Dit is overzicht van wetenschappelijke bronnen die ik gebruik in mijn onderzoek naar de impact van livemuizek op steden:

Aalst, I. V., & Melik, R. van. (2012). City festivals and urban development: does place matter? European Urban and Regional Studies, 19(2), 195–206. https://doi.org/10.1177/0969776411428746
Adhitya, S. (2018). Musical Cities. UCL Press. https://doi.org/10.14324/111.9781911576518
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. https://doi.org/10.1080/09548963.2015.1066073
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. https://doi.org/10.1080/15022250.2012.725276
Baird, P., & Scott, M. (2018). Towards an ideal typical live music city. City, Culture and Society. https://doi.org/10.1016/j.ccs.2018.03.003
Baker, A. (2019). The Great Music City: Exploring Music, Space and Identity. Springer International Publishing. https://doi.org/10.1007/978-3-319-96352-5
Baker, A. J. (2018). Melbourne (1835–1927): The Birth of a Music City. Journal of Australian Studies, 42(1), 101–115. https://doi.org/10.1080/14443058.2017.1388266
Baker, A. J. (2017). Algorithms to Assess Music Cities: Case Study—Melbourne as a Music Capital. SAGE Open, 7(1), 2158244017691801. https://doi.org/10.1177/2158244017691801
Baker, A. J. (n.d.). Music Scenes and Self Branding (Nashville and Austin). Journal of Popular Music Studies, 28(3), 334–355. https://doi.org/10.1111/jpms.12178
Ballico, C., & Carter, D. (2018). A state of constant prodding: live music, precarity and regulation. Cultural Trends, 27(3), 203–217. https://doi.org/10.1080/09548963.2018.1474007
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. https://doi.org/10.1108/14684521111176453
Behr, A., & Cloonan, M. (2020). Going spare? Concert tickets, touting and cultural value. International Journal of Cultural Policy, 26(1), 95–108. https://doi.org/10.1080/10286632.2018.1431224
Behr, A., Brennan, M., Cloonan, M., Frith, S., & Webster, E. (2016). Live Concert Performance: An Ecological Approach. Rock Music Studies, 3(1), 5–23. https://doi.org/10.1080/19401159.2015.1125633
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. https://doi.org/10.1080/10286632.2014.987668
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. https://doi.org/10.1080/03007766.2019.1627658
Bennett, L. (2012). Patterns of listening through social media: online fan engagement with the live music experience. Social Semiotics, 22(5), 545–557. https://doi.org/10.1080/10350330.2012.731897
Bennett, L. (2012). Patterns of listening through social media: online fan engagement with the live music experience. Social Semiotics, 22(5), 545–557. https://doi.org/10.1080/10350330.2012.731897
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. https://doi.org/10.1016/j.ccs.2020.100354
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. https://doi.org/10.1177/1206331215623217
Bennett, A., & Rogers, I. (2014). Street music, technology and the urban soundscape. Continuum, 28(4), 454–464. https://doi.org/10.1080/10304312.2014.893991
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. https://doi.org/10.1177/1749975510389726
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. https://doi.org/10.1016/s0016-7185(00)00007-5
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. https://doi.org/10.1108/IJEFM-03-2015-0014
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. https://doi.org/10.1080/07293682.2012.722556
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. https://doi.org/10.1016/j.ccs.2017.04.002
Bywater, M. (2007). Performing Spaces: Street Music and Public Territory. Twentieth-Century Music, 3(1), 97–120. https://doi.org/10.1017/s1478572207000345
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. https://doi.org/10.1080/10286632.2020.1830979
Chesher, C. (2007). Becoming the Milky Way: Mobile Phones and Actor Networks at a U2 Concert. Continuum, 21(2), 217–225. https://doi.org/10.1080/10304310701269065
Chrysagis, E. (2020). When means and ends coincide: on the value of DiY. Journal of Cultural Economy, 13(6), 743–757. https://doi.org/10.1080/17530350.2019.1646158
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. https://doi.org/10.1111/j.1533-1598.2007.00104.x
Cohen, S. (2012). Live music and urban landscape: mapping the beat in Liverpool. Social Semiotics, 22(5), 587–603. https://doi.org/10.1080/10350330.2012.731902
Cohen, S. (2012). Bubbles, Tracks, Borders and Lines: Mapping Music and Urban Landscape. Journal of the Royal Musical Association, 137(1), 135–170. https://doi.org/10.1080/02690403.2012.669939
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. https://doi.org/10.1177/2059799116630663
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. https://doi.org/10.1177/1354856517721808
Edwards, A. (2014). Brighton Sound? Cities, Music and Distinctiveness. In City Imaging: Regeneration, Renewal and Decay (pp. 195–199). Springer, Dordrecht. https://doi.org/10.1007/978-94-007-7235-9_15
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. https://doi.org/10.1177/1206331215595728
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. https://doi.org/10.1177/0739456X09354453
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. https://doi.org/10.1080/10350330.2012.731904
Frith, S. (2013). Live Music Exchange. Popular Music, 32(02), 297–301. https://doi.org/10.1017/s0261143013000068
Frith, S. (2007). Live music matters. Scottish Music Review, 1(1).
Frith, S. (2014). The value of live music. Ware Inszenierungen: Performance, Vermarktung Und Authentizität in Der Populären Musik, 39, 9. https://books.google.nl/books?hl=nl&lr=&id=ecjJBAAAQBAJ&oi=fnd&pg=PA9&dq=the+value+of+live+music&ots=YchSLdbimX&sig=cOhgZe5N4Q-R41Dqy1pZUbd-qQE

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