Tony Burke, federal arts minister, announced this week that the government would establish a National Live Music Office. Burke stated that the taskforce will. Partner with local governments, businesses, communities, musicians, and songwriters to remove barriers that prevent more acts from performing at venues across the country.
Ianto Ware is an experienced musician and coordinator who will be in charge of the office. It will be manage by the Australian Performing Rights Association (APRA). The office will be fund at A$560,000 per year. Each state will have a current music performance ambassador to represent their interests. A broad consultation approach is expect when you consider these facts.
This agenda addresses a variety of Australian planning regulations. These include strict security requirements, noise restrictions and prohibitive fees to license liquor. These restrictions, along with other regulations, threaten the viability of live performances venues. Another topic worth considering is the development and revitalization of a regional touring program.
According to APRA statistics, venue-based live music is worth $1.2 billion. This industry serves 42 million patrons, and provides significant employment opportunities. This is a strong economic argument for keeping live venues. You can read any article about the current music business to learn more about the financial drivers that drive music production and distribution. The Live Music Office will thus be focusing on profit and musical supply.
Live Music Landscape
As many bloggers want to point out, the current live music landscape changes at an alarming rate. The regulation and restrictions described above may have influenced some of the musical changes. However, loud gigs at pubs are no longer the main musical staple.
These smaller, more intimate performances spaces that air in grassroots settings are becoming increasingly popular. Positive artistic changes are often a reaction to dominant trends, and they often come from the most marginal corners of society. The office hopes to develop a plan that encourages that creative pulse.
The office’s proposed work has a community focus. This may lead to important financial and social goals. He commented on his role as NSW Live Music Ambassador and Hoodoo Gurus lead vocalist, Dave Faulkner. Music is as old as humankind itself. People gather together to make and enjoy music. Music is what unites us all.
Faulkner is right. Research is showing that music’s purpose is based on the connection it provides people. Think about the mutually beneficial effects of music on infants and adults. These behaviors offer adaptive value to both parties in the relationship and foster crucial feelings of attachment and emotional connection.
A toddler’s spontaneous song and dance is an extension to infant-directed musical mutuality. These musical behaviours are develop in adulthood in ritualized settings. These include group singing or playing musical instruments. Contemporary music is a socio-cultural experience that unites. Its cultural position makes it one of the most universal musical forms.
Harmonies And Rhythms
All of us have seen people synchronize with the harmonies and rhythms of our favourite artists. They sing, cry, and laugh together in this shared musical space. This is a completely different experience than the iPod.
Live music allows performers and audiences to engage in a dialogue. Although it is an effective social practice, I would not limit the support for live venues for contemporary music. Every musical genre has live performance value.
Music therapy can be practice in many musical styles. There is no denying that music therapy can improve well-being, from the consultation room to the community hall. Music engagement can lead to a lift in moods and a greater concentration.
Live music can have more meaning than just providing good gigging venues. They offer opportunities for artists to communicate with their audiences. Research has shown that music can have a greater impact on your health and well-being if you create it yourself. Seniors who hadn’t been involved in music before joined singing groups and saw great results. They had less visits to their GPs after two years of participating than their peers who were involved in other activities. The participants also felt more positive and were more active than before their music-making experience.
Music-making puts a lot of demands on the human central nervous system. The effects of brain plasticity on musicians are greater than those involved in other skilled activities, particularly those who begin music participation later in life.
Let’s promote live music spaces. Let’s not forget to offer support and opportunities to all musical tastes, backgrounds, and generations to help them learn how to make music. It makes economic, social and cultural sense to invest in music education.