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  Covid-19, Lockdown and the Impact on Live Music Performance and Audiences


   School of Arts and Creative Industries

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  Prof C Atton, Dr Calum Neill  No more applications being accepted  Self-Funded PhD Students Only

About the Project

The Covid-19 pandemic and the subsequent lockdown of many countries has meant the temporary closure of many of the world’s music venues and the cessation of live performances in the presence of audiences. There are obvious economic ramifications to such a situation, particularly in less mainstream genres in which artists depend much more on concert revenue for their income. Beyond the economic impact, though, the very removal of the possibility of the corporeally-present live performance will likely impact on both the musicians’ and the audience’s relationship to the music as well as the experience of music and how that is situated inand fuelsour broader cultural experience. It is perhaps not overstating the case to say that the lockdown experience of 2020 will not only have changed our experience within the bounds of that lockdown but will have quite likely changed our perception and experience of live musical performance for good. With musicians performing together but remotely, with audiences watching and listening live, but separated, each in their own home, new possibilities for the audience/performer relationship open up, just as taken-for-granted aspects of that experience and relationship close down. This PhD project will look to explore aspects of these changes, drawing on relevant theoretical frameworks to support an examination of a process very much still in progress.


Academic qualifications
A first degree (at least a 2.1) ideally in music, sociology or philosophy with a good fundamental knowledge of critical theory.

English language requirement
IELTS score must be at least 6.5 (with not less than 6.0 in each of the four components). Other, equivalent qualifications will be accepted. Full details of the University’s policy are available online.

Essential attributes:
• Experience of fundamental web-based research
• Competent in textual analysis
• Knowledge of music and performance theory
• Good written and oral communication skills
• Strong motivation, with evidence of independent research skills relevant to the project
• Good time management

Desirable attributes:
Independence and a willingness to think innovatively.


References

Indicative Bibliography Atton, C. (2012) Genre and the cultural politics of territory: the live experience of free improvisation. The European Journal of Cultural Studies.
Corness, G. (2008) The Musical Experience Through the Lens of Embodiment. Leonardo Music Journal.
Mckeon, E. (2011) Musical Perfomance and the Death Drive. Interference: A Journal of Audio Cultures.

 About the Project