Skip to main content
Article thumbnail
Location of Repository

Creative Production in the UK Music Industries

By Robert John Cluley


Creative work is thought to offer a model for the future of all work as we move into a knowledge economy. But in what sense is creative work, itself, creative? This is the central concern of this thesis. Many have argued that our ability to be creative has, ironically, decreased with the rise of creative work. Researchers have suggested that the precarious labour conditions typical of creative work along with the growing role of large corporations in the creative labour market make it all but impossible for creative workers to be experimental and innovative – that is, to be truly creative. However, marking a distinction between creatively producing something and producing something creative, I argue that organising creativity is now an important creative activity in its own right and is intimately related to various ways of representing work. Drawing on ethnographic empirical research and my own experiences as an amateur musician I describe the ways in which working helps a specific group of people to creatively make music and provide an analysis of how positive and negative images of work help to structure and inspire this creativity

Publisher: University of Leicester
Year: 2011
OAI identifier:

Suggested articles


  1. (1977). A Lover’s Discourse, London: Vintage doi
  2. (2006). Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations. London: The University of Chicago Press doi
  3. (1983). The Field of Cultural Production, or: The Economic World Reversed‟ in Bourdieu, doi
  4. and Avi Shankar (2008) „Guest editors‟ introduction: The production and consumption of music‟, doi
  5. (2005). (2006a) „Response to "Art versus Commerce as a Macromarketing Theme"‟,
  6. (2007). Culture, Media and Sport (2007a) Culture and creativity in
  7. (2007). Culture, Media and Sport (2007b) Live Music Forum: Findings and recommendations
  8. (2002). Organizing The Musical Canon: The Repertoires of major U.S. Symphony Orchestras, 1842 to doi
  9. (2006). Shedding Culture‟
  10. (2006). Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations, doi
  11. (2004). The Rise of the Creative Class: And How It’s Transforming Work, Leisure, Community and Everyday Life, doi
  12. (1990). The Nature of Work: Sociological Perspectives, doi
  13. (1939). Moses and Monotheism: Three Essays‟ doi
  14. (1993). Empowerment or else‟, Harvard Business Review, September/October Frith, Simon
  15. (2002). A Balancing Act: Artists’ labour markets and the tax and benefit systems, Arts Council England Garnham,
  16. (2004). Not So Cool Britannia: The Role of the Creative Industries in Economic Development‟, doi
  17. (2000). Making Popular Music: Musicians, Creativity and Institutions, doi
  18. (1918). Politics as a Vocation‟
  19. (1948). From Max Weber, London: Routledge and Kegan Paul Wheeldon, Jonathan (2009) Struggling to Define Value: A Critical and DiscourseBased Study of Strategic Sensemaking in the Recorded Music Industry, PhD Diss. Henley Business School Whyte,
  20. (2002). Slapping Pythagoras: the battle for the music of the sphere‟ in

To submit an update or takedown request for this paper, please submit an Update/Correction/Removal Request.