Uploaded July 2019 | Updated September 2026, 2 days ago
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
Panel session: The UK Live Music Census
“Findings from the UK Live Music Census”
Matt Brennan - University of Edinburgh
Email: m.t.brennan@ed.ac.uk
/// ABSTRACT
This paper presents the findings of a project funded by the Arts and Humanities Research Council called “The Great British Live Music Census.” It also discusses the challenges and opportunities of researching popular music through the method of a live music census. Live music censuses have been increasingly used in recent years (e.g. Melbourne, Austin, Edinburgh, Bristol) as a tool for illustrating the value of popular music to policymakers. Their use has also coincided with a challenging period for live music venues in urban areas, particularly small venues and clubs. In the UK, for instance, there have been numerous media reports of British music venues closing as a result of property development and gentrification of once lively musical neighbourhoods. This is due not only to developers buying and converting former venues into flats, but also development around venues and the increasingly rigid noise regulations enforced by local authorities. The potential benefits of a live music census apply not just to academic research on live music, however, but also have potential for impact on how policymakers – locally, nationally, and internationally – understand, value, and ultimately encourage live music in cities to flourish. We present the findings of the world’s first national census of live music, combining it with our previous qualitative research into the live music sector (e.g. http://www.livemusicexchange.org) to assess the current state of live music – economically, socially, and culturally – in cities across the UK.
crosstowntraffic2018.wordpress.com
This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult.
A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk.
/// SUPPORT
Popular Music Studies Research Group (PMSRG), University of Huddersfield research.hud.ac.uk/pmsrg/#
Centre for Music, Culture and Identity (CMCI), University of Huddersfield
research.hud.ac.uk/institutes-centres/cmci
The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland)
iaspm.org.uk
Association for the Study of the Art of Record Production (ASARP)
artofrecordproduction.com
Dancecult Research Network (DRN) studies into electronic dance music culture
dancecult-research.net
International Society for Metal Music Studies (ISMMS)
metalstudies.org
/// ORGANIZERS
IASPM UK&I: Rupert Till
ARP: Katia Isakoff, Shara Rambarran
ISMMS: Karl Spracklen
Dancecult: Graham St. John
University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett
/// CREDITS
This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank.
/// PRESENTATION DETAILS
Panel session: The UK Live Music Census
“Findings from the UK Live Music Census”
Matt Brennan - University of Edinburgh
Email: m.t.brennan@ed.ac.uk
/// ABSTRACT
This paper presents the findings of a project funded by the Arts and Humanities Research Council called “The Great British Live Music Census.” It also discusses the challenges and opportunities of researching popular music through the method of a live music census. Live music censuses have been increasingly used in recent years (e.g. Melbourne, Austin, Edinburgh, Bristol) as a tool for illustrating the value of popular music to policymakers. Their use has also coincided with a challenging period for live music venues in urban areas, particularly small venues and clubs. In the UK, for instance, there have been numerous media reports of British music venues closing as a result of property development and gentrification of once lively musical neighbourhoods. This is due not only to developers buying and converting former venues into flats, but also development around venues and the increasingly rigid noise regulations enforced by local authorities. The potential benefits of a live music census apply not just to academic research on live music, however, but also have potential for impact on how policymakers – locally, nationally, and internationally – understand, value, and ultimately encourage live music in cities to flourish. We present the findings of the world’s first national census of live music, combining it with our previous qualitative research into the live music sector (e.g. http://www.livemusicexchange.org) to assess the current state of live music – economically, socially, and culturally – in cities across the UK.
