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The Software Slump?: Digital Music, the Democratisation of Technology, and the Decline of the Recording Studio Sector within the Musical Economy
16 references·16 citing·40 second hopsampled
The Software Slump?: Digital Music, the Democratisation of Technology, and the Decline of the Recording Studio Sector within the Musical Economy (2009)The Software Slump?: Digital Music, the D…Music Genres and Corporate Cultures (2010)Music Genres and Corporate Cu…Clusters and knowledge: local buzz, global pipelines and the process of knowledge creation (2004)Clusters and knowledge: local…Buzz: face-to-face contact and the urban economy (2004)Buzz: face-to-face contact an…The future of ideas: the fate of the commons in a connected world (2002)The future of ideas: the fate…The automatic production of space (2002)The automatic production of s…Cool Projects, Boring Institutions: Temporary Collaboration in Social Context (2002)Cool Projects, Boring Institu…Global ethnography: forces, connections, and imaginations in a postmodern world (2001)Global ethnography: forces, c…Copyrights and Copywrongs: The Rise of Intellectual Property and How it Threatens Creativity (2001)Copyrights and Copywrongs: Th…The Cultural Economy of Cities: Essays on the Geography of Image-Producing Industries (2000)The Cultural Economy of Citie…Code and Other Laws of Cyberspace (1999)Code and Other Laws of Cybers…Paradox in Project-Based Enterprise: The Case of Film Making (1998)Paradox in Project-Based Ente…Noise, the Political Economy of Music (1989)Noise, the Political Economy …Noise... 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References

  • 1984The Managed Heart: Commercialization of Human Feeling8,746 cited
  • 2004Clusters and knowledge: local buzz, global pipelines and the process of knowledge creation4,459 cited
  • 1999Code and Other Laws of Cyberspace3,258 cited
  • 2004Buzz: face-to-face contact and the urban economy2,701 cited
  • 2002The future of ideas: the fate of the commons in a connected world1,042 cited
  • 2001Global ethnography: forces, connections, and imaginations in a postmodern world1,023 cited
  • 2002Cool Projects, Boring Institutions: Temporary Collaboration in Social Context855 cited
  • 1895Geographische Zeitschrift812 cited
  • 1998Paradox in Project-Based Enterprise: The Case of Film Making744 cited
  • 1989Noise, the Political Economy of Music710 cited
  • 1969The Annals of the American Academy of Political and Social Science.691 cited
  • 2001Copyrights and Copywrongs: The Rise of Intellectual Property and How it Threatens Creativity657 cited
  • 2000The Cultural Economy of Cities: Essays on the Geography of Image-Producing Industries627 cited
  • 1988Noise... The Political Economy of Music600 cited
  • 2010Music Genres and Corporate Cultures582 cited

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  • 2002The automatic production of space456 cited
  • Cited by

    • 2012A Creative Industry in Transition: The Rise of Digitally Driven Independent Music Production142 cited
    • 2013Cultural Intermediaries in the Digital Age: The Case of Independent Musicians and Managers in Toronto121 cited
    • 2010Music Scenes to Music Clusters: The Economic Geography of Music in the US, 1970–200099 cited
    • 2013Standing out in the Crowd: The Rise of Exclusivity-Based Strategies to Compete in the Contemporary Marketplace for Music and Fashion85 cited
    • 2009How Does Software Make Space? Exploring Some Geographical Dimensions of Pervasive Computing and Software Studies66 cited
    • 2014Tales from the Thousand Lakes: Placing the Creative Network of Metal Music in Finland63 cited
    • 2013Aesthetic labour in creative industries: the case of independent musicians in T oronto, C anada62 cited
    • 2019Production perspectives of heavy metal record producers60 cited
    • 2016Independent music production: how individuality, technology and creative entrepreneurship influence contemporary music industry practices58 cited
    • 2012Value Creation in Scene‐based Music Production: The Case of Electronic Club Music in G ermany55 cited
    • 2013Knowledge creation in the eco-system: Research imperatives51 cited
    • 2012The world according to iTunes: mapping urban networks of music production44 cited
    • 2020How Blind and Visually Impaired Composers, Producers, and Songwriters Leverage and Adapt Music Technology43 cited
    • 2011A tale of two scenes: civic capital and retaining musical talent in Toronto and Halifax39 cited
    • 2012Networks and place in Montreal's independent music industry38 cited
    • 2011Is the music industry stuck between rock and a hard place? The role of the Internet and three possible scenarios38 cited