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The real “crossroads” of live music – the conventions of performance at open mic nights in Edinburgh
15 references·10 citing·34 second hop
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References

  • 1996The Field of Cultural Production: Essays on Art and Literature4,672 cited
  • 2000Music in Everyday Life2,710 cited
  • 1997Performing rites: on the value of popular music1,310 cited
  • 1989The Hidden Musicians: Music-Making in an English Town455 cited
  • 2004Music Scenes437 cited
  • 2000Making Popular Music: Musicians, Creativity and Institutions382 cited
  • 1992Rock Culture in Liverpool: Popular Music in the Making.301 cited
  • 2007Rethinking the music industry261 cited
  • 1996Dissonant Identities: The Rock'n'Roll Scene in Austin, Texas241 cited
  • 2011Music Scenes: Local, Translocal, and Virtual229 cited
  • 2007Live Music Matters75 cited
  • 1991The Hidden Musicians: Music-Making in an English Town.69 cited
  • 2001Karaoke Nights: An Ethnographic Rhapsody47 cited
  • 1992Rock culture in Liverpool: popular music in the making47 cited
  • 2011Why Concert Promoters Matter39 cited

Cited by

  • 2016Gender, race, and the ma(s)king of ‘Joni Mitchell’14 cited

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  • 2016Musical gesture in the songs of Nick Drake14 cited
  • 2016Singer-songwriter authenticity, the unconscious and emotions (feat. Adele’s ‘Someone Like You’)9 cited
  • 2016The emergence of the singer-songwriter6 cited
  • 2016The Brill Building and the creative labour of the professional songwriter4 cited
  • 2016Singer-songwriters and fandom in the digital age4 cited
  • 2016The ‘professional’ singer-songwriter in the 1970s4 cited
  • 2016Sampling and storytelling: Kanye West’s vocal and sonic narratives4 cited
  • 2016Reconciling theory with practice in the teaching of songwriting4 cited
  • 2019Anything goes? Recognising norms, leadership and moderating behaviours at folk clubs in England3 cited