Copyright, contacts and acknowledgements

Publication details

Listening to music: people, practices and experiences has been Open Access funded by the Arts & Humanities Research Council (AHRC), grant AH/J013986/1. The collection has been edited by David Rowland and Helen Barlow, and subsequently prepared for online publication by the Knowledge Media Institute (KMi) of The Open University.

Published by:
The Open University
Walton Hall
Milton Keynes MK7 6AA

Copyright © The Open University
First published: July 2017
ISBN: 9781473023208


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Quoting materials

If quoting from this collection, we recommend you quote the source as: Helen Barlow and David Rowland (eds). Listening to music: people, practices and experiences, The Open University, 2017,, together with the date you accessed the site. If you are quoting a specific chapter from this collection, please identify the author, chapter title and the collection details (above).


We would like to thank our colleagues on the Listening Experience Database project team, Mathieu d’Aquin and Alessandro Adamou, and our editor Louise Reilly, for the hard work, care and creativity they have put into developing this online publication. Thanks also go to all those individuals identified within the collection chapters who have given permission for their photos and video clips to be used.

Photo acknowledgements

Unless specifically stated within the chapter, the Creative Commons Licence does not apply to these photos and video clips.

  • Main photo: Yes Music in the Amphitheater, students listening to music, 1970. Photo: © Ed Uthman.
  • Eva Moreda Rodriguez: Figure 1: Advertisement by Fonotipia and Odeón, including María Barrientos as one of their featured artists, published in La Vanguardia, 20 September 1908; Figure 2: Advertisement by Viuda de Aramburo, published in Blanco y negro on 22 May 1897; Figure 3: Advertisement by La Fonográfica Madrileña, published in ABC on 6 January 1909
  • Irene Pang: Figure 1: Map of Shanghai, 1937 (Source:, accessed 21 June 2017)
  • Fiona Richards: Figure 1: Yorkshire Training College of Music (Source unknown); Figure 2: High Stacks, Flamborough Head (Source: Geograph website,, accessed 1 June 2017; Copyright © Scott Robinson and licensed for reuse under the Creative Commons Licence,; Figure 3: Nun Appleton Hall (Source: Geograph website,, accessed 1 June 2017; copyright © Ian S and licensed for reuse under the Creative Commons Licence,; Figure 4: Paradise Gardens (Source: Drawing by Richard A. Bell, illustrating Baines’s diary entry 3 June 1918, designed for ‘The Yorkshire of William Baines’, Harrogate Festival Exhibition booklet, August 1972. With thanks to Richard A. Bell for permission to re-use in this chapter)
  • Simon Brown: Figure 3: Sir Edward Elgar and the London Symphony Orchestra on the platform of the Queen’s Hall (Source: Scanned from The Musical Times, vol. 52, No. 825, 1 November 1911, pp. 705–707.)
  • Ian Trowell, Figure 1: King’s Lynn Mart Fair 2014 with Albert Evans’ Waltzer (Source: Photograph © Ian Trowell); Figure 2: Albert Evans’ Waltzer steps and canopy, King’s Lynn Mart 2016 (Source: Photograph © Ian Trowell); Figure 3: Riding the edges of the Speedway Ark, Knutsford 1984 (Source: Photograph © Ian Trowell); Figure 4: Waltzer riders, 1984 (Source: Photograph © Ian Trowell); Figure 5: Albert Evans’ Waltzer car detail with Banararama, Retford Fair 1984 (Source: Photograph © Ian Trowell); Figure 6: Albert Evans’ Waltzer canopy detail with Donna Summer, King’s Lynn Mart 1984 (Source: Photograph © Ian Trowell); Video 1: Atmosphere Creator during Boston May Fair 2011 (Source: Copyright © David Wragg)
  • Robert Fraser: Figure 1: Transcription of Ewe drumming music (Source: A. M. Jones, Studies in African Music (1959), as reproduced in Robert Fraser, West African Poetry: A Critical History (1986)); Figure 2: Transcription of Ewe Agbadza dance (Source: Steve Reich, Writings on Music 1965–2000 (2002))

Every effort has been made to contact copyright holders.  If any have been inadvertently overlooked we will make the necessary arrangements at the next available opportunity.


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