Sonic City: The Evolving Economic Geography of the Music Industry

Florida, Richard; Jackson, Scott

doi:10.1177/0739456x09354453

Cited by 74 publications

(71 citation statements)

References 29 publications

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“…Creative industries need to focus on continuously monitoring trends and consumers' tastes in uncertain and rapidly changing markets (Caves, 2000). However, as they generally have extensive networks and are supported by information technology (IT) and social media, their markets are not necessarily limited by their location (Florida & Jackson, 2010). Therefore, one would expect creative industries to prefer urbanised areas and fairly advanced regions with good IT connectivity, and this will help them access both local and global markets.…”

Section: Potential Marketsmentioning

confidence: 99%

The location of creative industries in a developing country: The case of Indonesia

Fahmi

Koster

Dijk

2016

Cities

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This study examines the occurrence and spatial patterns of creative industries in the context of a developing country, specifically Indonesia. Our findings show that, in the context of Indonesia, it is crucial to distinguish between 'innovative' creative industries and 'traditional cultural' industries. The first category represents those that exploit new knowledge and intellectual property. The latter industries tend to preserve heritage values as selling points and, in Indonesia, they are actually much more significant in economic terms than creative industries and therefore should be taken into account. The spatial patterns of the two industries also differ. Creative industries are likely to concentrate in large urban regions, where innovation and cross-fertilisation of ideas can take place with the support of talent pooling and relatedness among niche producers. The Indonesian case is no exception. Meanwhile, traditional cultural industries are much less dependent on human capital and urbanisation economies. The results of this study suggest that policy strategies aimed at creative industries would be applicable in reasonably advanced regions provided they have sufficient human capital and economic diversification. In comparison, regions specialising in traditional cultural industries can adopt a different strategy to optimise the impact of these industries. Currently, the creative industry policy does not make this distinction.

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Section: Potential Marketsmentioning

confidence: 99%

The location of creative industries in a developing country: The case of Indonesia

Fahmi

Koster

Dijk

2016

Cities

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“…As it is advantageous for interacting agents to be located close to each other (Cummins-Russell and Rantisi, 2012) obvious spaces for clusters are the largest cities. The same kind of reasoning can be found in the works of Florida (2002), further elaborated directly in terms of the music industry (Florida and Jackson 2010; concerning the concentration of what he termed the ‛creative class' into cities with vibrant and tolerant living environments. The views on the dynamics of cultural industry clusters can be integrated with the Florida-type tendency of creative individuals wanting to live in large cities, which present abundant employment opportunities, concentration of other artists and increased demand.…”

Section: Clusters Creativity and Network: Music And The Economymentioning

confidence: 85%

“…The geographical analysis performed in this paper corresponds well to earlier theoretical contributions on creative individuals and knowledge bases (Asheim et al, 2007;Florida, 2002), and empirical studies concentrating on cultural and music industries in the Nordic countries as well as the United States (Florida and Jackson 2010;Power 2003). In Finland metal bands tend to cluster in the largest cities and in particular the Helsinki capital region.…”

Section: Discussionmentioning

confidence: 99%

Tales from the Thousand Lakes: Placing the Creative Network of Metal Music in Finland

Makkonen

2014

Environ Plan A

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Music in general and the music industry in particular have been understudied subjects in the field of geography. The relatively scarce amount of literature on music industries has concentrated its attention on companies operating inside the industry, and on popular music. There is a gap in the knowledge on the networking processes of individuals inside the music industry and the geographical dynamics of music genres. Thus, as a point of departure, this study focuses on the creative individuals of a distinct music genre, namely the bands and artists of the Finnish metal music genre, owing to the genre's international recognition and its importance in the Finnish economy and society. According to the analysis the metal bands in Finland tend to cluster in the largest cities. There are, however, some exceptions-very small municipalities (in terms of population) with a fair number of metal bands. Still, the capital Helsinki is the most prominent cluster of metal music in Finland. A further social network analysis reveals that the metal music cluster of Helsinki has a network of short average path length and a high degree of clustering. In other words, the members of the network function in close collaboration with each other. This notion was also verified by mapping the joint-career path of the most prolific (connected) individuals inside the network.

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“…The dynamics of the geography of music production is exemplified by Florida and Jackson (2010), who monitor the significance of various US regions between 1974 and 2004 and find considerable fluctuations. Some metropolitan areas have consolidated (New York, Los Angeles) or improved (Nashville) their central position for music employment and music-related business establishments, whereas others have suffered from economic setbacks and became less attractive for musical entrepreneurs (e.g., Memphis, New Orleans, Detroit).…”

Section: Theoretical Frameworkmentioning

confidence: 99%

“…Theories of "production of centrality" (see Janssen et al, 2008) and creative cities (Florida & Jackson, 2010) have emphasized how places of origin affect changes of success by having more or less attractive establishment climates due to available resources, relevant companies, and other facilities. Studies of popular culture have mapped how media critics shape the perception of cultural products in detail (Debenedetti, 2006;Schmutz et al, 2010;Kersten & Bielby, 2012).…”

Section: Introductionmentioning

confidence: 99%

The online place of popular music: Exploring the impact of geography and social media on pop artists’ mainstream media attention

Verboord

Noord

2016

Popular Communication

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Many authors have pointed to the internet's potential to increase connectivity across the world, which would imply an equalizing effect, yet few researchers have examined this. At the same time, the increasing usage of social media by popular culture celebrities for self-promotion has been signaled. We study the extent to which social media can reduce inequalities in mainstream media attention between artists from central cities in popular music production (e.g., New York, London) versus more peripheral cities. We distinguish between media attention by institutionally embedded music critics and lay users on the internet. The results show that artists coming from more central cities have higher chances to get attention in mainstream media-both by institutional critics and lay users-than artists from peripheral cities. Building a fan base on social media such as Facebook, Twitter, or MySpace can compensate for some of this inequality, but not for all of it. IntroductionRock 'n roll, and popular music in general, have traditionally been associated strongly with cities as loci of where new music is conceived, as is exemplified by the title of one of the earliest-and now classichistories of rock music: "The Sound of the City" (Gillett, 1970). Since then, scholars have shown how places matter in bringing together people (e.g., Connell & Gibson, 2003, 90ff;Lena, 2012), sounds and styles (Phillips, 2011), and businesses (Negus, 1992;Scott, 2000) to produce both artistically innovative and commercially viable music. However, the increasing popularity of the internet in the past decades has diminished the importance of geographical positioning. Or has it? A large body of authors has pointed to the internet's potential to increase connectivity across the world which would imply an equalizing effect (e.g., Anderson, 2006;Connell & Gibson, 2003), yet few authors have examined this. This article aims to study the extent to which various, different internet-based media 1 help reducing inequality between artists from central locations in popular music production versus more peripheral locations. More concretely, we examine how differences in mainstream media attention (both by institutional music critics and lay users) compare to pop artists' usage of social media (Facebook, MySpace, Twitter), and how this differs for artists of different geographical origin.It is evident that digitalization processes changed the structure and organization of the field of popular music significantly (e.g., Hesmondhalgh, 2012;Leyshon, 2009). The internet and especially social media platforms have made it easier to produce, disseminate, and consume popular music from all over the world (Baym & Ledbetter, 2009). This has led Wikström (2009, p. 10) to conclude that the current music industry is "characterized by high connectivity and little control; music is provided as a For the sake of readability we will also use the term "the internet" when we refer to internet-based media. However, we are aware that it is debatable whether the internet can b...

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Sonic City: The Evolving Economic Geography of the Music Industry

Cited by 74 publications

References 29 publications

The location of creative industries in a developing country: The case of Indonesia

The location of creative industries in a developing country: The case of Indonesia

Tales from the Thousand Lakes: Placing the Creative Network of Metal Music in Finland

The online place of popular music: Exploring the impact of geography and social media on pop artists’ mainstream media attention

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