Editorial

Abstract

Click to increase image sizeClick to decrease image size Notes 1. The conference was held to mark the completion of a research project on live music promotion funded by a grant from the Arts and Humanities Research Council (AH/F009437/1). 2. The conference papers concerning the business of live music from an economic perspective can be found in a special issue of Arts Marketing, an International Journal 1 (2) 2011. 3. See Ruth Finnegan (1989 Finnegan, Ruth. 1989. The hidden musicians: Music-making in an English Town, Cambridge, MA: Cambridge University Press. [Google Scholar]). 4. For examples of the problems British promoters have faced when trying to reconcile the expectations of dancing and spectating audiences see Simon Frith et al. (forthcoming Frith , Simon , Matt Brennan , Martin Cloonan , and Emma Webster . Forthcoming . The history of live music in Britain since 1950. Vol. 1 of Dance hall to the Hundred Club , 1950 – 1967 . Farnham : Ashgate [Google Scholar]). 5. The most entertaining account of this process can be found in Lawrence Levine (1988 Levine, Lawrence. 1988. Highbrow/lowbrow: The emergence of cultural hierarchy in America, Cambridge, MA: Harvard University Press. [Google Scholar]). 6. See Simon Gunn (2000 Gunn, Simon. 2000. The public culture of the Victorian middle class, Manchester: Manchester University Press. [Google Scholar], 140–42). 7. See Simon Gunn (2000 Gunn, Simon. 2000. The public culture of the Victorian middle class, Manchester: Manchester University Press. [Google Scholar], 146–54). 8. People's listening signs are, of course, not always easy to read. There is a blurred line, for example, between silent listening and sleeping. Is someone with closed eyes listening particularly intently or not listening at all? 9. For radio and music appreciation see Joseph Horowitz (1987 Horowitz, Joseph. 1987. Understanding Toscanini. How he became an American culture-god and helped create a new audience for old music, New York: Knopf. [Google Scholar]); for record companies’ classical recording policy see Colin Symes (2004 Symes, Colin. 2004. Setting the record straight: A material history of classical recording, Middletown, CT: Wesleyan University Press. [Google Scholar]); for Gramophone critics, see Simon Frith (2009 Frith, Simon. 2009. “Going critical: Writing about recordings”. In The Cambridge companion to recording, Edited by: Cook, N., Clarke, E., Leech-Wilkinson, D. and Rink, J. 267–82. Cambridge, MA: Cambridge University Press. [Crossref] , [Google Scholar]). 10. See Keith Negus (2006 Negus, Keith. 2006. Musicians on television. Visible, audible and ignored. Journal of the Royal Musical Association, 131(2): 310–30. [Taylor & Francis Online], [Web of Science ®] , [Google Scholar]). 11. For an interesting account of how these values are shared – but expressed quite differently – by a chamber music audience see S.E. Pitts (2005 Pitts, Stephanie. 2005. What makes an audience? Investigating the roles and experiences of listeners at a chamber music festival. Music and Letters, 86(2): 257–69. [Crossref] , [Google Scholar]). 12. See Philip Auslander (2008 Auslander, Philip. 2008. Liveness: Performance in a mediatized culture, New York: Routledge. [Crossref] , [Google Scholar]). 13. See, for example, John Rink (1995 Rink , John 1995 . The practice of performance: Studies in musical interpretation . Cambridge , MA : Cambridge University Press .[Crossref] , [Google Scholar]). 14. In Liverpool football matches offer particular important occasions for public musical performances.