Zack Moir
Edinburgh Napier University, Popular Music, Faculty Member
Definitions and roles of the promoter within the ecology of the music industries have over recent years become the subject of attention by academics working within the eld of popular music studies. It has become accepted that precise... more
Definitions and roles of the promoter within the ecology of the music industries have over recent years become the subject of attention by academics working within the eld of popular music studies. It has become accepted that precise definitions are difficult to apply, due to both the varied understanding of the term ‘promoter’, and the diverse nature of their activities. Where the promoter is the conduit between artist and audience, the ways and means by which this is manifested vary greatly between individuals, and the professional and personal circumstances in which they operate. Rather than further attempting to provide distinct definitions as applied to the promoter, this article aims to offer a nuanced examination of the motivations, professional networks and occupational challenges that contribute to the self-perceptions of five promoters working in the context of a local jazz scene within an undisclosed city in the United Kingdom.
Research Interests:
This article reports on a qualitative study of four undergraduate students specializing in popular music composition, and examines links and overlaps between three related areas: participants' interpretations and definitions of the term... more
This article reports on a qualitative study of four undergraduate students specializing in popular music composition, and examines links and overlaps between three related areas: participants' interpretations and definitions of the term 'composition'; their use of music technology; and how they describe their professional identities and roles in the creation of popular music. Findings suggest that the concept and practice of popular music composition are intrinsically tied to music production and the creation of a sonic product or artefact. Participants describe their roles in the creation of their music as multifarious, and report that usage of music technology involves them simultaneously engaging in activities associated with music composition, engineering , production and, especially, performance. Consequently, the authors (both lecturers in popular music composition) suggest that teaching, learning and assessment in this area of popular music education should be based on understanding popular music composition as performance-centred practice.
Research Interests:
... Please use this identifier to cite or link to this item: http://hdl.handle.net/1842/5528. This item has been viewed 3 times. Title: Towards the improvement of the musical experiences of cochlear implant users. Authors: Moir, Zack. ...