Steering a review: some reflections on a gig

Abstract

This article both reports and reflects upon the author’s experience as part of the Steering Group on a project which attempted to map the main issues facing the music industries in Scotland. Through analysis of both the research and my role within it, the article seeks to address bigger questions about the role of academics in shaping music policy and suggests that the case study raises questions which resonate far beyond Scotland’s borders.

Keywords:

• popular music
• music policy
• academics
• popular music studies
• Scotland

Notes

1. These are the Royal Scottish National Orchestra, Scottish Opera, Scottish Ballet, the National Theatre of Scotland and the Scottish Chamber Orchestra. For a recent account of their work see Scottish Government (2012).

2. All citations from Creative Scotland (2011b).

3. The phrase the music industry in Scotland was the one we used in this research. However John Williamson and I subsequently developed a model of musical activities which suggests that it is better to think of music industries, plural, rather than a singular music industry. See Williamson and Cloonan (2007).

4. For a flavour of things see Cloonan et al. (2004).

5. For more see http://www.ekos-consultants.co.UK/.

6. For more see www.nodknowles.com/.

7. See Cloonan (2007) chapter 4 for some of the problems of previous reports.

8. Thomas was seconded from Creative Scotland to the SMIA. After one meeting he was replaced on the Steering Group by Stewart Henderson, chair of the SMIA.

9. In fact one of the consultants, Nod Knowles, had been Head of Music within the Scottish Arts Council at the time of our Mapping report and was interviewed for that report, as was another member of the Steering Group, Ian Smith of Creative Scotland, who was previously regional official for the Musicians’ Union in Scotland and had been interviewed in that capacity.

10. Creative Scotland, Scottish Government, Scottish Enterprise, Highlands and Islands Enterprise, SMIA, Scottish Music Centre, MU, Scottish Jazz Federation, Traditional Music, MCPS/PRS, Association of British Orchestras, Feisan nan Gaidheal, Higher Education, Further Education, Composers/Songwriters/Musicians/, Enterprise Music Scotland, Agents/Promoters, labels, Managers, Producers, Publishers/Distributors, Chamber ensembles, National Companies. Youth groups, Making Music Scotland, Piping, the armed forces, brass bands, festivals and venues.

11. See Page and Carey (2009, 2010 and 2011).

12. For details of the Youth Music Initiative in Scotland see www.creativescotland.com/funding/ymi.

13. Between 2006 and 2012 I managed the Glasgow-based band, Zoey Van Goey. See www.zoeyvangoey.com.

14. See www.Ref.ac.uk and Schlesinger (2013, p. 33).

15. For example consider Jo Dipple, who became Chief Executive of UK Music in November 2011 having joined them in 2008 as Senior Policy officer following previously worked in the press and in Downing Street’s Communications Unit.

16. The BPI represents the UK’s recording sector. See www.bpi.co.uk.

17. See www.gla.ac.UK/schools/cca/research/music/projectsandnetworks/livemusicproject/.