Paper $32.50 ISBN: 9780226738543 Will Publish November 2020
Cloth $100.00 ISBN: 9780226738406 Will Publish November 2020
E-book $32.50 Available for pre-order. ISBN: 9780226738680 Will Publish November 2020

Everyone Loves Live Music

A Theory of Performance Institutions

Fabian Holt

Everyone Loves Live Music

Fabian Holt

344 pages | 18 halftones, 5 tables | 6 x 9 | © 2020
Paper $32.50 ISBN: 9780226738543 Will Publish November 2020
Cloth $100.00 ISBN: 9780226738406 Will Publish November 2020
E-book $32.50 ISBN: 9780226738680 Will Publish November 2020

Every year, millions of music fans come from far and wide to swarm parks and fields to hear their favorite bands at festivals such as Lollapalooza, Coachella, and Glastonbury. How did these and countless other festivals across the globe evolve into glamorous pop culture events, and how are they changing our relationship to music, leisure, and public culture? In Everyone Loves Live Music, Fabian Holt looks beyond the marketing hype to show how festivals and other institutions of musical performance have evolved in recent decades, as sites that were once meaningful sources of community and culture are increasingly subsumed by corporate giants.

Examining a diverse range of cases across Europe and the United States, Holt upends commonly-held ideas of live music and introduces a pioneering theory of performance institutions. He explores the fascinating history of the club and the festival in San Francisco and New York, as well as a number of European cities. This book also explores the social forces shaping live music as small, independent venues become corporatized and as festivals transform to promote mainstream Anglophone culture and its consumerist trappings. Holt introduces a pioneering theory of performance institutions, providing insight into the broader relationship between culture and community in the twenty-first century. An engaging read for fans, industry professionals, and scholars alike, Everyone Loves Live Music reveals how our contemporary enthusiasm for live music is much more fraught than we would like to think.

Contents
Chapter 1. Introduction: The Social Study of Musical Performance Institutions
Chapter 2. Conceptualizing Musical Performance Culture

Clubs in Everyday Urban Life

Chapter 3. The Social Study of Music in Cities
Chapter 4. The Commercial Institutionalization of Rock Clubs in New York
Chapter 5. How Did Institutionalization Evolve in Europe?

Music Festivals in the Summer Season

Chapter 6. A Worldview History of Music Festivals
Chapter 7. The Evolution of Anglophone Global Culture
Chapter 8. Three Industry Evolutions That Changed Festival Culture
Chapter 9. New Media, New Festival Worlds
Chapter 10. Conclusion
 
Acknowledgments
Notes
Works Cited
Index
Review Quotes
David Hesmondhalgh, University of Leeds, author of Why Music Matters
“Many of us do indeed love music venues and summer music festivals, and in this book Holt does a terrific job of showing how even such beloved institutions are tied up with excessive commercialization, dubious policy developments and property speculation. That shouldn’t stop people from enjoyment, but it might help us understand our pleasures better by forestalling naïve assumptions that contemporary musical experience is innocently separate from the nastier elements of our capitalist societies.”
Anthony Seeger, University of California at Los Angeles
“This book is a highly original and quite brilliant approach to the study of musical performance institutions. I know of no other book that has such a broad perspective. Unique in its approach, ground-breaking in its objectives, Everyone Loves Live Music presents some fascinating information about both rock clubs and large rock festivals that make it a milestone and a point of reference for future studies.”
Gérôme Guibert, Sorbonne Nouvelle University
Everyone Loves Live Music provides original and relevant keys to understanding the extraordinary development of festivals, concerts and live shows and how they simultaneously serve as resources of community and authenticity among fans, objects of business investment, and tools of public policy of culture and tourism.”
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