Gotowe bibliografie tematyczne / Australian music economy

Gotowa bibliografia na temat „Australian music economy”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 20 lutego 2023

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Artykuły w czasopismach na temat "Australian music economy"

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Homan, Shane. "A contemporary cultural policy for contemporary music?" Media International Australia 158, nr 1 (luty 2016): 37–47. http://dx.doi.org/10.1177/1329878x15622077.

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Creative Nation confirmed the shift by federal governments to viewing popular music as part of the Australian cultural economy, where the ‘contemporary music’ industries were expected to contribute to economic growth as much as providing a set of creative practices for musicians and audiences. In the 19 years between Creative Nation and Creative Australia, much has changed. This article examines relationships between the music industries, governments and audiences in three areas. First, it charts the funding of popular music within the broader cultural sector to illuminate the competing discourses and demands of the popular and classical music sectors in federal budgets. Second, it traces configurations of popular music and national identity as part of national policy. Third, the article explores how both national policy documents position Australian popular music amid global technological and regulatory shifts. As instruments of cultural nationalism, Creative Nation and Creative Australia are useful texts in assessing the opportunities and limits of nations in asserting coherent national strategies.
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McKay, Jim, i Toby Miller. "From Old Boys to Men and Women of the Corporation: The Americanization and Commodification of Australian Sport". Sociology of Sport Journal 8, nr 1 (marzec 1991): 86–94. http://dx.doi.org/10.1123/ssj.8.1.86.

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Although there are obvious American influences on Australian popular culture, the term “Americanization” is of limited help in explaining the elaborate form and content of Australian sport. The recent transformation from amateur to corporate sport in Australia has been determined by a complex array of internal and international social forces, including Australia’s polyethnic population, its semiperipheral status in the capitalist world system, its federal polity, and its membership in the Commonwealth of Nations. Americanization is only one manifestation of the integration of amateur and professional sport into the media industries, advertising agencies, and multinational corporations of the world market. Investment in sport by American, British, New Zealand, Japanese, and Australian multinational companies is part of their strategy of promoting “good corporate citizenship,” which also is evident in art, cinema, dance, music, education, and the recent bicentennial festivities. It is suggested that the political economy of Australian sport can best be analyzed by concepts such as “post-Fordism,” the globalization of consumerism, and the cultural logic of late capitalism, all of which transcend the confines of the United States.
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Graham, P., M. Dezuanni, A. Arthurs i G. Hearn. "A Deweyan Experience Economy for Higher Education: The Case of the Australian Indie 100 Music Event". Cultural Politics an International Journal 11, nr 1 (1.01.2015): 111–25. http://dx.doi.org/10.1215/17432197-2842457.

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Dumay, John, i James Guthrie. "IC and Strategy as Practice". International Journal of Knowledge and Systems Science 3, nr 4 (październik 2012): 28–37. http://dx.doi.org/10.4018/jkss.2012100103.

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The purpose of this paper is to provide insights into, and a critique of, the relationship between IC and different approaches to strategy in developing competitive advantage in the knowledge economy. The authors examine the ‘practice’ of developing strategy to offer a different view on thinking about strategy from an IC lens, using the example of an Australian music school. The paper is novel because it analyses critically how IC can apply to developing strategy and how to implement IC strategically in practice. IC and strategy have been evolving along parallel paths, converging along the concept of practice. The paper contributes to both the literature on strategy and IC by concluding that, rather than being concerned with becoming an IC or strategy “practitioner”, people should be concerned with becoming “participants” involved in developing the future and thus better connect to praxis in the workplace.
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Stokes, Jennifer, i John Pike. "Future ready? Engaging learners and building transferable skills through authentic assessment and digital literacy". Pacific Journal of Technology Enhanced Learning 4, nr 1 (13.02.2022): 46–47. http://dx.doi.org/10.24135/pjtel.v4i1.139.

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Students are excited by the possibilities presented through digital technologies and their applicability across a broad range of industries. Digital literacy has been identified as a foundational 21st Century skill by the Australian Government (2020, p. 4), which is ‘essential for individuals to participate effectively in today’s society’. The need for strong transferable skills has accelerated during the pandemic as many industries have migrated to digital contexts. Digital literacy is a transferable skill sought after by employers, alongside other emerging transferable skills required for 21st Century success, including critical thinking, creativity and problem-solving (FYA 2017, p. 8). In this paper, we will provide a case study of authentic assessment in an innovative digital literacy course at an Australian university, designed to support students from underrepresented backgrounds to build transferable skills for degree study and future careers. Authentic assessment provides opportunities for meaningful learning as students complete assessments aligned with their aspirations and career interests: ‘Authenticity automatically gives relevance to the learning journey; relevance encourages engagement and enthusiasm, which should bring about meaningful learning’ (ACEL 2016). The scaffolded course design focuses on embedding professional practice through authentic assessment. Recent student projects include: an infographic of wellbeing techniques for children designed for educational contexts, an informative website to support refugees, a share-economy inspired app for deep cleaning, an infographic on sustainable architecture, a blog on brand development, and a review of robot programming for IT students. We will provide strategies for authentic assessment through technology-enhanced learning, which will offer insight and inspiration for educators interested in adopting these approaches. Choice is a key element of course design, allowing students to demonstrate key concepts through the creation of unique and meaningful projects. First, students demonstrate threshold concepts, then they follow industry practice to pitch and produce an individual digital project. Course design is grounded in Universal Design for Learning (UDL) and enabling pedagogy (Stokes 2017). UDL techniques, including multiple modes of representation, action and expression, and engagement, support the learning of all students (CAST 2011). Enabling pedagogical approaches work to support the development of confidence, capability and agency, while valuing the strengths individual students bring (Stokes 2021). Students aiming for diverse fields have followed their interests to create digital projects aligned with their career aspirations, from game development to health apps, business sites to educational modules, critical digital reviews to music videos, animations to augmented and virtual reality content. Production work is negotiated with tutors, who provide guidance and mentorship, following a production company ethos. Students adhere to industry standards for copyright and ethical practice in assessments, while building their professional portfolio and skills for future success. The combination of digital literacy and authentic assessments motivates students to follow their passions and create digital products they care about. This approach has resulted in outstanding student evaluations and learning outcomes, above average retention, and institutional recognition through a Digital Learning citation. Importantly, this approach supports students to build professional skills and knowledge for emerging industries and future career opportunities. References ACEL. (2016). Authentic learning: what, why and how? e-Teaching, 10. http://www.acel.org.au/acel/ACEL_docs/Publications/e-Teaching/2016/e-Teaching_2016_10.pdf Australian Government. (2020). Foundation Skills for Your Future Program: Digital Literacy Skills Framework, Canberra: Commonwealth of Australia. Australian Technology Network. (2020). ATN joint statement on authentic assessment, Australian Technology Network. https://www.atn.edu.au/news-and-events/latest-news/atn-joint-statement-on-authentic-assessment CAST. (2011). Universal Design for Learning Guidelines Version 2.0. Massachusetts: Wakefield. Foundation for Young Australians (2017). The new work smarts. https://www.fya.org.au/report/the-new-work-smarts Stokes, J. (2017). Inclusion and engagement by design: Creating a digital literacy course to inspire diverse learners in an​ Australian university enabling program. International Studies in Widening Participation, 4(2), 65–78. https://novaojs.newcastle.edu.au/ceehe/index.php/iswp/article/download/85/103 ​ Stokes, J. (2021). Those skills to take on the world: developing capitals through university enabling programs. The International Journal of Learning in Higher Education, 28 (2), 133-146. DOI: 10.18848/2327-7955/CGP/v28i02/133-146
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Silsbury, Elizabeth. "Tertiary Music Education in Australia". British Journal of Music Education 5, nr 2 (lipiec 1988): 173–80. http://dx.doi.org/10.1017/s0265051700006513.

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During the Whitlam years, tertiary education burgeoned in Australia. Colleges of Advanced Education, most of them transformed Teachers' Colleges and unconvinced that their coaches would not turn out to be pumpkins after all, sprang up and/or expanded in city and country districts in all states. A national study carried out in 1977 showed that tertiary music and music education was everywhere healthy and in some places flourishing. In 1980 the Razor Gang went on a surgical rampage, perpetrating amalgamations in the name of economy on the GAEs, and forcing many of them into alliances as unwieldy as they were unholy. In 1987 a national review involving universities as well as GAEs was launched.Elizabeth Silsbury's article traces those changes, describes their effect on music and takes a punt on what might happen when the dust settles for the third time in less than 20 years.
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Barrett, Margaret S., Katie Zhukov, Joanne E. Brown i Graham F. Welch. "Evaluating the impact of a generalist teacher-led music program on early childhood school children’s singing skills and attitudes to music". Psychology of Music 48, nr 1 (16.08.2018): 120–36. http://dx.doi.org/10.1177/0305735618790355.

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This article reports on the impact of a generalist teacher-led music program on early childhood school children’s singing skills and attitudes to music. Singing tests and class surveys were administered to students in 11 Australian primary schools where music specialists mentored classroom teachers over the period of one to two school terms. The results show that implementing music activities in early education settings can positively impact young children’s singing skills and attitudes to music regardless of gender, ethnicity and socio-economic standing of the school. The study provides empirical evidence of the benefits accrued by children through access to music education.
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Gibson, Chris, i John Connell. "‘Bongo Fury’: tourism, music and cultural economy at Byron Bay, Australia". Tijdschrift voor economische en sociale geografie 94, nr 2 (maj 2003): 164–87. http://dx.doi.org/10.1111/1467-9663.00247.

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Kelly, Veronica. "The Globalized and the Local: Theatre in Australia and Aotearoa/New Zealand Enters the New Millennium". Theatre Research International 26, nr 1 (marzec 2001): 1–14. http://dx.doi.org/10.1017/s0307883301000013.

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Late in 1999 the Commonwealth of Australia's Department of Communications, Information Technology and the Arts released Securing the Future, the final Report of the Major Performing Arts Enquiry chaired by Helen Nugent (commonly referred to as the Nugent Report). The operations of the committee and the findings of the Report occasioned considerable public debate in the Australian arts world in the late 1990s, as the Enquiry solicited and analysed information and opinion on the financial health and artistic practices of thirty-one national major performing arts companies producing opera, ballet, chamber and orchestral music as well as theatre. The Report saw the financial viability of Australian live performance as deeply affected by the impact of globalization, especially by what elsewhere has been called ‘Baumol's disease’ – escalating technical, administrative and wage costs but fixed revenue – which threaten the subsidized state theatre companies of Brisbane, Adelaide and Perth with their relatively small population bases. The structural implementation recommended a considerable financial commitment by Commonwealth and State Governments to undertake a defined period of stabilizing and repositioning of companies. Early in 2000 both levels of Government committed themselves to this funding – in fact increasing Nugent's requested $52 million to $70 million – and to the principle of a strengthened Australia Council dispensing arms-length subsidy. In an economically philistine political environment, these outcomes are a tribute to Nugent's astute use of economic rhetoric to gain at least a symbolic victory for the performing arts sector. In 2000 New Zealand arts gained a similar major injection of funding, while a commissioned Heart of the Nation report, advocating the dilution of the principle of arm's-length funding through the abolition of the national funding organization Creative New Zealand, was rejected by Prime Minister Helen Clark.
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Homan, Shane. "Australian Music and the Parallel Importation Dedate". Media International Australia 91, nr 1 (maj 1999): 97–109. http://dx.doi.org/10.1177/1329878x9909100111.

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Despite vigorous protest from the local recording industry and musicians, the Australian federal government passed the Copyright Amendment Bill (No. 2) 1997 into law in June 1998. The Bill is designed to remove the neo-oligopolistic practices of the multinational recording companies, and reduce the prices of compact discs for local consumers. The music industry believes that the Bill removes the value of artists' copyright as the primary means of income and as a mechanism in identifying and protecting intellectual property. This article analyses the benefits and costs of the recent copyright changes, and the effects of consumer reform for local producers. It is argued that the music industry provides a rich site of tension in regard to global cultural economies, where notions of consumer sovereignty do not complement broader ideologies of cultural citizenship and economic nationalism.
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Rozprawy doktorskie na temat "Australian music economy"

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Rooney, David, i n/a. "Playing Second Fiddle: A History of the Relationship Between Technology and Organisation in the Australian Music Economy (1901-1990)". Griffith University. School of Arts, 1996. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050920.154417.

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This thesis is a socio-economic history of the relationship between music technology and organisational practices in twentieth-century Australia. It argues that the history of technology in the Australian music economy is dependent not only upon the changing technical characteristics of musical instruments and electronic consumer goods but also upon government policy-making, management practices in music technology manufacturing firms and patterns of music technology consumption. The thesis examines economic statistics regarding the import, export and local production of music technology in Australia. The economic statistics have not previously been examined in relation to the history of music technology in Australia. The historical analysis is structured according to a four-part periodisation which includes the Electric Age (1901-1930), the Electronic Age (1930-1950), the Transistor Age (1950-1970) and the Information Age (1970-1990). This periodisation enables the analysis to continually be refocussed as the key technological and socio-economic dynamics change. With this perspective, the history of the relationship between technology and organisation in the Australian music economy has been demonstrated to be dependent on a number of key technological changes. The thesis examines changes including the shift from acoustic to electric recording; the development of transistor-based consumer electronics goods; and the advent of digital information technology. However, a number of key social determinants, particularly organisational modes, are examined including changes from protectionist to more deregulated trade policy; lack of business skills in areas such as marketing, manufacturing technique and industrial research and development; and the development of a sense of popular modernity which is expressed in the consumption of new, technically advanced and glamorous music technology. In addition to the new perspectives on the history of music technology provided by the analysis of empirical economic data, this thesis contributes to the historiography of technology. The analytical framework it proposes locates music technology within what is described as an assemblage of technologies: technologies of production, technologies of sign systems, technologies of power and technologies of the self. This approach makes clear the interdependence of technological and social factors, and the inadequacy of narrow technological determinist and social constructivist accounts. The notion of an assemblage of technologies is further embellished by drawing upon key elements of recent theories of systems analysis: the seamless web, evolution and chaos theory. Through this analytical framework and the socio-economic analysis of the relationship between music technology and organisational practices, the thesis demonstrates that the history of technology cannot be understood unless it is seen as part of a complex and interacting technical, social, economic and institutional system.
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Rooney, David. "Playing Second Fiddle: A History of the Relationship Between Technology and Organisation in the Australian Music Economy (1901-1990)". Thesis, Griffith University, 1996. http://hdl.handle.net/10072/367206.

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This thesis is a socio-economic history of the relationship between music technology and organisational practices in twentieth-century Australia. It argues that the history of technology in the Australian music economy is dependent not only upon the changing technical characteristics of musical instruments and electronic consumer goods but also upon government policy-making, management practices in music technology manufacturing firms and patterns of music technology consumption. The thesis examines economic statistics regarding the import, export and local production of music technology in Australia. The economic statistics have not previously been examined in relation to the history of music technology in Australia. The historical analysis is structured according to a four-part periodisation which includes the Electric Age (1901-1930), the Electronic Age (1930-1950), the Transistor Age (1950-1970) and the Information Age (1970-1990). This periodisation enables the analysis to continually be refocussed as the key technological and socio-economic dynamics change. With this perspective, the history of the relationship between technology and organisation in the Australian music economy has been demonstrated to be dependent on a number of key technological changes. The thesis examines changes including the shift from acoustic to electric recording; the development of transistor-based consumer electronics goods; and the advent of digital information technology. However, a number of key social determinants, particularly organisational modes, are examined including changes from protectionist to more deregulated trade policy; lack of business skills in areas such as marketing, manufacturing technique and industrial research and development; and the development of a sense of popular modernity which is expressed in the consumption of new, technically advanced and glamorous music technology. In addition to the new perspectives on the history of music technology provided by the analysis of empirical economic data, this thesis contributes to the historiography of technology. The analytical framework it proposes locates music technology within what is described as an assemblage of technologies: technologies of production, technologies of sign systems, technologies of power and technologies of the self. This approach makes clear the interdependence of technological and social factors, and the inadequacy of narrow technological determinist and social constructivist accounts. The notion of an assemblage of technologies is further embellished by drawing upon key elements of recent theories of systems analysis: the seamless web, evolution and chaos theory. Through this analytical framework and the socio-economic analysis of the relationship between music technology and organisational practices, the thesis demonstrates that the history of technology cannot be understood unless it is seen as part of a complex and interacting technical, social, economic and institutional system.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts
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Cummings, Joanne, University of Western Sydney, College of Arts i School of Social Sciences. "Sold out ! : an ethnographic study of Australian indie music festivals". 2007. http://handle.uws.edu.au:8081/1959.7/35961.

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The focus of this sociological research is on the five most popular and commercially successful Australian indie music festivals: Livid, Big Day Out, the Falls festival, Homebake, and Splendour in the Grass. The three key features of Australian indie music festivals are, firstly, that they are multi-staged ticketed outdoor events, with clearly defined yet temporal boundaries. Secondly, the festivals have a youth-orientated focus yet are open to all ages. Finally, the festivals are primarily dominated by indie-guitar culture and music. My aim is to investigate how these music festivals are able to strike an apparently paradoxical balance between the creation of a temporal community, or network of festivalgoers, and the commodity of the festivals themselves. My research methodology utilises a postmodern approach to ethnography, which has allowed me to investigate the festivalgoers as an ‘insider researcher.’ Data was collected through a series of participant observations at Australian indie music festivals which included the use of photographs and field notes. In addition I conducted nineteen semi-structured interviews and two focus groups with festivalgoers and festival organisers. The thesis adopts a post-subcultural approach to investigating the festivalgoers as an ideal type of a neo-tribal grouping. Post-subculture theory deals with the dynamic, heterogeneous and fickle nature of contemporary alliances and individuals’ feelings of group ‘in-betweeness’ in late capitalist/ global consumer society. I argue that Maffesoli’s theory of neo-tribalism can shine new light on the relationships between youth, music and style. Music festivals are anchoring places for neo-tribal groupings like the festivalgoers as well as a commercialised event. An analysis of the festivalgoers’ ritual clothing (t-shirts as commodities), leads to the conclusion that the festivalgoers use t-shirts to engage in a process of identification. T-shirts, I argue, are an example of a linking image which creates both a sense of individualism as well as a connection to a collective identity or sociality. Through a case study of moshing and audience behaviour it is discovered that the festivalgoers develop neo-tribal sociality and identification with each other through their participation in indie music festivals. Although pleasure seems to be the foremost significant dimension of participating in these festivals, the festivalgoers nevertheless appear to have developed an innate sense of togetherness and neo-tribal sociality. The intensity and demanding experience of attending a festival fosters the opportunity for a sense of connectedness and belonging to develop among festivalgoers.
Doctor of Philosophy (PhD)
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Książki na temat "Australian music economy"

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Rock dogs: Politics and the Australian music industry. Sydney: Pluto Press, 1999.

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Lurrtjulu-la Palyanma: Let's keep doing it together. Kalgoorlie, W.A: Wilurarra Creative, 2010.

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Music Business And The Experience Economy. Springer-Verlag Berlin and Heidelberg GmbH &, 2013.

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Tschmuck, Peter, Steven Campbell i Philip L. Pearce. Music Business and the Experience Economy: The Australasian Case. Springer, 2013.

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Tschmuck, Peter, Steven Campbell i Philip L. Pearce. Music Business and the Experience Economy: The Australasian Case. Springer, 2015.

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Music Business and the Experience Economy: The Australasian Case. Springer, 2013.

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Breen, Marcus. Rock Dogs: Politics and the Australian Music Industry. Pluto Pr Australia, 2001.

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Breen, Marcus. Rock Dogs: Politics and the Australian Music Industry. Wyd. 2. University Press of America, 2006.

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McAlpine, Kenneth B. Netlabels and Real-World Festivals. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190496098.003.0009.

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This chapter explores how the infrastructure of the established music industry—the routes to market and, just as significantly, the gatekeepers who control them—emerged spontaneously as part of the chipscene, albeit with a noncommercial ethos, giving rise to an economy built on community esteem and authenticity. The chapter begins by exploring how diskmags and archives provided a way for fans to collect and share the music that they loved. Gathering together a complete collection of the video game music that fans loved—a common feature of fandom—and providing software players and emulators that allowed the music to be played on modern computer platforms enabled 8-bit music to be collected and shared. From these archives grew netlabels, online record labels that publish and distribute new music, and festivals, most significantly the Blip festival, which has grown into a major international event, with shows in North America, Europe, Japan, and Australia.
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Kayang And Me. Fremantle Arts Centre Press, 2005.

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Części książek na temat "Australian music economy"

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Murphy, Laurie, Andrea Schurmann i Gianna Moscardo. "Building Brands with Music: Australian Cases". W Music Business and the Experience Economy, 153–74. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_10.

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Campbell, Steven. "Australian Independent Music and the Experience Economy". W Music Business and the Experience Economy, 41–57. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_4.

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Graham, Phil. "Australian Copyright Regimes and Political Economy of Music". W Music Business and the Experience Economy, 11–26. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_2.

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Pearce, Philip L. "From Discord to Harmony: Connecting Australian Music and Business Through the Experience Economy". W Music Business and the Experience Economy, 1–9. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_1.

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Pearce, Philip L. "Australian Music and Aussie Team Sports: How the Experience Economy and the Score Interact". W Music Business and the Experience Economy, 175–88. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_11.

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Morrow, Guy. "The Influence of Dirty Pool on the Australian Live Music Industry: A Case Study of Boy & Bear". W Music Business and the Experience Economy, 135–52. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_9.

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Tschmuck, Peter. "Recorded Music Sales and Music Licencing in Australia, 2000–2011". W Music Business and the Experience Economy, 59–77. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_5.

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McCarthy, Breda. "The Landscape of Music Festivals in Australia". W Music Business and the Experience Economy, 119–34. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_8.

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McKenzie, Jordi. "P2P File-Sharing: How Does Music File-Sharing Affect Recorded Music Sales in Australia?" W Music Business and the Experience Economy, 79–97. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_6.

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Tschmuck, Peter. "The Valuation of Music in Australia: A Chart Analysis 1988–2011". W Music Business and the Experience Economy, 189–214. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_12.

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Raporty organizacyjne na temat "Australian music economy"

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Kerrigan, Susan, Phillip McIntyre i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan i Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, grudzień 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.
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McIntyre, Phillip, Susan Kerrigan i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.
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