The Production and Consumption of Music in the Digital Age

292 Pages·2016·3.483 MB·English

by  Brian J. Hracs, Michael Seman, Tarek E. Virani

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The Production and Consumption
of Music in the Digital Age
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2 The economic geography of music is evolving as new digital technologies,
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0 organizational forms, market dynamics, and consumer behavior continue
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: to restructure the industry. This book is an international collection of case
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1 studies examining the spatial dynamics of today’s music industry. Draw-
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a ing on research from a diverse range of cities such as Santiago, Toronto,

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o Paris, New York, Amsterdam, London, and Berlin, this volume helps read-
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e ers understand how the production and consumption of music is changing
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at multiple scales—from global firms to local entrepreneurs; and, in mul-
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a tiple settings—from established clusters to burgeoning scenes. The volume is
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a, divided into interrelated sections and offers an engaging and immersive look
i at today’s central players, processes, and spaces of music production and
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or consumption. Academic students and researchers across the social sciences,
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li including human geography, sociology, economics, and cultural studies, will
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C find this volume helpful in answering questions about how and where music

of is financed, produced, marketed, distributed, curated, and consumed in the
y digital age.
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v Brian J. Hracs is a lecturer in human geography at the University of
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n Southampton.
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b Michael Seman is a senior research associate at the University of North
d Texas Economics Research Group.
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o Tarek E. Virani is a post-doctoral research associate at Queen Mary Univer-
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This series provides a forum for innovative, vibrant, and critical debate within
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Edited by Mark Skinner and Neil Hanlon
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57 Access, Property and American Urban Space
M. Gordon Brown
58 The Production and Consumption of Music in the Digital Age
Edited by Brian J. Hracs, Michael Seman and Tarek E. Virani
The Production and
Consumption of Music
in the Digital Age
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2 Brian J. Hracs,
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0 Michael Seman and
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1 Tarek E. Virani
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First published 2016
by Routledge
711 Third Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2016 Taylor & Francis
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1 The right of the editors to be identified as the authors of the editorial material, and
0 of the authors for their individual chapters, has been asserted in accordance with
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y sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
a
M All rights reserved. No part of this book may be reprinted or reproduced or utilized in
any form or by any electronic, mechanical, or other means, now known or hereafter
2 invented, including photocopying and recording, or in any information storage or
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0 retrieval system, without permission in writing from the publishers.
2
: Trademark notice: Product or corporate names may be trademarks or registered
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1 trademarks, and are used only for identification and explanation without intent to
t infringe.
a
] Library of Congress Cataloging-in-Publication Data
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g Names: Hracs, Brian J. | Seman, Michael. | Virani, Tarek E.
e Title: The production and consumption of music in the digital age / edited by Brian J.
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D Hracs, Michael Seman and Tarek E. Virani.
n Description: New York, NY : Routledge, 2017. | Series: Routledge studies in human
Sa geography ; 58 | Includes bibliographical references and index.
ia, ISduebnjteicfitesr:s L: CLCSHC:N M 2u0s1i6c0—07S6o4c4ia l| IaSspBeNct 9s.7 |8 M11u3s8ic8i5a1n6s5—8Economic conditions. | Music
n trade. | Dissemination of music. | Music and the Internet. | Music and geography.
r
o Classification: LCC ML3916 .P63 2017 | DDC 338.4/778—dc23
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li LC record available at http://lccn.loc.gov/2016007644
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C ISBN: 978-1-138-85165-8 (hbk)
f ISBN: 978-1-315-72400-3 (ebk)
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Contents
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2 List of Figures ix
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0 List of Tables xi
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: Acknowledgments xiii
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e Introduction
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a 1 Introduction: The Evolving Economic Geography of Music 3
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a, BRIAN J. HRACS, MICHAEL SEMAN, AND TAREK E. VIRANI
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f PART II
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C Recording
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y 2 Laptops, Pro Tools, and File Transfer Protocols: On the
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s Intensification and Extensification of Recording Work in
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v the Digital Age 11
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U ALLAN WATSON
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b 3 Disturbing Production: The Effects of Digital Music
d Production on Music Studios 25
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a DAVID ARDITI
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o PART III
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Working
4 Working Harder and Working Smarter: The Survival
Strategies of Contemporary Independent Musicians 41
BRIAN J. HRACS
vi Contents
5 From Artist to Entrepreneur: The Working Lives of
London-Based Rappers 56
LAURA SPEERS
6 Hip-Hop Tunity: Challenges and Opportunities for Indie
Hip-Hop Artists in the Dutch Music Industry 71
JONI R. HAIJEN
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0 7 “Working at the Candy Factory”: The Limits of
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y Nonmonetary Rewards in Record Industry Careers 85
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M ALEXANDRE FRENETTE
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0 PART IV
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3: Playing
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] 8 The Resilience of a Local Music Scene in Dalston, London 101
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e TAREK E. VIRANI
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n 9 Landscapes of Performance and Technological Change:
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S Music Venues in Pittsburgh, Pennsylvania and Nashville,
a, Tennessee 114
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r OLA JOHANSSON, MARGARET M. GRIPSHOVER AND THOMAS L. BELL
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Ca 10 What’s the “Newport Effect”?: Music Festivals, Touring,
f and Reputations in the Digital Age 130
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y JONATHAN R. WYNN AND RODRIGO DOMINGUEZ-VILLEGAS
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e 11 Musicians and Temporary Spaces: The Case of Music
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ni Festivals in Sweden 144
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[ JOHAN JANSSON AND JIMI NILSSON
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o Distributing
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o 12 Exploring the “360 Degree” Blur: Digitization, Sonic
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Capital, and the Strategic Orientations of Electronic
Indie Labels 161
HANS-JOACHIM BÜRKNER
13 More Than Just Bytes?: Responses to Digitization in the
Paris Cluster of World Music Production 177
AMANDA BRANDELLERO AND ROBERT C. KLOOSTERMAN
Contents vii
14 Emotional Landscapes and the Evolution of Vinyl Record
Retail: A Case Study of Highland Park, Los Angeles 190
TYLER SONNICHSEN
15 Music Rights: Towards a Material Geography of Musical
Practices in the “Digital Age” 206
ANDY C. PRATT
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a Promoting and Consuming
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2 16 Unpacking the “Digital Habitus” of Music Fans in
0 Santiago’s Indie Music Scene 223
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3 ARTURO ARRIAGADA
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g The Rise of Algorithms and the Response of Journalists 237
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S 18 Leveraging Affect: Mobilizing Enthusiasm and the
a, Co-Production of the Musical Economy 248
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r ANDREW LEYSHON, NIGEL THRIFT, LOUISE CREWE,
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i SHAUN FRENCH, AND PETE WEBB
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o Contributors 263
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t Index 269
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Figures
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2 4.1 The Creative and Non-Creative Tasks of Independent
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0 Music Production 42
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: 9.1 Venues in Nashville (adapted by the authors from
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1 OpenStreetMap [© OpenStreetMap contributors,
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a http://www.openstreetmap.org/copyright]) 119
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o 9.2 Venues in Pittsburgh (adapted by the authors from
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e OpenStreetMap [© OpenStreetMap contributors,
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http://www.openstreetmap.org/copyright]) 120
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a 10.1 Top 20 Cities by Degree Centrality, 2012–2013 139
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a, 12.1 Track production: Small label combined with
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or 13.1 World music art worlds in Paris and their digitization
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li challenges 186
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of Los Angeles 197
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