“That's cool, you’re a musician and you drink”: Exploring entertainers’ accounts of their unique workplace relationship with alcohol

This qualitative research investigates the alcohol experiences of entertainers who perform within licensed premises. Previous, mainly quantitative, studies have found that entertainers, specifically musicians, are an occupational group who drink excessively. This qualitative study draws on a wider sample of entertainers to examine their accounts of drinking in the workplace and the explanations they provide for this. We conducted individual semi-structured interviews (n = 24) with band-members, variety acts and DJs in Glasgow, Scotland. This revealed a workplace characterised by continual opportunities for often free alcohol consumption. Unlike most occupations, for entertainers ‘drinking-on-the-job’ was normative, expected, and sometimes encouraged by peers, the public, employers or sponsors. Entertainers also experienced performance-related incentives to drink before, during and/or after a show; including anxiety, matching their intoxication level to the audience's, and ‘reward-drinking’. This qualitative research confirms the unique nature of the entertainer-alcohol link, even in comparison to that found within other leisure industry occupations. While providing some explanation as to why entertainers might drink excessively, participants’ accounts also suggested potential strategies for avoiding the negative outcomes of workplace drinking

Code Bending: A New Creative Coding Practice

Creative coding, or artistic creation through the medium of program instructions, is constantly gaining traction, and there is a steady stream of new resources emerging to support it. However, the question of how creative coding is carried out still deserves more attention. In what ways may the act of program development be rendered conducive to artistic creativity? As one possible answer to this question, the authors present and discuss a new creative coding practice, that of code bending, alongside examples and considerations regarding its applications

The Policy and Practice of Music Education in England, 2010-2020

Since the introduction of the National Plan for Music Education there have been significant changes in music education within England. Whilst some celebrate figures that report increased access and engagement, many teachers and others continue to have legitimate concerns regarding the quality of the music education on offer in schools and Music Education Hubs. There are concerns that the provision of music education is incoherent and patchy across the country. Many would argue that the opportunity to access high‐quality music education has become a ‘postcode lottery’. There is a sense that the fragmentation of music education as a result of curriculum reforms and the diversity of approaches taken by Music Education Hubs and other bodies has significantly enhanced this incoherence. This article seeks to review the policy and practice of music education in England over the last 10 years. It draws on recent research from various sources and maintains a particular focus on government policy and the consequences of this for the field as a whole. It reflects on how things could be improved in the future. It argues for a clearer focus on a practitioner‐led approach to research and advocacy, in particular one led by the notion of ‘policy as practice’ rather than continuing with the current approach and its intrinsic failings

Making live music count:The UK live music census

In 2017 we conducted the first-ever nationwide live music census, allowing for unprecedented levels of detailed, comparable data on the live music cultures of different localities. Live music censuses have been increasingly used in recent years (e.g. Melbourne, Edinburgh, Bristol) to illustrate the value of music to policymakers. This has coincided with challenging times for urban live music venues, particularly small venues and clubs. We present key census findings here, reflecting on how local contexts both shape the census process and may be informed by it, and on the growth of the idea of “Music Cities” to inform policy

Boundaries and Bridges: the influence of James Cooksey Culwick on the development of the teaching and learning of music in nineteenth century Ireland

James Cooksey Culwick (1845-1907) was born in England. Trained as chorister and organist in Lichfield Cathedral, he moved to Ireland at twenty- one and remained until his death in 1907. Although his reputation as scholar, musician and teacher was acknowledged widely during his lifetime - he received an honorary doctorate from University of Dublin (1893) - little is known about the contribution he made to music education. This paper addresses this gap in the literature and argues that it was Culwick's singular achievement to pay attention to music pedagogy at secondary level, by recognizing that music could be seen as a serious career option for girls, and by providing resources for teachers which emphasised the development of an 'art-feeling' in pupils of all abilities. In addition, he considered Irish music as an art which had significance as music first, and Irish music second, and advocated a 'laudable tolerance' for opposing views on matters of cultural identity to Ireland at the end of the nineteenth century

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