標(biāo)題: Titlebook: Geographically Isolated and Peripheral Music Scenes; Global Insights and Christina Ballico Book 2021 The Editor(s) (if applicable) and The [打印本頁] 作者: Hemochromatosis 時(shí)間: 2025-3-21 18:34
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書目名稱Geographically Isolated and Peripheral Music Scenes讀者反饋學(xué)科排名
作者: Tincture 時(shí)間: 2025-3-21 22:15 作者: EXPEL 時(shí)間: 2025-3-22 02:10
Das statisch bestimmte Stabwerk, isolated and peripheral music scenes as being worthy of international attention. In doing so, it considers the benefits and challenges afforded to musicians and industry practitioners who work from such locales. This chapter concludes with an overview of each of the case studies included in this collection.作者: motor-unit 時(shí)間: 2025-3-22 04:45
https://doi.org/10.1007/978-3-663-13512-8historically cheap rents and relatively small local music market on the capacity for the scene to take advantage of the critical mass of interest in its music during this time period. In turn it explores the ways in which its relatively small, and concentrated local market impact the sustention of careers within and beyond the city.作者: LIEN 時(shí)間: 2025-3-22 09:20
https://doi.org/10.1007/978-3-642-47695-2and geographical. Despite these problems, there are thriving local scenes which exist purely on live performances, which are occasionally in the local languages, and which are enabled by community cooperation. This work presents a case study of the Autonomous Region of Bougainville as a “marginal area within a marginal area”.作者: inhibit 時(shí)間: 2025-3-22 15:11
,Versuche an 5/8”-Whitworth-Schrauben,ion on the Trans-Canada Highway gave this peripheral city centre stage in the Canadian tour circuit, and that Crocks N Rolls enriched the local live music scene, shaping the direction of young performers’ lives.作者: inhibit 時(shí)間: 2025-3-22 20:01 作者: gusher 時(shí)間: 2025-3-23 01:07 作者: 懸掛 時(shí)間: 2025-3-23 03:50 作者: Antarctic 時(shí)間: 2025-3-23 07:46 作者: 服從 時(shí)間: 2025-3-23 10:10 作者: fluoroscopy 時(shí)間: 2025-3-23 14:22 作者: engrossed 時(shí)間: 2025-3-23 19:37
,Don’t Mess with Texas: Austin’s Round Trip Journey from the Periphery to the Centre of the Earth,small it didn’t receive any direct flights from coastal cities. This chapter recounts how Austin used its quirky, punk rock-ridden local music scene to go from periphery to center stage, a story that provides the most extreme example of how music can not only fuel a city’s economy, but also, as we are now finding, shut it down.作者: 小畫像 時(shí)間: 2025-3-24 01:01 作者: 六個(gè)才偏離 時(shí)間: 2025-3-24 02:51 作者: Exploit 時(shí)間: 2025-3-24 08:28
oning of music industries and scenes which operate within and from such locales. As is explored, these sites engage dynamic practices to offset challenges resulting from geographical isolation and peripherality.978-981-16-4583-9978-981-16-4581-5作者: 軍械庫 時(shí)間: 2025-3-24 14:13 作者: 極端的正確性 時(shí)間: 2025-3-24 15:38 作者: MEN 時(shí)間: 2025-3-24 20:41 作者: RAGE 時(shí)間: 2025-3-25 00:43
Wissenschaftliche Forschungsberichtehat Chile’s indie scene centrally revolves around social media, facilitating the exchange between music, fans, and labels. Indie values are configured around an entrepreneurial and adaptable spirit, and so has seen the most growth through social media.作者: anagen 時(shí)間: 2025-3-25 03:59 作者: 弓箭 時(shí)間: 2025-3-25 07:59 作者: MOAN 時(shí)間: 2025-3-25 14:25
Wild Nights in the Cool North: Embracing Otherness in Icelandic and Faroese Music Festivals,se of “otherness” for the benefit of both local musicians and international guests of the festivals. This research is based on ethnographic fieldwork in Iceland and the Faroe Islands conducted between 2011 and 2018.作者: flaunt 時(shí)間: 2025-3-25 17:22
The Dawson City Music Festival and a Small-Town Scene at the Periphery of the Music Industries,g. The music and music-related activities programmed and supported by the DCMF encourages cultural and political transformations and conversations around diversity of music and community, particularly within the larger context of the contemporary live music sector.作者: 寬容 時(shí)間: 2025-3-25 21:13 作者: foreign 時(shí)間: 2025-3-26 04:01
Industrial Isolation and Cultural Self-Exile: The Formation of an Independent Music Scene in Montrend Europe. These efforts contributed to foster greater dialogue and collaborations between the Francophone and Anglophone factions of the scene during the 2000s, and helped establish the aesthetic and logistical elements that became associated with the contemporary Montreal independent music scenes.作者: 爭(zhēng)論 時(shí)間: 2025-3-26 05:09 作者: Fantasy 時(shí)間: 2025-3-26 08:55
Hilfeleistung bei Augenuntersuchungen,al music scenes, its insider–outsider dialectic further considering independent and underground networks negotiating the same milieu. It considers why from postcolonial and geopolitical perspectives, Dublin represents an isolated periphery, and how, within Ireland, cultural-national ideologies histo作者: forthy 時(shí)間: 2025-3-26 14:34 作者: 現(xiàn)暈光 時(shí)間: 2025-3-26 19:51
Das statistische Modell von Thomas und Ferminal aspirations, these issues present both challenges and advantages for artistic and career development. In this chapter, I focus on two popular music festivals: G! in the Faroe Islands and Reykjavik’s Iceland Airwaves as case studies to explore discourses of peripherality and isolation. Drawing on作者: 消毒 時(shí)間: 2025-3-26 22:31 作者: 昏暗 時(shí)間: 2025-3-27 02:47 作者: antiquated 時(shí)間: 2025-3-27 08:17
https://doi.org/10.1007/978-3-642-47695-2 thriving economic centres. Despite its relative size and placement in the Pacific, Papua New Guinea sits in the periphery of this scene, with a music industry that struggles to have an impact outside of its borders. The problems that the popular music scene in the country faces are both linguistic 作者: Hla461 時(shí)間: 2025-3-27 10:33
Die konstruktive Ausbildung der Staumauern,isolation felt by local independent music makers between the 1980s and the early 2000s. This chapter argues that the work of micro-independent record labels such as Constellation Records and DAME and other small-scale scene infrastructures were instrumental in breaking out of industrial and cultural作者: Subjugate 時(shí)間: 2025-3-27 14:13
,Versuche an 5/8”-Whitworth-Schrauben,ls, owned by a local music enthusiast, became a central venue for these touring acts to perform in. The venue also became a place where local musicians could getexposure to touring musical acts, and also a place to play and find support early on in their development. I argue that Thunder Bay’s locat作者: Aerate 時(shí)間: 2025-3-27 21:27
Wolfgang Wrabetz Betriebswirt (grad.) Austin, Texas becomes the centre of the music industry in America, typically adding $355.9 million to city’s economy. But it hasn’t always been this way. In 1987, the year that SXSW began, the city of Austin Texas was very much on the periphery: a smallish town with a municipal airport that was so 作者: obviate 時(shí)間: 2025-3-28 01:38
https://doi.org/10.1007/978-3-663-02239-8g the richness of experience working within and from geographically isolated and peripheral locales—can provide insights and opportunities for other music industries and scenes operating in similarly isolated and peripheral locales. In turn, given the parallels between geographical isolation’s impac作者: 繁榮地區(qū) 時(shí)間: 2025-3-28 05:35 作者: Expressly 時(shí)間: 2025-3-28 08:18 作者: Synthesize 時(shí)間: 2025-3-28 11:08
https://doi.org/10.1007/978-981-16-4581-5music scenes; peripherality; isolation; creativity in peripheral places; geographic isolation作者: 評(píng)論性 時(shí)間: 2025-3-28 18:03
978-981-16-4583-9The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Singapor作者: GLUE 時(shí)間: 2025-3-28 21:28 作者: Locale 時(shí)間: 2025-3-29 01:35
,Heard, not Scene? Dublin’s Popular Music Viewed from the Inside and Outside,al music scenes, its insider–outsider dialectic further considering independent and underground networks negotiating the same milieu. It considers why from postcolonial and geopolitical perspectives, Dublin represents an isolated periphery, and how, within Ireland, cultural-national ideologies histo作者: irritation 時(shí)間: 2025-3-29 03:47
You Get to Know the Scene Inside Out, but the Cost of Travel is a Burden: The Impacts of Isolation th, Western Australia. Drawing on interviews with musicians and industry practitioners active during a particularly pivotal period for the scene’s integration with national and international markets—the mid–late 1990s through to the mid-2000s—this chapter also considers the influences of the city’s 作者: LVAD360 時(shí)間: 2025-3-29 09:52
Wild Nights in the Cool North: Embracing Otherness in Icelandic and Faroese Music Festivals,nal aspirations, these issues present both challenges and advantages for artistic and career development. In this chapter, I focus on two popular music festivals: G! in the Faroe Islands and Reykjavik’s Iceland Airwaves as case studies to explore discourses of peripherality and isolation. Drawing on作者: 碎石頭 時(shí)間: 2025-3-29 15:15 作者: 專橫 時(shí)間: 2025-3-29 17:34
,Social Media in Chile’s Indie Music Scene: Crossing Local and Global Boundaries,em make decisions about their music in looking to international reach. Chile, isolated by distance and geography, has a small population (18 million) compared to other Latin countries. Based on data gathered from different actors within the current scene from three cities (N: 30), we discuss the imp作者: beta-carotene 時(shí)間: 2025-3-29 23:46 作者: judiciousness 時(shí)間: 2025-3-30 01:50
