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dc.date.accessioned2018-07-27T16:15:37Z
dc.date.available2018-07-27T16:15:37Z
dc.date.issued2016
dc.identifierET2334
dc.identifier.citation(2016) Gatekeeping the live scene: Analysing the 'enthusiast' promoter's role in Glasgow and its function in sustaining a local live scene., no. 87.
dc.identifier.urihttps://eresearch.qmu.ac.uk/handle/20.500.12289/8232
dc.description.abstractIntroduction (part): Arvidsson (2008) states that today promoters are generally the people with the highest status within urban scenes. He makes this point because he believes that their work-ethic, knowledge and resources enable social production. This view is one I share. This dissertation is focused on one particular live music scene, and looks in closer detail at the backstage role of one of its most important, yet still undervalued, gatekeepers: the 'enthusiast' promoter. As Wallis and Malm (1984, p.120) understood, "culture cannot survive in urbanized societies without some money and some bureaucracy. The crucial link is human enthusiasm and action. Without this the finest goals of any cultural policy become worthless." It is from this point which I wish to research the role of the 'enthusiast' promoter, and to better understanding the local music ecology in which (s)he operates.
dc.format.extent87
dc.publisherQueen Margaret University
dc.titleGatekeeping the live scene: Analysing the 'enthusiast' promoter's role in Glasgow and its function in sustaining a local live scene.
dc.typeThesis
dcterms.accessRightsrestricted
dc.description.facultyba_med
dc.description.ispublishedunpub
dc.description.eprintid2334_etheses
rioxxterms.typeThesis
dc.description.statusunpub


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