The Future of Live Music
Tony Rigg editor Professor Ewa Mazierska editor Les Gillon editor
Format:Hardback
Publisher:Bloomsbury Publishing PLC
Published:11th Jun '20
Currently unavailable, and unfortunately no date known when it will be back
Examines how changes in economy, technology, and culture affect production and reception of live music, as well as the very understanding of the term "live music."
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.
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) *
ISBN: 9781501355875
Dimensions: unknown
Weight: 494g
248 pages