Adam Behr
Biographic Data
| ID | 3601446 |
|---|---|
| NAME | Adam Behr |
| GIVEN NAMES | Adam |
| FAMILY NAME | Behr |
| SIGNATURE | BEHR A |
| AFFILIATIONS | Newcastle University |
| ORCID | 0000-0002-8475-2191 |
| VERIFIED | Yes |
| TOTAL WORKS | 15 |
| TOTAL CITATIONS | 33 |
| WORKS AS AUTHOR | 15 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 3 |
Curating the music city
Since becoming a UNESCO ‘City of Music’ in 2008, Glasgow has sought to develop the tourism potential of its music scene. As potential beneficiaries, accommodation providers have facilitated the development of music tourism initiatives within the city, strategically positioning themselves as ambassadors for the city’s music. This article considers how three Glasgow hotels ‘curate’ the musical life of the city, presenting themselves as facilitators…
Birmingham and the (International) Business of Live Music in Times of Covid-19
This article discusses the context of, and presents findings from, a project examining the live music sector in Birmingham, UK. This research is set against the backdrop of the broader socio-political impact of the ongoing COVID-19 pandemic, and links it to national and global contexts. We explore the live music ecology of Birmingham and highlight the interdependencies between the various musical and non-musical stakeholders in the context of the…
Customer complaint management and smart technology adoption by community water systems
Music, Digitalization, and Democratic Elections
This article considers the position of music in UK General Elections. It begins by looking at mainstream Party Election Broadcasts, and then discusses the fragmentation of this electoral and musical landscape through the technological and communicative affordances of digital media. Considering campaigners as “produsers”, it examines how musical campaign content illustrates the shifting outputs of those operating within, and outside of, party poli…
Making Live Music Count
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…
The influence of capital expenditures on working capital management in the corporate sector of an emerging economy
Relying on firm-level panel data from an emerging economy, this study explores the impact of fixed capital expenditure on working capital management practices. When facing insufficient internally generated cash flows and external funds for accommodating capital investments, companies are found to finance capital expenditure by primarily depleting cash reserves and increasing trade payables. Corroborating the postulates of the financing constraint…
Going spare? Concert tickets, touting and cultural value
This article explores recent events around the secondary market for concert tickets in the UK. It first outlines the nature of the primary and secondary markets for concert tickets and then the story of attempts in the UK to regulate them over a twenty-year period, providing the political and industrial context. It moves on to examine key aspects of the political debates around tickets and the findings of enquiries into the subject – including th…
The sampling continuum
This article argues for a view of popular music production that better accounts for sampling than has historically been the case by viewing it as a continuum of activity. Weighing evidence from interviews with musical practitioners against the legal and industry frameworks, we illustrate, first, how sampling has been legally differentiated from other types of musical copying. Secondly we show that, despite this, comparable ethical codes exist wit…
Copying, copyright and originality
With copyright becoming ever more important for business and government, this article argues for a more nuanced understanding of the practices and values associated with copying in popular music culture and advocates a more critical approach to notions of originality. Drawing from interviews with working musicians, this article challenges the approaches to copying and popular music that pitch corporate notions of piracy against creative sharing b…
Copy Rights
This article analyses the politics of copyright and copying. Copyright is an increasingly important driver of the modern economy, but this does not exhaust its significance. It matters, we argue, not just for the distribution of rewards and resources in the creative industries, but as a site within which established political concerns – collective and individual interests and identities – are articulated and negotiated and within which notions of…
Live Concert Performance
For the last decade we have been engaged in the study of the history, economics, and sociology of live music in Britain. In this article we will consider the value of “ecology” as an analytic concept (rather than just a buzzword) and compare an ecological account of the setting in which music happens to the use of previous spatial metaphors, from Durkheim’s milieus to Straw’s scenes. To illustrate our argument, we present case studies of three Sc…
Join Together with the Band
This article considers how the group identity of rock bands relates to discourses of authenticity. Exposés of the Romantic rock ideology, while broadly convincing, have overlooked the extent to which it incorporated the collective creativity of bands. Building on Moore's reorientation towards processes of authentication, rather than "authenticity" as a quality in itself, I assess the band as the site of intimate conjunctions between creativity an…
Cultural value and cultural policy
This article considers live music policy in relation to wider debates on the cultural (as opposed to instrumental) value of the arts. The findings are based on research into amateur/enthusiast, state-funded and commercial concerts across a range of genres – classical, traditional folk, jazz, singer–songwriter and indie – using the Edinburgh Queen’s Hall venue as a case study. We argue that (1) articulations of the cultural or intrinsic value of l…
The place of popular music in Scotland's cultural policy
In the last two decades the status of popular music as both a cultural activity and creative industry has changed significantly in Scottish and UK cultural policy. The change is in line with a broader shift away from thinking of the arts as cultural activity in need of subsidy and towards treating them as part of the creative economy. The current cultural policy landscape pertaining to popular music is mapped out, drawing on interviews and an onl…
The real “crossroads” of live music – the conventions of performance at open mic nights in Edinburgh
This article presents ethnographic work on open mic nights in Edinburgh, a hitherto under examined activity that lies in the hinterland of professional live music and serves as a junction between professional and amateur practice. It proceeds from the theoretical context of different musical “worlds”, notably the difference between “folk” and “commercial” popular music, to provide a basic typography of the different types of open mic. These inter…
Cultural value and cultural policy
This article considers live music policy in relation to wider debates on the cultural (as opposed to instrumental) value of the arts. The findings are based on research into amateur/enthusiast, state-funded and commercial concerts across a range of genres – classical, traditional folk, jazz, singer–songwriter and indie – using the Edinburgh Queen’s Hall venue as a case study. We argue that (1) articulations of the cultural or intrinsic value of l…
Making Live Music Count
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…
Going spare? Concert tickets, touting and cultural value
This article explores recent events around the secondary market for concert tickets in the UK. It first outlines the nature of the primary and secondary markets for concert tickets and then the story of attempts in the UK to regulate them over a twenty-year period, providing the political and industrial context. It moves on to examine key aspects of the political debates around tickets and the findings of enquiries into the subject – including th…
Customer complaint management and smart technology adoption by community water systems
Copying, copyright and originality
With copyright becoming ever more important for business and government, this article argues for a more nuanced understanding of the practices and values associated with copying in popular music culture and advocates a more critical approach to notions of originality. Drawing from interviews with working musicians, this article challenges the approaches to copying and popular music that pitch corporate notions of piracy against creative sharing b…
Curating the music city
Since becoming a UNESCO ‘City of Music’ in 2008, Glasgow has sought to develop the tourism potential of its music scene. As potential beneficiaries, accommodation providers have facilitated the development of music tourism initiatives within the city, strategically positioning themselves as ambassadors for the city’s music. This article considers how three Glasgow hotels ‘curate’ the musical life of the city, presenting themselves as facilitators…
The place of popular music in Scotland's cultural policy
In the last two decades the status of popular music as both a cultural activity and creative industry has changed significantly in Scottish and UK cultural policy. The change is in line with a broader shift away from thinking of the arts as cultural activity in need of subsidy and towards treating them as part of the creative economy. The current cultural policy landscape pertaining to popular music is mapped out, drawing on interviews and an onl…
The real “crossroads” of live music – the conventions of performance at open mic nights in Edinburgh
This article presents ethnographic work on open mic nights in Edinburgh, a hitherto under examined activity that lies in the hinterland of professional live music and serves as a junction between professional and amateur practice. It proceeds from the theoretical context of different musical “worlds”, notably the difference between “folk” and “commercial” popular music, to provide a basic typography of the different types of open mic. These inter…
Cultural value and cultural policy
This article considers live music policy in relation to wider debates on the cultural (as opposed to instrumental) value of the arts. The findings are based on research into amateur/enthusiast, state-funded and commercial concerts across a range of genres – classical, traditional folk, jazz, singer–songwriter and indie – using the Edinburgh Queen’s Hall venue as a case study. We argue that (1) articulations of the cultural or intrinsic value of l…
The place of popular music in Scotland's cultural policy
In the last two decades the status of popular music as both a cultural activity and creative industry has changed significantly in Scottish and UK cultural policy. The change is in line with a broader shift away from thinking of the arts as cultural activity in need of subsidy and towards treating them as part of the creative economy. The current cultural policy landscape pertaining to popular music is mapped out, drawing on interviews and an onl…
Join Together with the Band
This article considers how the group identity of rock bands relates to discourses of authenticity. Exposés of the Romantic rock ideology, while broadly convincing, have overlooked the extent to which it incorporated the collective creativity of bands. Building on Moore's reorientation towards processes of authentication, rather than "authenticity" as a quality in itself, I assess the band as the site of intimate conjunctions between creativity an…
Live Concert Performance
For the last decade we have been engaged in the study of the history, economics, and sociology of live music in Britain. In this article we will consider the value of “ecology” as an analytic concept (rather than just a buzzword) and compare an ecological account of the setting in which music happens to the use of previous spatial metaphors, from Durkheim’s milieus to Straw’s scenes. To illustrate our argument, we present case studies of three Sc…
The sampling continuum
This article argues for a view of popular music production that better accounts for sampling than has historically been the case by viewing it as a continuum of activity. Weighing evidence from interviews with musical practitioners against the legal and industry frameworks, we illustrate, first, how sampling has been legally differentiated from other types of musical copying. Secondly we show that, despite this, comparable ethical codes exist wit…
Copying, copyright and originality
With copyright becoming ever more important for business and government, this article argues for a more nuanced understanding of the practices and values associated with copying in popular music culture and advocates a more critical approach to notions of originality. Drawing from interviews with working musicians, this article challenges the approaches to copying and popular music that pitch corporate notions of piracy against creative sharing b…
Copy Rights
This article analyses the politics of copyright and copying. Copyright is an increasingly important driver of the modern economy, but this does not exhaust its significance. It matters, we argue, not just for the distribution of rewards and resources in the creative industries, but as a site within which established political concerns – collective and individual interests and identities – are articulated and negotiated and within which notions of…
The influence of capital expenditures on working capital management in the corporate sector of an emerging economy
Relying on firm-level panel data from an emerging economy, this study explores the impact of fixed capital expenditure on working capital management practices. When facing insufficient internally generated cash flows and external funds for accommodating capital investments, companies are found to finance capital expenditure by primarily depleting cash reserves and increasing trade payables. Corroborating the postulates of the financing constraint…
Going spare? Concert tickets, touting and cultural value
This article explores recent events around the secondary market for concert tickets in the UK. It first outlines the nature of the primary and secondary markets for concert tickets and then the story of attempts in the UK to regulate them over a twenty-year period, providing the political and industrial context. It moves on to examine key aspects of the political debates around tickets and the findings of enquiries into the subject – including th…
Making Live Music Count
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…
Music, Digitalization, and Democratic Elections
This article considers the position of music in UK General Elections. It begins by looking at mainstream Party Election Broadcasts, and then discusses the fragmentation of this electoral and musical landscape through the technological and communicative affordances of digital media. Considering campaigners as “produsers”, it examines how musical campaign content illustrates the shifting outputs of those operating within, and outside of, party poli…
Birmingham and the (International) Business of Live Music in Times of Covid-19
This article discusses the context of, and presents findings from, a project examining the live music sector in Birmingham, UK. This research is set against the backdrop of the broader socio-political impact of the ongoing COVID-19 pandemic, and links it to national and global contexts. We explore the live music ecology of Birmingham and highlight the interdependencies between the various musical and non-musical stakeholders in the context of the…
Customer complaint management and smart technology adoption by community water systems
Curating the music city
Since becoming a UNESCO ‘City of Music’ in 2008, Glasgow has sought to develop the tourism potential of its music scene. As potential beneficiaries, accommodation providers have facilitated the development of music tourism initiatives within the city, strategically positioning themselves as ambassadors for the city’s music. This article considers how three Glasgow hotels ‘curate’ the musical life of the city, presenting themselves as facilitators…
Sociology (13 works) · Political science (11 works) · Art (10 works) · Music History and Culture (10 works) · Cultural Industries and Urban Development (9 works) · Visual arts (9 works) · Law (8 works) · Computer Science (7 works) · Aesthetics (6 works) · Business (6 works)