Landscapes of performance and technological change: Music venues in Pittsburgh, Pennsylvania and Nashville, Tennessee
2016 (English)In: The Production and Consumption of Music in the Digital Age / [ed] Brian J. Hracs , Michael Seman, Tarek E. Virani, Taylor & Francis, 2016, p. 114-129Chapter in book (Other academic)
Abstract [en]
This chapter explores the impact of digitization on the makers of world music within the Paris cluster. It considers how actors within the Paris cluster of world music production and consumption respond to the arrival of digital formats and Internet distribution and the ways in which digitization affects the circulation of world music. The chapter discusses the collaborative and networked nature of production in the music industry. After unpacking the structure of the Paris world music art world, as a complex and multi-levelled scene and concludes by presenting the broader implications of our findings with respect to the relationship between types of art worlds and digitization. Based on in-depth interviews with key actors in the field, people explore how some actors within that cluster perceive digitization as helping to provide access to larger markets, while others fear the erosion of the layered experience world music gives, as a portal to other cultures and traditions.
Place, publisher, year, edition, pages
Taylor & Francis, 2016. p. 114-129
Series
Routledge Studies in Human Geography ; 58
National Category
Musicology
Research subject
Humanities, Musicology
Identifiers
URN: urn:nbn:se:lnu:diva-56172Scopus ID: 2-s2.0-84978520124ISBN: 9781317529644 (print)ISBN: 9781138851658 (print)OAI: oai:DiVA.org:lnu-56172DiVA, id: diva2:957493
Note
About the book
The economic geography of music is evolving as new digital technologies, organizational forms, market dynamics and consumer behavior continue to restructure the industry. This book is an international collection of case studies examining the spatial dynamics of today’s music industry. Drawing on research from a diverse range of cities such as Santiago, Toronto, Paris, New York, Amsterdam, London, and Berlin, this volume helps readers understand how the production and consumption of music is changing at multiple scales – from global firms to local entrepreneurs; and, in multiple settings – from established clusters to burgeoning scenes. The volume is divided into interrelated sections and offers an engaging and immersive look at today’s central players, processes, and spaces of music production and consumption. Academic students and researchers across the social sciences, including human geography, sociology, economics, and cultural studies, will find this volume helpful in answering questions about how and where music is financed, produced, marketed, distributed, curated and consumed in the digital age.
2016-09-022016-08-312024-05-28Bibliographically approved