Stephanie G. Mathis IantoWare, an experienced musician and coordinator, will manage the office. The Australian Performing Rights Association, APRA, will administer the office and fund it to the tune of A$560,000 for the next three years. The Australian Performing Rights Association (APRA) will help the office and support it with A$560,000 over the next three years. Each state will have an ambassador for contemporary music performances to represent their interests. A broad consultation is expected based on these facts.
The agenda aims to address a number of strict Australian planning laws, including noise restrictions, security requirements, and prohibitive licensing fees. These restrictions, along with other regulatory requirements, threaten the sustainability of live performance venues. Another hot topic is to revitalize and develop a regional tour plan.
APRA statistics show that venues-based live contemporary music contributes to a $1,2 billion industry. It employs 42 million people and services 42 million patrons. This is a strong economic argument for keeping live venues.
You can learn more about the business drivers behind music production and distribution by reading an article about the music industry. The Live Music Office’s focus will be on the musical supply and profits.
As many bloggers have reported, the live music landscape is changing at a rapid pace. Some of the changes in music may be a reaction to the regulations and restrictions described above. The once-dominant musical diet of pub gigs has waned.
The scene has seen the emergence of smaller and more intimate spaces that feature grassroots setups. Positive artistic changes are often a reaction to dominant trends, and they come from the most obscure parts of society. The office hopes to develop a strategy to encourage this ever-changing creative pulse.
The proposed work has a community focus. This will likely lead to important financial and social goals. Dave Faulkner, lead singer of Hoodoo Gurus and NSW Live Music ambassador, was informed about his new role.
A spiritual experience that is as old as the human race itself, people gathering together to make and enjoy music is an ancient one. Music is what unites us.
Faulkner was right. Research is proving that the function of music lies in the communion it provides people. Take, for example, the mutually developed sung utterances or lilting body rocking between an adult and an infant. These behaviors have adaptive value for the two participants, fostering feelings of emotional attachment and connection.
The spontaneous song-and-dance of a toddler extends the infant’s musical mutuality. In adult life, these musical behaviors are developed in contexts that are socially ritualized. This includes group singing and the playing of musical instruments. Contemporary music can be a socio-cultural experience that “unites.” The cultural importance of modern music makes it the most popular musical form.
We’ve seen people sing, cry, and laugh together in the same musical space. The experience is very different from the iPod.
Live music is still an important cultural and economic phenomenon. AAP/Tracey Nighmy
Live music creates a dialogue between performers and audiences. Live music is a powerful practice for social interaction, but it’s not limited to contemporary music. Live performances are valuable for all musical genres.
Music therapy can be practiced in a variety of musical styles. There is no doubt that music therapy improves well-being, whether it’s in the consultation room or the community hall. Music can lift moods and increase concentration.
Live music is not just about good venues for gigs. Artists and audiences can communicate through live music. According to research, the benefits of music increase when the individual creates the music. When seniors who hadn’t previously been involved in music, joined a singing class, they showed great benefits. They had made fewer trips to the GP after two years than their friends who took part in other activities. The participants also felt more positive and physically active than before their musical experiences.
The central nervous system of the musician is put under a lot of stress. Evidence indicates that brain plasticity is more prominent in musicians than in those involved in other skillful activities. This is especially true for those who begin music earlier in life.
Let’s promote live music venues. Let’s offer people of all ages, musical tastes, and backgrounds support and opportunities to make their own music. It makes sense to invest in a good music education from a social, cultural, and economic perspective.
