1-2-3-4! Measuring the values of live music: methods, models and motivations


Purpose This 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/approach We analyse how the values of live music are measured, who does it and why. Based on this analysis we present a model that visualizes the myriad of organisations, methods, aims and objectives involved. Findings We 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 function. Originality While the number of studies measuring live music’s impact is growing, theoretical and methodological reflection on these activities is missing. We 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. Practical implications For 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.

Publication DOI: https://doi.org/10.1108/AAM-09-2020-0041
Divisions: College of Business and Social Sciences > School of Social Sciences & Humanities > Politics, History and International Relations
College of Business and Social Sciences > School of Social Sciences & Humanities > Aston Centre for Europe
College of Business and Social Sciences > School of Social Sciences & Humanities
Additional Information: © Arno van der Hoeven, Adam Behr, Craig Hamilton, Martijn Mulder and Patrycja Rozbicka. Published by Emerald Publishing Limited. This article is published under the Creative Commons Attribution (CC BY 4.0) licence. Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this licence may be seen at http://creativecommons.org/licences/by/4.0/ legalcode Funding: This work was supported as part of the project Staging Popular Music: Researching Sustainable Live Music Ecologies for Artists, Music Venues and Cities (POPLIVE) established by the Dutch Research Council (NWO) and the Taskforce for Applied Research (NRPO-SIA) [grant number 314-99- 202, research programme Smart Culture - Arts and Culture]. Partners in this project are Mojo Concerts and the Association of Dutch Pop Music Venues and Festivals (VNPF). The work was also supported by the Creative Industries Policy and Evidence Centre (PEC), which is led by Nesta and funded by the Arts and Humanities Research Council UK.
Publication ISSN: 2056-4945
Last Modified: 16 May 2024 07:14
Date Deposited: 03 Feb 2021 10:10
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Related URLs: https://www.eme ... -0041/full/html (Publisher URL)
PURE Output Type: Article
Published Date: 2021-09-01
Published Online Date: 2021-02-26
Accepted Date: 2021-01-22
Authors: van der Hoeven, Arno
Mulder, Martijn
Behr, Adam
Hamilton, Craig
Rozbicka, Patrycja (ORCID Profile 0000-0003-0092-955X)



Version: Accepted Version

Access Restriction: Restricted to Repository staff only


Version: Published Version

License: Creative Commons Attribution

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