This is an overview of literature I use in my research on the impact of live music on cities:

Aalst, I. V., & Melik, R. van. (2012). City festivals and urban development: does place matter? European Urban and Regional Studies, 19(2), 195–206.
Adhitya, S. (2018). Musical Cities. UCL Press.
Allington, D., Dueck, B., & Jordanous, A. (2015). Networks of value in electronic music: SoundCloud, London, and the importance of place. Cultural Trends, 24(3), 211–222.
Andersson, T. D., Armbrecht, J., & Lundberg, E. (2012). Estimating Use and Non-use Values of a Music Festival. Scandinavian Journal of Hospitality and Tourism, 12(3), 215–231.
Baird, P., & Scott, M. (2018). Towards an ideal typical live music city. City, Culture and Society.
Baker, A. (2019). The Great Music City: Exploring Music, Space and Identity. Springer International Publishing.
Baker, A. J. (2018). Melbourne (1835–1927): The Birth of a Music City. Journal of Australian Studies, 42(1), 101–115.
Baker, A. J. (2017). Algorithms to Assess Music Cities: Case Study—Melbourne as a Music Capital. SAGE Open, 7(1), 2158244017691801.
Baker, A. J. (n.d.). Music Scenes and Self Branding (Nashville and Austin). Journal of Popular Music Studies, 28(3), 334–355.
Ballico, C., & Carter, D. (2018). A state of constant prodding: live music, precarity and regulation. Cultural Trends, 27(3), 203–217.
Barber-Kersovan, A., Kirchberg, V., & Kucher, R. (Eds.). (2014). Music city: musikalische Annäherungen an die “kreative Stadt” = Musical approaches to the “creative city.” Transcript.
Beekhuyzen, J., Hellens, L. von, & Nielsen, S. (2011). Underground online music communities: exploring rules for membership. Online Information Review, 35(5), 699–715.
Behr, A., & Cloonan, M. (2020). Going spare? Concert tickets, touting and cultural value. International Journal of Cultural Policy, 26(1), 95–108.
Behr, A., Brennan, M., Cloonan, M., Frith, S., & Webster, E. (2016). Live Concert Performance: An Ecological Approach. Rock Music Studies, 3(1), 5–23.
Behr, A., Brennan, M., & Cloonan, M. (2016). Cultural value and cultural policy: some evidence from the world of live music. International Journal of Cultural Policy, 22(3), 403–418.
Behr, A., Webster, E., Brennan, M., Cloonan, M., & Ansell, J. (2019). Making Live Music Count: The UK Live Music Census. Popular Music and Society, 1–22.
Bennett, L. (2012). Patterns of listening through social media: online fan engagement with the live music experience. Social Semiotics, 22(5), 545–557.
Bennett, L. (2012). Patterns of listening through social media: online fan engagement with the live music experience. Social Semiotics, 22(5), 545–557.
Bennett, T. (2020). The justification of a music city: Handbooks, intermediaries and value disputes in a global policy assemblage. City, Culture and Society, 22, 100354.
Bennett, A., & Rogers, I. (2016). In the Scattered Fields of Memory: Unofficial Live Music Venues, Intangible Heritage, and the Recreation of the Musical Past. Space and Culture.
Bennett, A., & Rogers, I. (2014). Street music, technology and the urban soundscape. Continuum, 28(4), 454–464.
Bottà, G. (Ed.). (2016). Unsichtbare Landschaften: populäre Musik und Räumlichkeit = Invisible landscapes ; popular music and spatiality. Waxmann.
Bottà, G. (2008). Urban Creativity and Popular Music in Europe since the 1970s: Representation, Materiality, and Branding. Creative Urban Milieus: Historical Perspectives on Culture, Economy, and the City, 285–308.
Bottà, G. (2015). Dead industrial atmosphere: Popular music, cultural heritage and industrial cities. Journal of Urban Cultural Studies, 2(1–2), 107–119.
Bottero, W., & Crossley, N. (2011). Worlds, Fields and Networks: Becker, Bourdieu and the Structures of Social Relations. Cultural Sociology, 5(1), 99–119.
Brown, A., O’Connor, J., & Cohen, S. (2000). Local music policies within a global music industry: cultural quarters in Manchester and Sheffield. Geoforum, 31(4), 437–451.
Brown, S., Getz, D., Pettersson, R., & Wallstam, M. (2015). Event evaluation: definitions, concepts and a state of the art review. International Journal of Event and Festival Management, 6(2), 135–157.
Burke, M., & Schmidt, A. (2013). How should we plan and regulate live music in Australian cities? Learnings from Brisbane. Australian Planner, 50(1), 68–78.
Bürkner, H.-J., & Lange, B. (2017). Sonic capital and independent urban music production: Analysing value creation and ‘trial and error’ in the digital age. City, Culture and Society, 10, 33–40.
Bywater, M. (2007). Performing Spaces: Street Music and Public Territory. Twentieth-Century Music, 3(1), 97–120.
Carah, N., Regan, S., Goold, L., Rangiah, L., Miller, P., & Ferris, J. (2020). Original live music venues in hyper-commercialised nightlife precincts: exploring how venue owners and managers navigate cultural, commercial and regulatory forces. International Journal of Cultural Policy, 1–15.
Chesher, C. (2007). Becoming the Milky Way: Mobile Phones and Actor Networks at a U2 Concert. Continuum, 21(2), 217–225.
Chrysagis, E. (2020). When means and ends coincide: on the value of DiY. Journal of Cultural Economy, 13(6), 743–757.
Cohen, S. (2007). “Rock Landmark at Risk”: Popular Music, Urban Regeneration, and the Built Urban Environment. Journal of Popular Music Studies, 19(1), 3–25.
Cohen, S. (2012). Live music and urban landscape: mapping the beat in Liverpool. Social Semiotics, 22(5), 587–603.
Cohen, S. (2012). Bubbles, Tracks, Borders and Lines: Mapping Music and Urban Landscape. Journal of the Royal Musical Association, 137(1), 135–170.
Cohen, S., Schofield, J., & Lashua, B. (2010). Introduction to the special issue: music, characterization and urban space. Popular Music History, 4(2), 105–110.
Cros, H. D., & Jolliffe, L. (2014). The Arts and Events. Routledge.
Crossley, N., & Emms, R. (2016). Mapping the musical universe: A blockmodel of UK music festivals, 2011–2013. Methodological Innovations, 9.
Danielsen, A., & Kjus, Y. (2019). The mediated festival: Live music as trigger of streaming and social media engagement. Convergence: The International Journal of Research into New Media Technologies, 25(4), 714–734.
Darchen, S., Charrieras, D., & Willsteed, J. (2021). Electronic cities: music, policies and space in the 21st century.
Edwards, A. (2014). Brighton Sound? Cities, Music and Distinctiveness. In City Imaging: Regeneration, Renewal and Decay (pp. 195–199). Springer, Dordrecht.
Espinosa, C. S. (2016). Narrativizing Cities, Localizing Urban Memories: The (Re)Construction of Place Through Urban Cueca in Santiago de Chile (1990-2010). Space and Culture, 19(1), 94–109.
Evans, G. (2009). Creative cities, creative spaces and urban policy. Urban Studies, 46(5–6), 1003–1040.
Flew, T. (2008). Music, cities, and cultural and creative industries policy. In Sonic synergies: Music, technology, community, identity (pp. 7–16). Ashgate Publishing.
Florida, R., & Jackson, S. (2010). Sonic City: The Evolving Economic Geography of the Music Industry. Journal of Planning Education and Research, 29(3), 310–321.
Florida, R., Mellander, C., & Stolarick, K. (1980). Music Scenes to Music Clusters. The Royal Institute of Technology, 1–48.
Forbes, K. (2012). Glasgow as a live-music city: an analysis of the “legendary” Apollo venue and its audience. Social Semiotics, 22(5), 605–621.
Frith, S. (2013). Live Music Exchange. Popular Music, 32(02), 297–301.
Frith, S. (2007). Live music matters. Scottish Music Review, 1(1).
Live music literature

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