Uploaded June 2019 | Updated September 2026, 6 hours 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
Brexit and the UK live music industry: A tangled web? (taking a stock 2016-2018)
Dr Patrycja Rozbicka - Aston University, Birmingham
E-mail: p.rozbicka@aston.ac.uk
/// ABSTRACT
The question of a fallout from Brexit on the music industry is hunting a number of analysts. The trend in mushrooming publications (see for example: Billboard and Pitchfork portals)[1] and media coverage (with the Guardian and Politico.eu taking lead) confirms existing interest in the topic. Most of the analysts draw a distinction between the immediate-short term effect of the “leave” result stemming from the referendum and the long-term consequences of evoking the art. 50 and the UK leaving the European Union (EU). Contrary to the general focus on the music sector and leaving aside the short-term consequences, the below entry focuses on possible scenarios resulting from upcoming Brexit negotiations for a specific sub-sector of economy: the live music industry. We first bring about numbers and indicators underlying the importance of the sub-sector for the UK and Europe’s economies (briefly alluding also to its cultural value). Later, while bringing to the front the discussion of current arrangements for Norway, Switzerland, US and Canada, we suggest two possible scenarios. The conclusions are rather gloom and clearly indicate negative effects for involved stakeholders.
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
Brexit and the UK live music industry: A tangled web? (taking a stock 2016-2018)
Dr Patrycja Rozbicka - Aston University, Birmingham
E-mail: p.rozbicka@aston.ac.uk
/// ABSTRACT
The question of a fallout from Brexit on the music industry is hunting a number of analysts. The trend in mushrooming publications (see for example: Billboard and Pitchfork portals)[1] and media coverage (with the Guardian and Politico.eu taking lead) confirms existing interest in the topic. Most of the analysts draw a distinction between the immediate-short term effect of the “leave” result stemming from the referendum and the long-term consequences of evoking the art. 50 and the UK leaving the European Union (EU). Contrary to the general focus on the music sector and leaving aside the short-term consequences, the below entry focuses on possible scenarios resulting from upcoming Brexit negotiations for a specific sub-sector of economy: the live music industry. We first bring about numbers and indicators underlying the importance of the sub-sector for the UK and Europe’s economies (briefly alluding also to its cultural value). Later, while bringing to the front the discussion of current arrangements for Norway, Switzerland, US and Canada, we suggest two possible scenarios. The conclusions are rather gloom and clearly indicate negative effects for involved stakeholders.
