This paper came out of research undertaken with my BCMCR colleague Andrew Dubber and was published in the Journal of New Media Research. This research is indicative of the ethos of the BCMCR team; we seek to take an holistic approach that draws in both the evidence generated by our research activities and the experiences of our professional practice in new media environments to produce thought-provoking and innovative work that is of use to scholars and practitioners alike. Here, we analysed evidence gathered from online fan communities and explored the possibilities for live music promotion in the field of jazz.
My previous work with Andrew into the provision of specialist music services by the BBC was informed in part by our immersion in the culture of jazz music and the online environments. More recently, our colleague Simon Barber has completed a piece of research with jazz label Edition Records that examined their interaction with online audiences via social media and which directly resulted in the provision of practical assistance into the daily operations of the label.
Studying online fan cultures is a theme found in the work of other members of the BCMCR. Inge-Lise Bore and Jon Hickman have conducted work into the activities of television fans on social media, and my own work with Matt Grimes in to production of Anarcho-Punk webzines pays close attention to online fan cultures. The individual research work of Dave Harte and Paul Bradshaw into hyperlocal journalism is leading to further insights into the changing nature of media production that are now being integrated into our cirruculum at undergraduate and post-graduate level, and implemented in a number of other UK universities
My personal passion for jazz runs deep through my research work, past and present. My emerging body of collaborative work with Dr Paul Long into the mediation of televised music histories, during which we analyse the conditions under which such histories are produced by broadcasters, has resulted in a number of publications and conference papers that focus primarily on televised jazz histories.
Abstract: This article maps and theorizes online jazz fandom activities around live music, and then reports on applied experimental work that the authors undertook with jazz promoters and musicians to explore ways in which live music can be situated in the activities of online fandom. Three theoretical themes of online taste-maker-led fan communities, narratives of online fan experience, and modularization of content are explained and discussed. Two case studies, where the theoretical themes are applied to the practical needs of live events organizers, are then introduced, discussed and evaluated. The authors then draw conclusions about the extent to which an understanding of fan practices and the possibilities of online platforms can be combined to extend the experiences of live musical events into online experiences. They also consider the possible ways in which online media re-address a series of questions about narrative and narration, agency and subjectivity, expertise and accessibility.