A musical nation: protection, investment and branding in the Irish music industry

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Notes

International Federation of the Phonographic Industry (IFPI), The Recording Industry in Numbers (IFPI, 2001).

Music Board of Ireland, Shaping the Future: A Strategic Plan for the Development of the Music Industry in Ireland (Music Board of Ireland, 2002), p. vii.

See Bernadette M. Quinn, The Value of the Live Music Industry—A Case Study of the Temple Bar Blues Festival, Working Paper no. 15 (University College, Dublin, Service Industries Research Centre, December 1995); and Bernadette M. Quinn, Musical Landscapes in the Representation of Place—The Case of Irish Tourism, Working Paper no. 19 (University College, Dublin, Service Industries Research Centre, January 1998).

Noel McLaughlin and Martin McLoone, ‘Hybridity and National Musics: The Case of Irish Rock Music’, Popular Music vol. 19, no. 2 (May 2000), pp. 181–200.

John Connell and Chris Gibson, Soundtracks: Popular Music, Identity and Place (Routledge, 2002), p. 154.

Bill Rolston, ‘ “This is Not a Rebel Song”: The Irish Conflict and Popular Music’, Race and Class vol. 42, no. 3 (2001), p. 53.

For example, Simpson Xavier Horwath Consulting, A Strategic Vision for the Irish Music Industry: A Submission to Government (Simpson Xavier Horwath Consulting, 1994); Music Industry Group, Striking the Right Note (Irish Business and Employers Confederation, 1995); and IBEC Music Industry Group, Raising the Volume: Policies to Expand the Irish Music Industry—A Submission to Government (Irish Business and Employers Confederation, 1998).

Shay Hennessy, Speech at formal launch of IMRO, Conrad Hotel (2 March 1998), reproduced at ⟨www.imro.ie/speeches⟩.

Simon Frith, ‘Popular Music Policy and the Articulation of Regional Identities: The Case of Scotland and Ireland’, in Music in Europe: A Study Carried Out by the European Music Office with Support of the European Commission (DGX) (European Music Office, 1996), p. 101.

Paul Williams, ‘Female Artists Head the List of Top‐selling UK Albums Abroad’, Music Week, 26 January 2002, p. 6.

Arjun Appadurai, ‘Disjuncture and Difference in the Global Cultural Economy’, in Global Culture: Nationalism, Globalization and Modernity, ed. Mike Featherstone (Sage, 1990), p. 307.

Bertie Ahern, Speech at formal launch of IMRO, Conrad Hotel (2 March 1998), reproduced at ⟨www.imro.ie/speeches⟩.

International Federation of the Phonographic Industries, The Music Industry in Ireland (IFPI, 1993). See also Simpson Xavier Horwath Consulting, A Strategic Vision, and Music Industry Group, Striking the Right Note.

FORTE, Access All Areas: Irish Music—An International Industry, Report to the Minister for Arts, Culture and the Gaeltacht (The Stationery Office, 1996).

See the submissions to government: Paula Clancy and Mary Twomey, The Irish Popular Music Industry: An Application of Porter's Cluster Analysis, Research Series Paper no. 2 (National Economic and Social Council, 1997) and Music Industry Group Raising the Volume (IBEC, 1998).

Niall Doyle, ‘Towards a National Music Policy’, in The Boydell Papers: Essays on Music and Music Policy in Ireland (Music Network, 1997), p. 20.

Interview with the authors (21 May 2003).

Music Board of Ireland, The Economic Significance of the Irish Music Industry (Music Board of Ireland, 2002), p. 17.

Music Board of Ireland, The Economic Significance of the Irish Music Industry, p. 24.

See Keith Negus, Producing Pop (Edward Arnold, 1992), and Michael Lewis Jones, ‘Organising Pop: Why So Few Pop Acts Make Pop Music’ (unpublished PhD thesis, University of Liverpool 1997).

Paul Hirsch, ‘Processing Fads and Fashions: An Organisation‐set Analysis of Cultural Industry Systems’ (1972), in On Record: Rock, Pop, and the Written Word, ed. Simon Frith and Andrew Goodwin (Routledge, 1990), pp. 127–139.

Interview with the authors (21 May 2003).

Music Board of Ireland, Shaping the Future, p. 34.

See, for example, Simpson Xavier Horwath Consulting, A Strategic Vision, p. 52, and IBEC Music Industry Group, Raising the Volume, p. 35.

Music Board of Ireland, The Economic Significance of the Irish Music Industry, pp. 2, 3.>

Although see the recent debate attending the cancellation of the London Fleadh in Summer 2003: Burhan Wazir, ‘Irish Acts in Doldrums as Festival is Axed’, Observer, 1 June 2003; Catherine Jackson, ‘How the Craic Cracked’, Guardian, 5 June 2003.