Publication: The Sound of the Digital Global City
Loading...
Full text at PDC
Publication Date
2016
Authors
Advisors (or tutors)
Editors
Journal Title
Journal ISSN
Volume Title
Publisher
Citations
Exportar
Abstract
Madrid has been the center of Spanish musical scene and industry since the 80s, when “la movida” becomes the metaphor for the new colorful, young and cosmopolitan country established with the arrival of democracy.
The city, in this way, is basically a place. But this sense of place started to crash with the arrival of digital music. In the new paradigm, intermediaries were supposed to disappear and music was something contained in networks and computers. The question now is how to integrate digital music, a nonphysical, individual experience, with the way in which the city of Madrid is lived through in musical terms.
With the advent of digital music, concerts became the primary source of income for musicians. The centrality of the gig can be understood as the confirmation that we are living in an economy of experience. This centrality also reorganized the way in which music is produced and consumed: now, records are produced in order to create the opportunity of a musical event (band promote their tour as presentation of their latest recordings) that can be promoted in social networks and media; concerts are the places where musicians construct their fans’ communities and are the places were records are sold, not a way to know the band but to demonstrate both the support for the band and the status of the listeners. To study the place of music in the process of metropolization in Madrid we need to understand music as a field of tension
Description
UCM subjects
Unesco subjects
Keywords
Citation
Alvárez, D. (2015). Lo que hicimos fue secreto.: influencias subterráneas en la ciudad de Madrid. Master thesis. Universidad Rey Juan Carlos. Unpublished.
Anderson, C. (2008). The Long Tail: Why the Future of Business is Selling Less of More. London: Random House Business Books.
APM (2014). Anuario de la Música en Vivo. Madrid: APM http://www.apmusicales.com/anuario-de-la-musica-en-vivo-2014/
Barranco, J. (2012). El Primavera Club deja Barcelona y Madrid por el IVA y por la criminalización. La Vanguardia, published online 10 December 2012. http://www.lavanguardia.com/cultura/20121210/54357168158/primavera-club-dejabarcelona-madrid-iva-criminalizacion.html Accessed 20 June 2015.
Bustamante, E. and Rueda, F. (eds) (2014). Informe sobre el estado de la cultura en España 2014: la salida digital. Madrid: Fundación Alternativas.
Corroto, P. (2013). Le Parody: Spotify es un timo. ElDiario.es, published online 24 October 2013. http://www.eldiario.es/turing/Spotify-timo_0_187232052.html Accessed 20 June 2015.
Corroto, P. (2015). Concha Hernández ‘Conde Duque nunca va a estar en manos privadas’. ElDiario.es, published online 19 April 2015. http://www.eldiario.es/cultura/entrevistas/Concha-Hernandez-Conde-Duqueprivadas_0_378662407.html Accessed 20 June 2015.
Cruces, F. (2012). Jóvenes y corrientes culturales emergentes. In N. García Canclini, F. Cruces and M. Urteaga Castro Pozo (eds).
Cruz, N. (2011). Una semana en el motor de un autobús. Madrid : Lengua de Trapo.
Cruz, N. (2015). Pequeño circo. Historia oral del indie en España. Barcelona : Contra.
Feixa, C. (2015). De la generación @ a la #generación. La juventud en la era digital. Barcelona: NED.
Florida, R. (2012). The Rise of the Creative Class. New York: Basic Books.
Fouce, H. (2006). El futuro ya está aquí. Música pop y cambio cultural, Madrid: Velecío.
Fouce, H. (2011). Experiencias memorables en la era de la música instantánea. Análisi Monografic: 97-109 http://www.analisi.cat/index.php/analisi/article/view/m2012- fouce/m2012-fouce
Fouce, H. (2012). Crisis, reinvención y conflicto social en la industria musical. In J. Noya (ed.).
Fouce, H. (2014). El sector musical: leves esperanzas al borde del abismo. In: E. Bustamante and F. Rueda (eds).
García Canclini, N., Cruces, F., and M. Urteaga Castro Pozo (eds) (2012). Jóvenes, culturas urbanas y redes digitales: prácticas emergentes en las artes, las editoriales y la música. Madrid: Ariel - Fundación Telefónica.
Gil, P. (2015a). La ciudad de los mil grupos subterráneos. El Mundo, published online 28 February 2015. http://www.elmundo.es/madrid/2015/02/27/54f05d92ca4741c91e8b456b.html Special Issue Urbanities, Vol. 6 · No 1 · May 2016 Emerging Social Practices in Urban Space © 2016 Urbanities 88 Accessed 20 June 2015. Gil, P. (2015b). Conciertos clandestinos. El Mundo, published online 25 April 2015. http://www.elmundo.es/madrid/2015/04/25/553bcf30e2704e88138b456f.html , Accessed 17 June 2015.
Hernández, E. (2014). El fin de la clase media. Madrid: Clave Intelectual.
Hesmondhalgh, D. and Baker, S. (2011). Creative Labour. Media Work in Three Cultural Industries. New York: Routledge.
Lenore, V. (2013). Consecuencias culturales de la tragedia de Madrid Arena. El Confidencial, published online 1 November 2013. http://www.elconfidencial.com/cultura/2014-01- 11/la-industria-musical-oculta-la-muerte-del-disco_74830/ Accessed 20 June 2015.
Lenore, V. (2014a). La industria oculta la muerte del disco. El Confidencial, published online 11 January 2014. http://www.elconfidencial.com/cultura/2014-01-11/la-industriamusical-oculta-la-muerte-del-disco_74830/ Accessed 20 June 2015.
Lenore, V. (2014b). Orgía en Interecocomía. El indie español pierde el miedo a la política. El Confidencial, published online 10 March 2014. http://www.elconfidencial.com/cultura/2014-03-10/orgia-en-intereconomia-el-indieespanol-pierde-el-miedo-a-la-politica_98746/ Accessed 20 June 2015; and: http://www.elconfidencial.com/cultura/2013-11-01/consecuencias-culturales-de-latragedia-del-madrid-arena_48930/ Accessed 20 June 2015.
Méndez, R. & De Cozar, Á. (2013). La decadencia de Madrid. El País, published online 5 October 2013. http://politica.elpais.com/politica/2013/10/04/actualidad/1380911735_707943.html Accessed 20 June 2015.
Muñoz, F. (2010). Urbanalization: Common Landscapes, Global Places. The Open Urban Studies Journal, 3: 78-88.
Noya, J. (ed.) (2012). MUSYCA. Música, sociedad y creatividad artística. Madrid: Biblioteca Nueva. Promusicae (2014). Mercado de la música primer semestre 2014. Madrid:
Promusicae. http://www.promusicae.es/documents/viewfile/111-mercado-de-la-musica-1ersemestre-2014 Accessed 20 June 2015.
Rowan, J. (2010). Emprendizajes en cultura. Madrid: Traficantes de Sueños.
Saavedra, D. (2015). Juventud sin acceso, música sin futuro. LaFonoteca.net, published online 7 April 2015. http://lafonoteca.net/juventud-sin-acceso-musica-sin-futuro/ Accessed 7 June 2015.
Sanz, J. and Mateos, O. (2011). 15–M. Apuntes para el análisis de un movimiento en construcción. Revista de Fomento Social, 66: 517–544.
Sassen, S. (2001). The Global City: New York, London, Tokyo. Princeton, N.J. and Oxford: Princeton University Press.
SGAE (2014). Anuario SGAE de las artes escénicas y musicales. Madrid: Fundación SGAE http://www.anuariossgae.com/anuario2014/home.html
Val, Fernán del (2014). Rockeros insurgentes, modernos complacientes. Juventud, rock y Special Issue Urbanities, Vol. 6 · No 1 · May 2016 Emerging Social Practices in Urban Space © 2016 Urbanities 89 política en España (1975-85). Ph.D. Dissertation. Universidad Complutense de Madrid. http://eprints.ucm.es/29411/1/T35941.pdf Accessed 7 September 2015. YProductions (2009). Innovación en cultura. Madrid: Traficantes de Sueños.