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

自2008年以来，英国现场音乐产业的价值一直超过唱片行业（Page和Carey 2009, 2010, 2011, PRS for music 2012）。此外，英格兰和威尔士的现场音乐一直是政治关注的主题，因为2003年《许可法案》的通过带来了许可方面的变化，随后又通过2012年《现场音乐法案》废除了其中的某些方面。2012年，苏格兰提出的对当地现场活动许可规定的修改也引发了一些政治担忧。总而言之，现场音乐是大量政治和媒体关注的主题。然而，这往往过于狭隘地关注经济价值或政治阴谋。很少有人考虑到现场音乐的文化价值。我们的目标是通过对爱丁堡女王大厅（Queen's Hall）的深入案例研究来解决这个问题。建于1823年，自1979年以来一直用作音乐场所，女王大厅是一个多流派的音乐场所，靠近爱丁堡的皇家英里。它举办各种各样的音乐活动，从流行音乐会、爵士演出到完整的管弦乐表演。在每一场演出中，都有不同形式的文化价值被推广、表演和接受。我们将通过对三个音乐活动的推广、表演和接待的详细分析，来检验不同形式的文化价值。这里研究的一个中心领域是关于不同形式的音乐价值在音乐流派中被表达和感知的方式。我们的出发点是推广实践。在这里，我们建立在研究者之前的工作基础上，构建了一个促销实践的类型学——被认为是狂热的、国家资助的和商业的。我们将研究不同类型的音乐会发起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（媒体、网络、传单等）中所体现的文化价值，以及活动本身在当晚的构造方式（座位的配置、舞台的位置等）。我们还将研究在活动中表演者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？表演者以什么方式将文化价值传递给观众？然而，我们的主要关注点将是文化价值和受众。这里出现的重要问题将包括文化价值被观众感知和随后表达的方式。通过一系列的观众调查，我们将分析观众是如何了解音乐活动的，他们如何决定参加哪些活动，他们对这些活动的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后两周的时间）可以详细分析不同类型的现场音乐活动所附带的文化价值观念，以及随着时间的推移这些观念是如何被感知的。我们的兴趣在于，通过对观众调查和反思性日记的研究，揭示出的文化价值是如何（或不）被宣传实践和相关的流派所调解的。对发起人、表演者和场地工作人员的采访将进一步深入了解文化价值是如何在现场音乐生态中被调解的。

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.