This study examines the political economy of popular music\ud
policy initiatives during 1982-1996, when the Australian\ud
Labor Party was in government Federally and in the State of\ud
Victoria. Building on the cultural studies concept of\ud
articulation, the popular music formulation theory is\ud
proposed as the basis for examining the alignment of the\ud
fields of social and industry policy with the existing\ud
popular music industry. A series of case studies examine\ud
the ALP'S interest in popular music policy, the influence\ud
of Australian popular music achievements on the policy\ud
formation, the role of activists within the party and the\ud
subsequent inquiries and proposals that flowed from the\ud
party's concern to establish programs that would offer\ud
social provisioning outcomes. Using concepts derived from\ud
institutional economics, the thesis shows that the existing\ud
popular music industry, in particular multinational record\ud
companies, were disinclined to participate in and\ud
financially support the policies. Positive outcomes were\ud
realised in the creation of institutions such as Ausmusic,\ud
the Victorian Rock Foundation and The Push. Although\ud
dependent on public subsidy, some of the initiatives\ud
offered a new funding model, such as the failed blank tape\ud
levy. Alternatively, the examination of community music\ud
programs found that some local or micro projects generated\ud
industrial characteristics of their own, to become\ud
economically self-sufficient, rather than dependent on\ud
subsidies. Evidence that the private interests of the\ud
existing music industry determined their reluctance to\ud
participate in the policy programs became clear with the\ud
Prices Surveillance Authority's Inquiry Into the Prices of\ud
Sound Recordings in 1990. The research found that from 1982\ud
until Labor lost power in 1996, no effective method had\ud
been established for engaging the existing music industry\ud
in funding and supporting the policy initiatives. With the\ud
possible exception of the evolution of industrial\ud
characteristics within community music programs, no\ud
resolution to this policy failure is apparent