Introduction. The Queensland Government's Tackling Alcohol-Fuelled Violence (TAFV) Policy was met with concern from live music venue owners who feared decreased patronage and associated revenue. This study investigates the impact of the TAFV Policy on live music venues and performances in Fortitude Valley, an inner-city suburb of Brisbane, Australia recognised as a hub of live music performances. Methods. Data relating to live music venues and performances in Fortitude Valley for the 2000-2018 financial years were obtained from the Australasian Performing Right Association (APRA AMCOS), who maintains an online data portal allowing artists to enter performance details to collect royalty payments. These data were supplemented with six precinct mapping audits of live music venues operating in the Fortitude Valley Safe Night Precinct between July 2016 and September 2019. Results. APRA AMCOS data show increases in the number of reported live music performances and venues in Fortitude Valley between 2000 and 2019. Precinct mapping audits show minimal changes in the operation of live music venues in Fortitude Valley between 2016 and 2019. Discussion and Conclusions.As the first study to independently document the impact of licenced venue trading hour changes on live music, this study shows the number of live performances reported to APRA AMCOS and original live music venues trading in the Fortitude Valley Safe Night Precinct were unchanged by the introduction of the TAFV. The study highlights the value of using performance returns and venue audits to track live music in a contested policy space.

Maurice Ravel's operas L'Heure espagnole (1907/1911) and L'Enfant et les sortilèges (1919–25) are pivotal works in the composer's relatively small œuvre. Emerging from periods shaped by very distinct musical concerns and historical circumstances, these two vastly different works nevertheless share qualities that reveal the heart of Ravel's compositional aesthetic. In this comprehensive study, Emily Kilpatrick unites musical, literary, biographical and cultural perspectives to shed new light on Ravel's operas. In documenting the operas' history, setting them within the cultural canvas of their creation and pursuing diverse strands of analytical and thematic exploration, Kilpatrick reveals crucial aspects of the composer's working life: his approach to creative collaboration, his responsiveness to cultural, aesthetic and musical debate, and the centrality of language and literature in his compositional practice. The first study of its kind, this book is an invaluable resource for students, specialists, opera-goers and devotees of French music.

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Between 1869 and 1879 the Paris publisher Antoine Choudens issued twenty songs by the young composer Gabriel Fauré. These songs, the well-known "first collection" (they were published in volume form in 1879), include such gems as Après un rêve, Ici-bas , and the ever-fresh Le papillon et la fleur . In their chaotic array of manuscript and published sources, dating from the early 1860s to as late as 1908, they also pose numerous documentary and practical challenges for the scholar and the editor. Manuscript sources are traced for only half of the twenty songs, and not one of those served as engraver's copy: rather, they offer a mixture of drafts, early fair copies, presentation manuscripts and non-autograph copies. Printed sources for the songs meanwhile involve several different publishers, numerous editions, and multiple keys, creating a highly complex cocktail of variants. A dearth of documentation concerning the composition and early performances of the songs makes it unusually difficult even to establish such editorial starting points as reliable chronology and "original" keys. The present article complements and reflects the preparation of a new critical edition of Fauré's early songs, commissioned by Peters Edition, London. It explores the songs' idiosyncratic editorial challenges relative to contemporary norms of critical editing, proposes an editorial methodology that blends the scholarly with the practical, and considers the role of a critical edition in addressing performance practice and a reappraisal of the repertoire.

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