The Evolution of Taipei’s Music Industry: Cluster and Network Dynamics in the Innovation Practices of the Music Industry

Lin, C. Y.
Urban Studies

This paper aims to explore the spatial and organisational dynamics of innovation activities in the evolution of cultural industry using Taipei’s music industry as a case study. The existing literature has emphasised that innovation and creativity are driving the evolution of the cultural industry as a result of the spatial proximity effect gener- ated by production systems. However, few studies have examined the innovation prac- tices of the cultural industry resulting from interactive relationships between the urban cluster environment and the mobilisation process of project networks. An evo- lutionary perspective is used to illustrate how the cluster and network elements of the music industry are intertwined in innovation practices within the Taipei context. As a contribution to the cluster–network debates, this paper argues that the innovation dynamics of Taipei’s music industry are a hybrid feature of Taipei’s cluster environ- ment and the strategic competencies of music project networks rather than the local cluster effect. In conclusion, a different trajectory for the evolution of Taipei’s music industry is presented. Additionally, this dynamic process between cluster and network makes Taipei a hybrid creative platform that is an active element in the cultivation of the innovative competencies of Taipei’s music producers and related workers. 


The Role of Gatekeeping in the Music Industry: Why Intermediaries Remain Essential in the Digital Age

Tonon, J. C.
Presented at the DRUID

In this article, we study a two-sided market model of the music industry. Artists either self-distribute their music or sell it via online retailers, which act as gatekeepers by filtering bad music. We find good/bad artists and consumers to be equally well or better off by using gatekeepers due to the quality signaling function the intermediaries provide. Further, more good than bad artists choose traditional distribution via retailers because of the bad artists' relatively higher risk of not passing the gatekeeping mechanism. Despite its higher price and lower variety, also consumers generally prefer traditionally distributed music as its quality is assured. The findings may explain why still only few artists choose to bypass gatekeepers, inspite of the ease and low cost of self-distributing digital music. 

Conference paper

A Creative Industry In Transition: The rise of digitally-driven independent music production

Hracs, B. J.
Growth and Change

This paper nuances our understanding of the ongoing transition within the North American music industry. It extends the existing analysis of the so-called “MP3 Crisis” by exploring the ways in which digital technologies have challenged the entrenched power of the major record labels. In particular, new insights are offered based on interviews with music industry executives who have been active in shaping the industry's response to illegal file sharing. The paper also uses interview data from musicians to investigate the implications of restructuring at the macroscale on creative talent at the microscale. As such, it documents the structures and spatial dynamics of digitally driven independent music production in Canada for the first time.


Eksportundersøkelsen 2015

Gran, A.,
Torp, Ø.

 På oppdrag fra Music Norway har BI Centre for Creative Industries høsten 2015 gjennomført en webundersøkelse om musikkeksport blant 962 musikere.


Creativity and tourism: The State of the Art

Richards, G.
Annals of Tourism Research

The rapidly developing relationship between tourism and creativity, arguably heralds a ‘creative turn’ in tourism studies. Creativity has been employed to transform traditional cultural tourism, shifting from tangible heritage towards more intangible culture and greater involvement with the everyday life of the destination. The emergence of ‘creative tourism’ reflects the growing integration between tourism and different placemaking strategies, including promotion of the creative industries, creative cities and the ‘creative class’. Creative tourism is also arguably an escape route from the serial reproduction of mass cultural tourism, offering more flexible and authentic experiences which can be co-created between host and tourist. However the gathering critique also highlights the potential dangers of creative hype and commodification of everyday life.

Vitenskapelig artikkel

Destination Culture – Tourism, Museums, and Heritage

Kirshenblatt Gimblett, Barbara
University of California Press

Destination Culture takes the reader on an eye-opening journey from ethnological artifacts to kitsch. Posing the question, "What does it mean to show?" Barbara Kirshenblatt-Gimblett explores the agency of display in a variety of settings: museums, festivals, world's fairs, historical re-creations, memorials, and tourist attractions. She talks about how objects—and people—are made to "perform" their meaning for us by the very fact of being collected and exhibited, and about how specific techniques of display, not just the things shown, convey powerful messages. Her engaging analysis shows how museums compete with tourism in the production of "heritage." To make themselves profitable, museums are marketing themselves as tourist attractions. To make locations into destinations, tourism is staging the world as a museum of itself. Both promise to deliver heritage. Although heritage is marketed as something old, she argues that heritage is actually a new mode of cultural production that gives a second life to dying ways of life, economies, and places. The book concludes with a lively commentary on the "good taste/bad taste" debate in the ephemeral "museum of the life world," where everyone is a curator of sorts and the process of converting life into heritage begins.


En kartlegging av arrangementets økonomiske og kulturelle betydning

Spilling, O.R

I rapporten redegjøres for resultater av en publikumsundersøkelse ved Peer Gynt stemnet 1990. Arrangementet foregår årlig på Vinstra i Gudbrandsdalen. Stemnet er en kombinasjon av kulturelle og kommersielle arrangementer. Det gikk over ti dager og talte rundt tretti arrangementer, i tillegg kommer messe, utstillinger og tivoli. Blant arrangementene var det forestillingen “Peer Gynt i egen fjellheim” som vakte størst oppmerksomhet og trakk tilsammen rundt 5 000 tilskuere. Det totale publikum ved samtlige arrangementer ble anslått til 9 700. I rapporten gis det en redegjørelse for publikums sammensetning, deres økonomiske forbruk i tilknytning til arrangementet og arrangementets kulturelle verdi.


Event Tourism and Cultural Tourism

Dwyer, L,
Wickens, E

Event and cultural tourism as a social practice is a widespread phenomenon of global socio-economic importance. The purpose of the book is to bring together current thinking on contemporary issues relating to the management and marketing of cultural events and attractions. The contributions to the book provide interesting perspectives on a number of topics including innovation in festivals, destination and event image, cultural events and national identity, religious festival experiences, effective management and marketing of events. The book is divided into two broad themes: event tourism and cultural tourism. The Cultural Tourism theme covers issues such as: socio-cultural and environmental impacts of tourism development; tourist experiences, motivations and behavior; development of cultural tourism; hosts and guests; Community participation; living heritage; and destination image and branding. The Event Tourism theme covers issues such as economic, socio-cultural and environmental impacts; tourist experiences, motivations and behavior; development of event tourism; event management and sponsorship; destination image and branding; and planning and marketing hallmark events. The book is in response to the increasing demand for empirically-based case studies on event and cultural tourism and will appeal to both academics and practitioners. Case studies are also ideal as teaching material for both undergraduate and postgraduate programmes internationally. This book is a special double issue of the Journal of Hospitality Marketing and Management.


Event Tourism. Concepts, International, Case Studies and Research

Getz, D.
Cognizant Communication Corporation

Event Tourism: Concepts, International Case Studies, and Research has been an immediate addition to the recommended texts for the undergraduate and postgraduate event studies topics taught here at Flinders University. The field of event tourism has not been so thoroughly and forensically examined before. In addressing that gap, Donald Getz has provided a consistently strong text that identifies a way forward for the academic research community, for event industry practitioners and for tourism and event organisations alike. Getz argues for a paradigm shift in thinking about how a portfolio of events can be used to deliver a range of positive impacts: socio-cultural; environmental; and economic. It is a compelling read and will become another classic event text alongside many of his previous works." Steve Brown Head of Tourism Flinders University June 3, 2013 ----- "Donald Getz has produced a text that has been desperately needed in travel and tourism as well as in event management programs for some time. This is not only the first book connecting the fields of tourism and events, but it is a textbook that can be a valuable asset to event academics, practitioners, and students globally. Getz has succeeded in integrating the concepts and ideas from his previous book, Event Management & Event Tourism, along with the current research on tourism’s increasing awareness of the importance events play in successful tourism development. This book is intended for use as a text and as such will be a great tool for both students and academics. This well-written text reviews the current literature and research in both fields and is an excellent teaching resource. One of the strengths of this textbook is with its organization. The early chapters in the text provide students with the knowledge and background to understand Event Tourism. The text, which is organized around the notion of supply and demand, gives students a logical way of understanding the event industry from an event producer’s perspective. Getz addresses the very important topic of documenting event impact from both social and economic approaches. In addition, he provides insights related to guiding students through the event evaluation process. This book will enable students to learn and be tested on chapter concepts. To focus the students with respect to the content in a chapter he provides learning objectives at the beginning of each chapter and concludes with a summary and study questions. Each chapter also includes useful case studies that help to explain and emphasize the concepts presented in each chapter. These case studies will assist instructors with developing assignments to further apply the material. Finally, the author provides supplementary readings and online resources on the topics covered in the chapters. Overall, I would say any academic program in tourism and events should utilize this text in a course in Event Tourism in their curriculum if they want to ensure their students are prepared in one of the fastest growing segments of the tourism industry globally. I would recommend this book as a text to be used in Event Tourism." Kenneth F. Backman, Ph.D. Editor-in Chief, Event Management Professor, Clemson University June 2013


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