204 research outputs found

    Moral Music Management: Ethical Decision-Making After Avicii

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    Following the tragic suicide of Avicii (Tim Bergling) in 2018, many in the popular media, and reportedly the musician’s own family, were seen to question the ethics of decisions taken by his manager (Williams, 2018; Ralston, 2018). By applying a moral intensity test (Jones, 1991), in the form of a scenario-based questionnaire, to six music managers based in London (UK), this paper interrogates how and why music managers make the moral and ethical choices they do. The findings suggest that music managers are aware of ethical challenges emanating from their work, but that the relatively informal, loosely regulated nature of the music workplace complicates the negotiation of ethical and moral tensions. However, music managers’ close awareness of the ‘social consensus’ and ‘proximity’ of moral intensity suggests that cultural (as opposed to regulatory) change can help guide and inform managerial decision-making

    Making Sense of My Creativity: Reflecting on Digital Autoethnography

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    By examining specific data-sets used in my research into my own career as a musician, this paper presents an argument for the use of digital data-trails in the construction of creative career-based autoethnographies. The paper is driven by a desire to assist researchers, notably students but practitioner academics too, interested in using their own creative lives as an object of research by reflecting on my own experiences of conducting a four-year research project which traced my artistic career from unknown rapper to a songwriter signed to Sony/EMI/ATV. It doing so, I hope to offer educators working in the creative arts a helping starting point for our research students. It is suggested that key to the autoethnographic approach is the generation of data, and that for contemporary musicians – and others in creative fields – the way our careers are digitally self-documented online presents interesting possibilities for reconsidering data sources. This paper critically considers the practice of autoethnography, contributing towards literature which both evaluates this methodology and seeks to offer a perspective which might help other researchers interested in the suitability and applicability of autoethnography to investigate their own creative careers and experiences

    Collaborating to Compete: The Role of Cultural Intermediaries in Hypercompetition

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    This article explores the role that cultural intermediaries, defined primarily as radio DJs and journalists, play in the lives of three unsigned UK urban music artists. Using semi-structured interviews, textual analysis of social media usage, and observation notes, as well as auto-ethnographic examination of the author's own career as a musician over a four-year period between 2010-13, it is suggested that intermediaries are of crucial importance in the lives of artists largely as distinguishers in an environment of ferocious competition, which anonymises via abundance. Their role is therefore deeply symbolic, providing credible eminence. By interpreting these findings through a Bourdieusian lens, it is suggested that these collaborative processes of intermediary engagement, which allow musicians to acquire large reserves of institutionalised cultural capital, problematise notions of success by masking the profound difficulties they have in converting this prestige into material rewards. There is therefore, for these musicians, a worrying ambiguity relating to how others understand and value what they do, and a tension between this perception and their material reality

    Collection of photographs and postcards from Port Arthur, Tasmania collected between 1915 and 1950 by George Musgrave Parker.

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    Dr George Musgrave Parker (1885-1965) qualified in medicine (M.B. B.Ch.) at Cambridge, U.K., in 1913, and in 1914 he was appointed a medical officer of health in Swansea. From 1915 until 1918 he served with the Australian forces in Egypt and France. On return he served as medical officer for the Kentish Municipality (Sheffield, Railton) 1919-1921; Swansea 1921-1926 and Clarence, 1926-1947, and then joined the staff of the Repatriation Hospital, Hobart, until he retired in 1955. Collection of photographs and postcards from Port Arthur, Tasmania collected between 1915 and 1950 by George Musgrave Parker. Includes images of postcards of prisoner's pass and prisoner's sentence. Port Arthur in 1847 -Beattie photograph of painting. Ruins of Port Arthur. Postcard (Tas. stamp, Q.Victoria head) £ 1880-1901. Penitentiary, Port Arthur - Ash Bester postcard. Church, Port Arthur. Point Puer underground cells, ruined - Anson photo c. 1880-90. The Pavement, Eaglehawk Neck - Walch postcard. Dead Island, Port Arthur - Beattie photo. Cape Raoul, Tasman Peninsula - Beattie photo. Private Deposit P.1/35 (49-58

    When Music Speaks: Mental Health and Next Steps in the Danish Music Industry. Part 1 - Danish Music Creators' Subjective Wellbeing and Mental Health

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    This report contains findings based on the largest ever study of musicians’ and music creators’ mental health in Scandinavia, with 1865 survey respondents. Across our whole sample of musicians and more broadly defined music-makers in Denmark, subjective wellbeing is estimated to be worse than the wider Danish population based on our best approximation, with young music creators and women particularly badly affected. Levels of anxiety (measured using the HADS-A scale) are high amongst our sample. 45.8% received scores indicating abnormal levels of anxiety. However, age is significant variable here. For survey respondents under the age of 40, 68.7% received scores indicating abnormal levels of anxiety, with 42.8% reaching the threshold of clinical significance. Anxiety was seen to be most acute in the age band 25-29 years. For those in this age band, 78.2% received scores indicating abnormal levels of anxiety, with 49.1% showing clinically significant anxiety, of which 15.5% scored severe, clinically significant, anxiety. Gender is also a significant variable. For female respondents, 65.4% received scores indicating abnormal levels of anxiety (of which 41.2% reached the threshold of clinical significance) compared to 39.1% for men. Of those respondents who can be categorised as having abnormal anxiety, 61% of these considered music as their main career. This suggests, in line with other global studies, that the music career itself is a significant factor
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