Scenekunst

Operasjon Operanasjon. Evaluering av region- og distriktsopera/musikkteater

Berge, O.K.,
Dahl Haugsevje, Å.,
Torvik Heian, M.,
Hylland, O.M.
381

Da Stortinget 15. juni 1999 vedtok at det skulle oppføres et operahus i Bjørvika, var dette en virkeliggjøring av en 100 år gammel drøm. Sjelden har en kulturpolitisk sak vekket så stor interesse i norsk offentlig samfunnsdebatt. Å bygge et nytt operahus forutsatte en stor statlig investering, og operadebatten dreide seg om prioritering og fordeling innad på kulturfeltet, mellom samfunnssektorer og ikke minst mellom Oslo og resten av landet. Stortinget besluttet denne dagen også å styrke operavirksomheten i landet for øvrig. I dag får 10 operainstitusjoner utenfor Oslo statlig støtte gjennom satsingen på region- og distriktsopera, og det produseres opera i alle landsdeler.  Denne rapporten presenterer resultatene fra evalueringen av den helhetlige kulturpolitiske satsingen på region- og distriktsopera og musikkteater. 

2016
Norge
Rapport
Scenekunst

The Willingness-to-Pay for the Royal Theatre in Copenhagen as a Public Good

Hansen, B.T.
Journal of cultural economics
21 (1), p 1-28

In this paper some of the results of a Contingent Valuation (CV)-Study of the Royal Theatre in Copenhagen, Denmark, are presented. The estimated aggregated willingness-to-pay (WTP) for the Royal Theatre through taxes shows that the Danish population wants to pay at least as much as the theatre receives in public subsidies. The visitors comprise only about 7 per cent of the total population, but the non-users' WTP is quite substantial which is the interesting point. It means that the non-users are willing to pay an option price and that the Royal Theatre has non-use value.

1997
Danmark
Vitenskapelig artikkel
Scenekunst

Utvikling av inspisient- og produsentkompetanse i Trøndelag

Rønningen, Lene Helland,
Krysinska, Mari Moe

Undersøkelse om produsentbehovet innen scenekunst i Trøndelag, og evaluering av produsentkurs i regi av Propellen Teater

Propellen Teater i Trondheim valgte våren 2016 å sette i gang et tiltak for å kartlegge markedet for kulturadministrasjon (produsent-/inspisient) med hovedfokus på scenekunstfeltet. Motivasjonen for kartleggingen, samt utviklingen av et kompetansehevende tiltak i form av kursing av nye, næringsdrivende innen kulturnæringsfeltet i Trøndelag, lå i et opplevd behov for flere produsenter og inspisienter i Trøndelag. 
På den ene siden hadde vi stadige forespørsler fra kulturfeltet i omegn som tok kontakt med oss for å høre om vi visste om noen som var ledige for oppdrag som produsenter-/inspisienter. Henvendelsene kommer fra både det frie feltet, festivaler og i noe grad også institusjonene i regionen.  Daglig leder og resten av styret i Propellen Teater har egne foretak som driver med scenekunstproduksjon, og har også flere prosjekter under utvikling der det er behov for noen med kompetanse på dette feltet.
I tillegg til det egne behovet, ønsket vi å kartlegge om dette var en ny utfordring, eller om behovet hadde eksistert over lengre tid, i form av en markedsundersøkelse. 
Vår undersøkelse er i hovedsak basert på et innsamlet materiale om behovet for ulike næringskompetanser i kunstnæringene – og utdanningene i Trøndelag. Materialet og analysen av dette ble utført av Lene Helland Rønningen (Fabularium Produksjoner/ Propellen teater), og professor Svein Gladsø (NTNU i forbindelse med et utredningsprosjekt om kunstutdanningene i Trøndelag.1 
Vi  vil i denne undersøkelsen dessuten presentere en evaluering av produsentkurset som ble holdt i regi av Propellen Teater våren 2016

2016
Norge
Rapport
Scenekunst

Theatres as risk societies: Performing artists balancing between artistic and economic risk

Kleppe, Bård
Poetics
Volume 64, October 2017, Pages 53-62

This paper examines how performing artists balance between economic and artistic risk-taking within the performing arts sector. The paper is based on a comparative study, including qualitative interviews with performing artists working in three different theatres in three different countries: England, Norway and the Netherlands. The paper discuss how different ways of organizing theatres and different theatre policy represent different systems of economic risk managing, and further how they facilitate artistic risk taking. The author identifies three different approaches to risk management in these three countries: a collectivization of risk, an institutionalization of risk and an individualization of risk. Theoretically, the paper makes use of, and criticizes the work sociology developed by Ulrich Becks and Richard Sennet, as well as welfare theory, including Esping-Andersen.

2017
Europa
Artikkel
Scenekunst

Økonomien i musikkdramatisk scenekunst

Theie, M. G.,
Løge, T. H.
Menon
Publikasjon 15/2018

Menon har gjennomført en analyse av økonomien i det musikkdramatiske scenekunstfeltet. Musikkdramatisk scenekunst skiller seg fra tradisjonelt teater og annen scenekunst ved at musikken er drivende for handlingen i stykket.

Analysen viser at musikkdramatisk scenekunst er en viktig bidragsyter til scenekunstfeltet. En tredjedel av de samlede billettinntektene til scenekunstfeltet kommer fra musikkdramatiske oppsetninger. Samtidig ser vi at musikkdramatiske oppsettinger er svært populære og at disse i gjennomsnitt genererer mer billettsalg enn andre oppsetninger. Samlet omsatte musikkdramatisk scenekunst for 1,4 milliarder kroner i 2016 – av dette utjorde billettinntektene om lag 340 millioner kroner.

2018
Norge
Rapport
Musikk

A rewarding experience? Exploring how crowdfunding is affecting music industry business models

Gamble, Jordan Robert,
Brennan, Michael,
McAdam, Rodney
Journal of Business Research
Volume 70, pages 25-36

This paper provides an exploratory study of how rewards-based crowdfunding affects business model development for music industry artists, labels and live sector companies. The empirical methodology incorporated a qualitative, semi-structured, three-stage interview design with fifty seven senior executives from industry crowdfunding platforms and three stakeholder groups. The results and analysis cover new research ground and provide conceptual models to develop theoretical foundations for further research in this field. The findings indicate that the financial model benefits of crowdfunding for independent artists are dependent on fan base demographic variables relating to age group and genre due to sustained apprehension from younger audiences. Furthermore, major labels are now considering a more user-centric financial model as an innovation strategy, and the impact of crowdfunding on their marketing model may already be initiating its development in terms of creativity, strength and artist relations.

2017
Vitenskapelig artikkel
Musikk

(Virke)apparatet bak musikken

Rykkja, A.
Kunnskapsverket
02/2017

Formålet med denne rapporten er å utrede og kartlegge i hvilken grad det nasjonale virkemiddelapparatet rettet mot musikkindustrien har virkemidler som svarer til virksomheters behov. Virksomhetenes behov for finansiering av drift, kompetanseheving og ulike drivere og barrierer for utvikling, særlig i forhold til internasjonalisering og eksport har blitt vektlagt i analyser.  Behov og ønsker er forsøkt avdekket gjennom en kvalitativ studie hvor 18 virksomheter, som har det til felles at de enten har mottatt Music Norways eksportprogram eller vært deltagere i det tilpassede FRAM programmet for musikkindustrien i regi av Innovasjon Norge og Music Norway, har deltatt.
Prosjektet er gjennomført i samarbeid med Music Norway og Buzzfond, som har bidratt med delfinansiering, kontakt med informanter og virksomhetene og personalressurser.

2017
Norge
Rapport
Musikk

Blues i det blå?

Heian, M. T.,
Åslund, A.
Telemarksforskning
TF-rapport 388

Denne rapporten handler om rekruttering, status og utvikling av blues i Norge. Initiativet for prosjektet er tatt av Europas Bluessenter (EBS), som ønsket å få mer kunnskap om bluesens status for å kunne videreutvikle virksomheten og opprettholde blues som en sterk merkevare på Notodden og i Telemark

2016
Norge
Rapport
Musikk

The music industry in the dawn of the 21st century

Álvarez Vázquez, R. R.
Kunnskapsverket
Rapport 02-2017

The music business, as any other business with a strong online presence or that relies on digital technologies for its advancement, has become much more complex and intricate in recent years and there are now many more stakeholders in the music “ecosystem” than 20 or 30 years ago.
Who are these stakeholders, how do they relate to each other and how do they influence the music network? With these questions in mind this working paper aims to review the current state-of-the-art on new business models in the music industry by carrying out a structural analysis. It looks into diverse examples to illustrate how the value chain of the music business has been transforming in recent years to accommodate for (mostly technological) innovations in terms of music creation, production, distribution and market development. This leads me to propose a model of a value network for the music industry that reflects all this. A model that aims to add to the ongoing discussion regarding the reshaping of the music industry and its understanding, serving as the basis for future development of more useful models and tools for the industry and the research community.
Lastly, I also analyze the Norwegian market in its current state to try to reveal opportunities and vulnerabilities in order to suggest key areas of development for the future, including the kind of government action possible and desirable in the musical arena.

2017
Rapport
Musikk

Danseglede og hverdagsliv: Etikk, estetikk og politikk i det norske dansebandfeltet

Stavrum, H.
Universitetet i Bergen, Bergen

This PhD thesis is an in-depth study on Norwegian dance band music and culture. Dance band can be defined both as a specific music genre with its own songs and lyrics, artists and aesthetic contents, and as a taste culture in a wider sense of the word, which includes festivals and events where the artists and their audience meet to dance, sing and celebrate the social and cultural values they share. Dancing to dance band music is the most central activity at the dance band festivals, but many people also attend the events in order to listen to their favorite bands and/or socialize with other fans and dancers present. Dance band culture also includes magazines and internet communities where the fans and lovers of dance band music read about their favorite artists and discuss their interest. The research object of this thesis is not just the musical genre of dance band; it is dance band culture in a wider sense of the word, as a whole set of social practices and aesthetic expressions. By using Bourdieu’s concept of field, the research object of the thesis is defined as the field of dance band.

 

Dance band music is a popular cultural expression in Norway, in the sense that a large number of people listen to and dance to the music, buy records and attend events where the music is performed. But dance band music does not enjoy a high status in the field of culture as such: Critics tend to describe it as bad taste, simple, commercial and of poor quality. The artists performing it are not included in any official cultural policy plans or funding systems, as is the case for musicians from almost every other musical genre in Norway. As a consequence of the disparagement of dance band music and culture it has not yet been the object of much research. A few Norwegian and Swedish studies, however, confirm the position of the dance band in the lower part of the cultural hierarchy. According to present cultural statistics, those who listen to dance band music are working class people with low education living in rural areas. Furthermore, the aesthetic content of the dance band music is described as classically lowbrow, in the sense that it is characterised by following strict conventional formulas rather than being artistically experimental, and that the music promotes functional use and involvement rather than distance and critical reflection.

 

The departure point of this thesis is the people in the field of dance band; those who love to listen to and dance to dance band music, and those who perform and promote this music. The aim of the thesis is to analyze how these people experience being part of a popular and widespread, but devalued part of Norwegian culture.

 

The main research question of the thesis is: What social and aesthetical values and distinctions are present in the field of dance band in Norway, and how do these values and distinctions contribute to establishing a social community in the field?

 

The main question is elaborated through four sub questions:

    1) What is the meaning and function of dance band festivals in relation to the wider field of dance band?

    2) How do the statements and practices of the participants at the dance band festivals and events contribute to establishing certain taste distinctions in the field of dance band?

    3) How do the discussions on quality and artistic recognition in dance band music relate to the general social values of the field of dance band?

    4) How does the devalued position of the field of dance band in the Norwegian field of culture affect the construction of a community among the participants in the field?

The thesis is based on empirical data from participant observation at events in the field of dance band, such as festival and public dances, through qualitative interviews with central persons in the field (dance band musicians, dancers, fans), and through qualitative analysis of magazine texts about dance band music and culture.

2014
Norge
Doktoravhandling
Antall publikasjoner i denne databasen: 18

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