for the fate of venues at the lower level of the economic activity is reflected in media and industry reports of struggles and closure. Neither is this just recession based. The key piece of music related legislation in recent times - the Live Music Act 2012 - deregulated the provision of live music of all kinds in licensed premises. But it was the result of a long campaign by industry, grassroots and legislators that arose from the negative impact of earlier licensing legislation in 2003 on venues and practitioners. Calls for more deregulation also involve both industry (UK Music) and musicians' (the Musicians' Union) representatives.Neither are music venues alone in their predicament. Questions of how to support culture hinge on assessments of how to value it - for economic benefit or innate social worth - and intersect with those about the role of the state and private vs public investment. Opposing speeches by UK Culture Secretary Maria Miller and Scottish Culture Minister Fiona Hyslop have starkly illustrated the lines between economic and intrinsic values as cases for investment. Implicit in wider debates and those around live music is a sense that different points on the scale of activity are interdependent. Today's stadium acts started in the pubs and local hotspots that are now struggling - in other words, an ecological model. Again, private and public sector inputs are not discrete but interdependent. Transport infrastructure, sensitive or draconian local licensing regimes, zoning and health and safety policies all affect local live music ecologies just as do direct investment from state, municipality or commerce.We will shed light on such interactions - the funding ecology - by examining them in context and practice in three case-study localities across the UK - the London Borough of Camden, Leeds and Glasgow. We will work with three key sector groups: PRS for Music, who license venues' use of copyright compositions, will provide data allowing us to map the size and types of venue in each area. With UK Music and the Musicians' Union (MU), we will then select case studies of venue capacities in six categories: Small (Under 200 capacity); Small-Medium (200-500); Medium (500-2,000); Medium-Large (2,000-5,000); Large (5,000-20,000); Very Large (20,000+).Interviews with local and national policy makers, council officers, regional MU representatives, and venue operators will, along with the mapping exercise, show how the interplay of regulation, finance, ownership and management structures produce and reflect conceptions of cultural value in theory and in practice across the live music venue ecology.The ecological model of music venues in the context of investment and stakeholder activity will both broaden and sharpen our understanding of the sector. It will account for the narratives of public and private actors in shaping the environment in which musical careers proceed as an interdependent system of different levels of economic activity. The effects of local and national regulation, alongside various forms of direct subsidy and indirect support (or hindrance), are felt in ways both obvious and hidden. We will illuminate this system to provide insights into live music, and cultural activity at large, for policy makers, industry and practitioners alike.