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And the hits just keep on coming: Music programming standardization in commercial radio
16 references·14 citing·37 second hop
And the hits just keep on coming: Music programming standardization in commercial radio (2000)And the hits just keep on coming: Music p…The iron cage revisited institutional isomorphism and collective rationality in organizational fields (2004)The iron cage revisited insti…The Global Jukebox: The International Music Industry (1997)The Global Jukebox: The Inter…Patterns of Competition: The Diffusion of a Market Position in Radio Broadcasting (1996)Patterns of Competition: The …"All Hits Are Flukes": Institutionalized Decision Making and the Rhetoric of Network Prime-Time Program Development (1994)"All Hits Are Flukes": Instit…Producing Pop: Culture and Conflict in the Popular Music Industry (1992)Producing Pop: Culture and Co…Keiretsu Networks in the Japanese Economy: A Dyad Analysis of Intercorporate Ties (1992)Keiretsu Networks in the Japa…Innovation and Diversity in the Popular Music Industry, 1969 to 1990 (1992)Innovation and Diversity in t…Institutional Change and the Transformation of Interorganizational Fields: An Organizational History of the U.S. Radio Broadcasting Industry (1991)Institutional Change and the …Popular Music and Communication. 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References

  • 1983The Iron Cage Revisited: Institutional Isomorphism and Collective Rationality in Organizational Fields38,372 cited
  • 2004The iron cage revisited institutional isomorphism and collective rationality in organizational fields25,805 cited
  • 1983The Iron Caged Revisited : Institutional Isomorphism and Collective Rationality in Organizational Fields9,047 cited
  • 1972Processing Fads and Fashions: An Organization-Set Analysis of Cultural Industry Systems1,345 cited
  • 1991Institutional Change and the Transformation of Interorganizational Fields: An Organizational History of the U.S. Radio Broadcasting Industry1,162 cited
  • 1985Concentration and Specialization: Dynamics of Niche Width in Populations of Organizations866 cited
  • 1975Cycles in Symbol Production: The Case of Popular Music594 cited
  • 1983Inside Prime Time478 cited
  • 1992Producing Pop: Culture and Conflict in the Popular Music Industry416 cited
  • 1992Innovation and Diversity in the Popular Music Industry, 1969 to 1990337 cited
  • 1994"All Hits Are Flukes": Institutionalized Decision Making and the Rhetoric of Network Prime-Time Program Development330 cited
  • 1996Patterns of Competition: The Diffusion of a Market Position in Radio Broadcasting299 cited
  • 1988Popular Music and Communication.291 cited
  • 1992Keiretsu Networks in the Japanese Economy: A Dyad Analysis of Intercorporate Ties

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276 cited
  • 1997The Global Jukebox: The International Music Industry245 cited
  • 1977Market Structure, the Creative Process, and Popular Culture: Toward an Organizational Reinterpretation of Mass‐Culture Theory213 cited
  • Cited by

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    • 2005Changing Market Information Regimes: A Case Study of the Transition to the BookScan Audience Measurement System in the U.S. Book Publishing Industry32 cited
    • 2010Chart Turnover and Sales in the Recorded Music Industry: 1990–200515 cited
    • 2022‘Just like us’: community radio broadcasters and the on-air performance of community identity14 cited
    • 2007The Sociology of Music13 cited
    • 2023Serendipity on radio and streaming: Between musical discovery and recognition9 cited
    • 2011The Mediatization of Music as the Emergence and Transformation of Institutions: A Synthesis9 cited
    • 2009Four Voices, One Canon?9 cited
    • 2021Trajectories of Consecration: Signature Style and the Pace of Category Spanning6 cited
    • 2020The annual music charts: the communal musical taste mix in Israel5 cited
    • 2014Performing the self : rappers, urban space and identity in Dar es Salaam5 cited
    • 2012Alan Freed still casts a long shadow: the persistence of payola and the ambiguous value of music4 cited
    • 2007Innovation and diversity in cultural sociology. Notes on Peterson and Berger's classic article4 cited
    • 2016Una mirada a la diversidad en las industrias radiofónica y musical en España4 cited