In the global pop music industries, revenue models have shifted from physical record sales to streaming services and live performances. At the same time, the supply of live music performances has changed as a result of festivalization. This study aims to understand the effects of festivalization on the strategic action field (SAF) of the Dutch live music ecology. This paper is grounded in a qualitative thematic analysis based on in-depth interviews with directors of pop music venues and festivals. Contributing to the scholarly literature on festivalization we approach this concept from inside the strategic action field (SAF) of live music and place it within the context of the rapidly changing music industries. Among other results we emphasize the significant multiple value creation produced by festivals, the strategic advantages of festivals in relation to traditional music venues and the potential co-evolution within the live music action field.
This is a pre-print version of a chapter published in the book 'The Future of Live Music' (edited by Ewa Mazierska, Les Gillon, and Tony Rigg). This research was conducted in the context of the POPLIVE project (Staging Popular Music: Researching Sustainable Live Music Ecologies for Artists, Music Venues and Cities-www.poplive.nl).
PurposeThis paper sets out to compare different methodologies for measuring the value(s) of live popular music and to explore the different motivations amongst a range of organisations engaged in that work.Design/methodology/approachThe authors analyse how the values of live music are measured, who does it and why. Based on this analysis the authors present a model that visualises the myriad of organisations, methods, aims and objectives involved.FindingsThe authors identify three approaches to measuring the impact of live music (economic impact studies, mapping and censuses and social sciences and humanities) and three types of actors (industry, policy and academia). The analysis of these demonstrates that measuring live music is not a neutral activity, but itself constructs a vision on how live music ecologies functionPractical implicationsFor cultural organisations, demonstrating the outcomes of their work is important in acquiring various forms of support. The model presented in this paper helps them to select adequate methodologies and to reflect on the consequences of particular approaches to measuring live music activities.Originality/valueWhile the number of studies measuring live music's impact is growing, theoretical and methodological reflection on these activities is missing. The authors compare the different methodologies by discussing strengths and weaknesses. This results in a model that identifies gaps in existing studies and explores new directions for future live music research. It enhances understanding of how different ways of measuring live music affect policymaking and conceptions of what live music is and should be.
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