Concert Promoters Research Articles

The Effects of Changing Technology and Government Policy on the Commercialization of Music

ABSTRACT Government policy in the form of copyright protection laws fostered the commercial development of music. Technological innovation spawned the recording, movie and radio and television broadcast industries, expanding the economic horizon of music. Readily available recording devices, digital recording and Internet peer-to-peer song swapping have led to piracy problems. Although digital electronic music delivery could increase industry revenues, lack of consumer portability and conflicts between copyright protection for the industry and fair use provisions for individuals precluded widespread adoption. Choices and costs for consumers and industry growth and profits have been affected more by changes in technology and government policy than by variations in industry structure. Deregulation and technological development have changed the radio broadcast and concert promotion industries from monopolistically competitive to oligopolies, which in turn has threatened the growth of the music industry.

Enduring Public Diplomacy

On April 11, 2003, over the caption: "Palace of Rubble: American soldiers yesterday inside a ruined palace in Baghdad that belongs to president Saddam Hussein's son Uday," the front page of the New York Times featured a picture of what had been a grand piano, reduced to rubble. Glancing at the demolished piano, two American soldiers ascended the palace's winding staircase, which had survived amid the surrounding wreckage.1 The photograph appeared during an international outcry after U.S. troops had neglected to safeguard museums and priceless archaeological artifacts from extensive looting and destruction. As the seeming triumph of Saddam's overthrow was followed by chaos, I recalled from my research a moment forty years prior when U.S. officials in Iraq described a strikingly different (if far from unproblematic) relationship with that country. In November of 1963, the Duke Ellington orchestra performed in Baghdad under the auspices of the State Department. What turned out to be a very eventful visit to Iraq began with the band's performance at a reception celebrating the founding of the United States Marine Corps held at the home of U.S. Ambassador Robert C. Strong. A U.S. embassy staffer later noted that the party for the 188-year-old Marine Corps took place in a 1,200-year-old city, further apprising the State Department that "the ambassadorial residence rocked," as four hundred Iraqis and Americans danced to "such old favorites as 'Take the "A" Train,' 'Mood Indigo,' 'Sophisticated Lady' . . . or crowded around the orchestra for a closer look at the ageless Duke."2 Local concert promoters had feared a lack of interest, but the first concert on November 12 not only sold out but was broadcast live in its entirety by Iraqi state television. According to the embassy, an enthusiastic first-night audience watched the concert at Khuld Hall near the presidential palace, while "all over the city thousands sat around television sets in open air cafés and restaurants or in the comfort of their own homes and enjoyed the artistry of one of the great contemporary figures in American music."3 While we cannot know the depth of the American official's appreciation of the ancient cultural heritage of Iraq, it is evident that he appreciated the richness of the tradition enough to revel in the comparison with the less [End Page 335] venerable U.S. Marines. Here, the juxtaposition of ancient Iraqi civilization with a military institution with extensive involvement in U.S. imperial policies was as striking as the official's portrayal of a vibrant modern Iraqi public culture, in which those unable to attend the concert partook of the experience through broadcast television in cafés, restaurants, and in one another's homes. The story of Duke Ellington in Iraq opens with a birthday party, but will continue with jazz concerts, nightclub appearances, a coup d'etat, and the U.S. sale of military helicopters to an allied Iraqi regime; and points us forty years ahead to all-too-familiar scenes of bombings, civilian casualties, looted museums, the torture of Iraqi detainees, and smashed pianos. I begin with this story not to suggest that the United States once had a better, or even a more complex and nuanced, relationship with Iraq, but because I think the story of Ellington in Iraq highlights the valuable challenges raised by Liam Kennedy and Scott Lucas for practitioners of American studies, and especially those concerned with transnational American studies: what are the implications of the troubled history and present of American public diplomacy and the "state-private network for political warfare" for our endeavors to forge a critical American studies? Given the entanglement of public diplomacy in U.S. hegemonic projects of the past fifty years, and taking as a point of departure Kennedy and Lucas's compelling discussion of the distinctiveness of the contemporary regeneration of public diplomacy, we might begin with the obvious absurdities in the term "public diplomacy." The term, Kennedy and Lucas explain, was defined...

Ein unbekanntes Genie: Der Symphoniker Alexander Lokschin. Monographien - Zeugnisse - Dokumente - Würdigen by M. Lobanova E. Kuhn (review)

546 SEER, 8i, 3, 2003 'escapism'. Language offers a means of return and a place of refuge that functions as an alternative home to the one that has been lost. Bozena Shallcross, however, approaches this notion of 'escapism' in a new and interesting way. These three authors' Ithaca, she argues, was to be found in works of art, discovered on their travels in exile, which presented them with a series of significant epiphanies or illuminations. She even calls their various journeys 'epiphanic': 'blissful or bleak but [... ] always endowed with a "transfiguring perceptual power", a power that goes beyond transforming travel and can transform the traveler's world and life' (p. xiv). What is more, she contends that 'it is not by accident that Brodsky, Herbert, and Zagajewski, writers who opposed totalitarianism, should introduce the narrator as a solitary wanderer, a flaneur, for whom the act of seeing is his basic modus operandi. In their separate accounts, alone in crowds of tourists, they celebrate the primacy of visualization, the capacity which, in turn, prompts their epiphanic insight' (p. xviii). Using small brushes rather than broad strokes, she dedicates the three chapters of her volume to each individual writer and their 'epiphanic' experience of Western art. Shallcross explores the role of various paintings (Dutch on Zagajewski and Herbert), edifices (Greek on Herbert), and even a whole city (Venice on Brodskii) in each writer's experience of emigration, focusing on the importance of artistic visualization in their creative journeys. No attempt is made, however, to emphasize the connections between Zagajewski, Herbert and Brodskii, and thus the volume disappointingly lacks an intertextual analysis of their work. In spite of this, Shallcross's commentary is lucid and dynamic, and even sometimes quite poetic, as if informed by the language and perspective of each of these great emigre poets. Department of SlavicLanguagesandLiteratures ILYA KUTIK Northwestern University,Illinois Lobanova, M. and Kuhn, E. (eds). Ein unbekanntes Genie.Der Symphoniker Alexander Lokschin. Monographien-eugnisse Dokumente Wiirdigen. Studia Slavica Musicologica, 26. ErnstKuhn, Berlin, 2002. X+ 236 pp. Notes. Musical illustrations. Chronology. Discography. Bibliography. Indexes. ?44.95 (paperback). IT is no exaggeration to call the composer AleksandrLokshin (I920-87) an unknown genius, for the cruel vagaries of Soviet culturalpolicies suppressed his talent for most of his life and he died largelyforgotten in his own country and not yet known in the West. Although he is musicallyvery different,it is easy to compare his fate to that of his younger and far better known contemporary, Alfred Schnittke, also a victim of the Soviet system, who, by contrast,achieved greatpopularitybefore his death. It may be hoped thatthis book will inspire concert promoters, record producers and musical opinion formers to increased efforts to give Lokshin the place he deserves in the musicalpantheon. He undoubtedlydeservesit. ErnstKuhn, both an editor and the publisherof thisvolume, has produced many other books on neglected music from Eastern Europe. Here he has REVIEWS 547 assembled an impressivecollection of musicians and others eager to analyse Lokshin'smusic and commemorate his name, aswell as severalothervaluable historicaldocuments. The majorityof the materialis translatedby Kuhn from Russiansources,but its assemblyin one compact volume is a veryworthwhile enterprise. Now it must be hoped that a further translation will make the materialavailableto Anglophone readers. The book is divided into seven parts. The first consists of the composer's shortautobiography(i 982) with two supplements(1986 and I998 -the latter written by his widow), and also an essay he wrote in I98I on his music and creativeplans. PartTwo iswrittenby the Hamburgscholarandleading expert on Lokshin,MarinaLobanova, underthe title 'The Composerand His Time', outlining Lokshin's fate as an aesthete, protester and victim of the regime whose political and culturalatmospherehe found so uncongenial. PartThree addresses his work directly: the former Moscow scholar Irina Lavrent'eva (I93I-8I) discusses in detail an important aspect of Lokshin's oeuvre, the style of his writing for voice and orchestra;Evgeniia Chigareva (Moscow) highlights the distinctive features of his symphonic work; Tat'iana Gellis (Cologne) analyses the composer's frequently used technique of 'tsitatareplika ' (the answering of a musically set verbal text by purely orchestral means), taking as her example the important Songsof Gretchen (usuallyknown in English as SongsofMargaret) to verses from Goethe...

An Investigation of Members’ Roles in Wind Quintets

This article presents new findings regarding group processes in chamber ensembles. Following work by Young and Colman, Butterworth, and Murnighan and Conlon on the string quartet, a questionnaire was distributed to wind quintets throughout the UK. A total of 55 respondents, representing 20 ensembles, participated in the study. Quantitative and qualitative data revealed information about group formation, personnel recruitment and the use of deputies, leadership, seating positions, verbal and non-verbal communication, conflict, rehearsing and performing, audience effects, social aspects and administration. The current study focuses on the role of the horn player in the quintet and explores players’ attitudes and perceptions of their individual careers, quintet repertoire, concert promoters and string quartets as an opposing medium. Results are discussed with reference to the existing quartet studies and to social psychological theory of group dynamics.

Sinfonien Nr. 4-6, and: Sinfonie Nr. 7 in h, and: Sinfonie Nr. 4 in c, D 417, and: Sinfonie Nr. 6 in C, D 589, and: Symphony in D Major (1820/21), D 708A, and: Symphony in D Major (1828), D936A (review)

Franz Schubert. Sinfonien Nr. 4-6. Vorgelegt von Arnold Feil und Douglas Woodfull-Harris. (Neuc Ausgabe samtlicher Werke, Ser. 5: Orchesterwerke, Bd. 2.) Kassel: Barenreiter, 1999. [Zur Edition, p. vii--viii; Vorwort, p. ix-xi; facsims., p. xii-xx; score, 275 p.; und Lesarten, p. 279-305; Notenbeispiele, p. 307-13. Cloth. ISMN M-006-49704-1; BA 5538. DM 400.] Franz Schubert. Nr. 7 in h. Vorgelegt von Werner Aderhold. (Neue Ausgabe samtlicher Werke, Ser. 5: Orchesterwerke, Bd. 3.) Kassel: Barenreiter, 1997. [Zur Edition, p. vii-viii; Vorwort, p. ix-xvii; facsims., p. xix-xxv; score, 63 p.; Anhang, p. 67-77; und Lesarten, p. 81-91. Cloth. ISMN M-006-49705-8; BA 5542. DM 175.] Franz Schubert. Nr. 4 in c, D 417. Herausgegeben von Arnold Feil und Douglas Woodfull-Harris. Urtext der Neuen Schubert-Ausgabe. Kassel: Barenreiter, c1998. [Editorial note in Ger., Eng., 1 p.; score, 106 p. ISMN M-006-49902-1; BA 5604. DM 59.] Franz Schubert. Nr. 6 in C, D 589. Herausgegeben von Arnold Feil und Douglas Woodfull-Harris. Urtext der Neuen Schubert-Ausgabe. Kassel: Barenreiter, c1998. [Editorial note in Ger., Eng., 1 p.; score 119 p. ISMN M-006-49914-4; BA 5646. DM 59.] Franz Schubert. Symphony in D Major (1820/21), D 708A. Reconstructed and instrumentated [sic] from the short score by Gunter Elsholz. Bad Soden, Germany: Gunter Elsholz (ParkstraBe 46a, D-65812 Bad Soden), c2000. [Introd. in Ger., Eng., p. i-ii; divergences from Schubert's short score draft, p. iii-iv; score, p. 1-232; facsim. reprod. of the sketch, p. A-J.] Franz Schubert. Symphony in D Major (1828), D 936A. Version for string orchestra realised by Gunter Elsholz. Bad Soden, Germany: Gunter Elsholz (ParkstraBe 46a, D-65812 Bad Soden), c1994. [Pref. in Ger., Eng., 7 p.; score, p. 1-112; facsim. reprod. of the sketch, p. A-K.] The slow emergence of the Neuc Schubert-Ausgabe suddenly gains impetus with the appearance of Franz Schubert's symphonies nos. 4-6 and the Unfinished in B minor. At first, the Unfinished may in fact not be recognized as such, since the title is withheld (not being Schubert's) and the identification on the spine announces the work as Sinfonie Nr. 7. No, this is not the Symphony in E Major, D. 729, widely known as the Seventh. Nor is it the Great C-Major Symphony, known to us as the Ninth, but since the early nineteenth century alternatively numbered as the Seventh. The Neue Schubert-Ausgabe has its rationale for numbering the Unfinished as the Seventh, since it alone of the fragmentary symphonies includes movements wholly completed by Schubert, which is not true of the D. 729 work, nor of the other four fragmentary symphonies (D. 2B, D. 615, D. 708A, and D. 936A). On the other hand, some might argue that a structurally complete sketch mapping every bar of all four movements (D. 729) is as much a Schu bert symphony as is the B-minor half-symphony. But there are more practical considerations: among them, is the musical world prepared to expunge the memory of the Great as no. 9, or its alternative designation as no. 7, and now think of it as no. 8? This is what the Neue Schubert-A usgabe presumably expects. In the more than quarter of a century that Barenreiter Verlag has adopted this designation, very few publishers, recording companies, radio stations, or concert promoters have seen fit to follow suit. At the Leeds International Schubert Conference, 2000, I was recently reminded of some of the problems facing the makers of scholarly Schubert editions by one of the key figures of the Neue Schubert-A usgabe, Walther Durr. What matters here most is that these new volumes of the Schubert edition continue to maintain the high standards of editing and presentation encountered in their earlier companion volumes--they are discreetly handsome, and what lies between the covers reflects the same rigorous aspirations. The apparatus of scholarship also remains at the same level, with an extensive foreword, selected pages from sources in facsimile, and Quellen und Lesarten comprising a discussion of sources, editorial principles, and critical commentary (all in German only). …

Evolution of metrics used in ‘‘real world’’ concert sound level management systems

With the ever increasing popularity and proliferation of outdoor amphitheaters and the advent of more powerful amplification systems serving high-energy performing groups, nearby residents are inevitably threatened by higher sound levels. To address these concerns, acoustical consultants have specified monitoring systems that must use simple metrics for the management and control of music facility sound emissions. These metrics must be pragmatic; the visiting artist and sound engineer, the concert promoter, the concert facility management personnel, and even local regulatory personnel must be able to easily understand and interpret their meaning. Furthermore, the management system must accommodate rapid real-time implementation of necessary management control measures and store accurate, permanent, electronic records for future reference. This paper describes the evolution of the Grozier sound level management systems that use simple, accurate metrics developed for several amphitheater venues with diverse local conditions and requirements.

Concert Life in London from Mozart to Haydn

List of illustrations Preface Acknowledgments List of abbreviations Map of London in the second half of the eighteenth century 1. Prologue Part I. The Social Role of the Concert: 2. 'An exclusive principle': subscription and ancient concerts 3. Other types of concert 4. The concert in London life Part II. Attracting an Audience: 5. The musical product: novelty and familiarity 6. The musical product: programming 7. Taste and national idioms 8. Musical style: 'music intended to reach the heart' 9. Musical style: the learned, the sublime and the dramatic Part III. Concert Management and the Musician: 10. The finances of concert promotion 11. Life as a professional musician 12. The practicalities of concert promotion 13. Epilogue Appendices Notes Musical sources Select bibliography Index.

The Contribution of Epidemiology to the Definition of Health Goals and Targets for Australia

Health goals and targets may be used to improve the efficiency of investment of resources for health care and the promotion of health the better to fulfil the values and expectations of society. Australia has been developing health goals and targets since 1985. The first step was the establishment of the Better Health Commission that year. Its proposals led to the states and territories undertaking concerted health promotion activities through the National Better Health Program. Subsequently the health-care system as a whole, through the 1993 Medicare agreement, endorsed the goals and targets approach. Epidemiology has played a major role in every step in this process. Initially it was used to establish health status baselines or to point to serious data deficits which stopped a baseline being set. It provided data about the burden and distribution of illness in the community. It was used critically to appraise evidence about aetiology and the fraction of illness attributable to modifiable risk factors and the effectiveness of interventions, and to provide estimates of potential years of life lost through illness and injury. This has contributed, along with economic analysis which is a critically important corollary, to the definition of health care priorities. Epidemiology, while being necessary for these developments, however, has not been sufficient. This 'insufficiency' has three elements. First, existing epidemiological knowledge and methods have been inadequately applied or the data have been missing, or distorted by inappropriate interpretation. Second, there are now goals and targets in health literacy, the health care system, and the environment where epidemiological methods (and hence data) are poorly developed or non-existent.(ABSTRACT TRUNCATED AT 250 WORDS)

Provincial Concerts in England, 1865–1914: A Case-Study of Bradford

It is a commonplace that the nineteenth century witnessed a flowering of provincial musical life, and nowhere was this more pronounced than in the field of concert promotion. However, with a few notable exceptions, such as Michael Kennedy's work on the Hallé, little close scrutiny has been given to the topic. This paper seeks to give the provinces the attention they deserve.

Managing without Immunity: The Challenge for State and Local Government Officials in the 1980s

The beleagured City of Newport, Rhode Island councilman, responding to these questions put by the attorney for an organization whose entertainment permit had been cancelled by the city council, may have voiced the quiet mutterings of many state and local government officials apprehensive about recent Supreme Court decisions which have significantly expanded their personal liability as well as that of their governmental units. The consequences of these decisions can be both direct and costly.2 The Newport councilman had ample reason for feeling that the world of government was no longer as before. When he gave the testimony quoted above, the city council had already been enjoined by a state court from cancelling a permit after a promoter proposed substituting a rock group, Blood, Sweat and Tears, for a jazz performer, Sarah Vaughn. A jury was soon to award damages to the concert promoters, finding the city liable for $72,910 in compensatory damages, for they determined that the city's attempt to cancel the permit resulted in the promoters being able to sell less than half of the 14,000 available tickets. More significantly, the jury awarded $200,000 in punitive damages against the city, and assessed liability for an additional $80,000 in punitive damages against the mayor and seven city council members in their personal capacities.3 Although the courts that considered the case found that the council's decision to cancel the permit infringed upon the promoter's right of free speech, for which the Supreme Court traditionally has applied strong protection, the case reflects the extent to which liability can arise while officials are exercising their responsibility to govern. The most recurring source of liability under the most recent Supreme Court pronouncements will likely derive from the performance of administrative functions, and in particular from those related to federally sponsored and federally assisted programs. With the present litany of managemental regulation and instruction far beyond any individual's capacity to absorb, misinterpretation and misapplication are inevit-