Student music Paul Long Birmingham Centre for Media and Cultural Research, Birmingham City University, Birmingham, UK Abstract Purpose – This research aims to explore in detail aspects of the role and character of student unions as venues for live music in post-war Britain. Guiding questions ask: what part have student unions, entertainment officers and the wider body of students – in their role as consumers – played in the economics of the live music business? What is specific to the business of live music in student unions? How is this sector of activity related to national and local scenes, promoters, non-student audiences and the wider popular music culture and economy? Design/methodology/approach – The research draws upon formal and informally archived sources to formulate definitions and scope for research, tracing the historical emergence and fortunes of popular music programming in universities. Findings – The research traces a history of professionalization of music provision by students, a result of co-ordination efforts by the National Union of Students. It outlines the specific character of live music business in student unions as determined by its subsidized nature. Research limitations/implications – Sources for research are unevenly preserved and the scope of activity – historical and contemporary is considerable. Further empirical research is required in order to fully explore this important, if neglected area of cultural and economic activity. Originality/value – The role and character of student unions in the economy of the music industry is rarely considered and this paper offers set of concepts for further research and detailed historical insights into this sector of business. Keywords Live music, Music, Students, Universities, Popular music, Economy, United Kingdom Paper type Research paper Introduction “Rock Goes to College” was a BBC TV series broadcast across four series from 1978 to 1981. Echoing an earlier experiment, “Jazz Goes to College” (1966), the series recorded live concerts specially arranged at venues in UK institutions of higher education. Bands and venues included Rich Kids (Reading), AC/DC (Essex), The Police (Hatfield Polytechnic) and The Cars (Sussex). Despite the “rock” label, the inclusion of performances by bands such as The Crusaders (Colchester Institute), Spyro Gyra (Leeds), Average White Band (Surrey), UB40 (Keele) and The Specials (Colchester again), indicates a broad menu of music. Across genres, it encompassed inge ´nues of the post-punk new wave and established and sometimes challenging virtuosi such Robin Trower (ULU) and Bill Bruford (Oxford Poly)[1]. Nonetheless, a recognizable albeit elastic label that might serve for this motley, formulated independently of the TV series yet implicitly sanctioned by it, is “student music”. While the meaning and implications of “student music” are dealt with in the discussion that follows, the term, in tandem with the scope of the TV series, prompts reflections on a particular sector in the business of live music. The logic behind “Rock Goes to College” was one that took advantage of an established culture and infrastructure of audiences, venues and indeed a touring circuit for professional (and semi-professional) bands across the HE sector that invites investigation. What part have student unions, The current issue and full text archive of this journal is available at www.emeraldinsight.com/2044-2084.htm Arts Marketing: An International Journal Vol. 1 No. 2, 2011 pp. 121-135 r Emerald Group Publishing Limited 2044-2084 DOI 10.1108/20442081111180340 Thanks are due to those who aided the research for this paper, notably: Mike Day, NUS Scotland; Jez Collins, Birmingham Music Archive; Stephen Homer, Frances Pond, Paul Chapman and Rob Horrocks at BCU. 121 Student music