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Musical Aspirations and DIY/DIO Practices in Online Communities of Amateur Independent Filipino Songwriters
16 references·0 citing·41 second hop
Musical Aspirations and DIY/DIO Practices in Online Communities of Amateur Independent Filipino Songwriters (2022)Musical Aspirations and DIY/DIO Practices…The Routledge Companion to Digital Ethnography (2017)The Routledge Companion to Di…Cultural Intermediaries in the Digital Age: The Case of Independent Musicians and Managers in Toronto (2013)Cultural Intermediaries in th…Critique and Renewal in the Sociology of Music: Bourdieu and Beyond (2011)Critique and Renewal in the S…Digital Ethnography (2008)Digital EthnographyRethinking the music industry (2007)Rethinking the music industryMicro-independent record labels in the UK (2007)Micro-independent record labe…Towards Produsage: Futures for User-Led Content Production (2006)Towards Produsage: Futures fo…Music Scenes: Local, Translocal, and Virtual. (2006)Music Scenes: Local, Transloc…DIY: The Rise of Lo-Fi Culture (2005)DIY: The Rise of Lo-Fi CultureThe transformation of the music industry supply chain (2004)The transformation of the mus…Introducing Music Scenes (2004)Introducing Music ScenesINDIE: THE INSTITUTIONAL POLITICS AND AESTHETICS OF A POPULAR MUSIC GENRE (1999)INDIE: THE INSTITUTIONAL POLI…Communities of Practice (1998)Communities of PracticePopular music in theory: an introduction (1997)Popular music in theory: an i…Club Cultures: Music, Media and Subcultural Capital (1997)Club Cultures: Music, Media a…Club cultures: music, media and subcultural capital (1996)Club cultures: music, media a…Gatewatching: Collaborative Online News Production (2005)Produsage : Towards a Broader Framework for User-Led Content Creation (2007)The Future Is User-Led: The Path towards Widespread Produsage (2007)young children’s play in online virtual worlds (2010)Zoot Suits and Second-Hand Dresses (1989)Systems of articulation, logics of change: Communities and scenes in popular music (1991)Senseless acts of beauty: cultures of resistance since the sixties (1996)Free Labor (2000)Bourdieu, the media and cultural production (2006)Amateur experts (2009)The consequences of modernity (1990)Can Consumers Escape the Market? Emancipatory Illuminations from Burning Man (2002)The Forms of Capital (2002)Consumer Culture Theory (CCT): Twenty Years of Research (2005)Where Consumers Diverge from Others: Identity Signaling and Product Domains (2007)Distinction: A Social Critique of the Judgement of Taste* (2018)Social Research Methods: Qualitative and Quantitative Approaches (1991)Social Research Methods: Qualitative and Quantitative Approaches (2002)Netnography (2015)Digital Methods for Ethnography: Analytical Concepts for Ethnographers Exploring Social Media Environments (2017)Using internet video calls in qualitative (longitudinal) interviews: some implications for rapport (2017)An Introduction to Qualitative Research (2023)The Cambridge Companion to Pop and Rock (2001)The Firm Foundation of Organizational Flexibility: The 360 Contract in the Digitalizing Music Industry (2012)Why go to pop concerts? The motivations behind live music attendance (2016)What the digitalisation of music tells us about capitalism, culture and the power of the information technology sector (2017)The Production of Culture Perspective (2004)From exclusive to inclusive elitists and further: Twenty years of omnivorousness and cultural diversity in arts participation in the USA (2005)Heavy Genealogy: Mapping the Currents, Contraflows and Conflicts of the Emergent Field of Metal Studies, 1978-2010 (2011)Social Payments: Innovation, Trust, Bitcoin, and the Sharing Economy (2017)Netnography as a tool for understanding customers: implications for service research and practice (2018)Ethics of Authenticity: Social Media Influencers and the Production of Sponsored Content (2020)Expansive Learning at Work: Toward an activity theoretical reconceptualization (2001)Clusters and knowledge: local buzz, global pipelines and the process of knowledge creation (2004)Problem-Based Learning: What and How Do Students Learn? (2004)The US Recorded Music Industry: On the Relations between Organization, Location, and Creativity in the Cultural Economy (1999)Evolutionary Models of Music: From Sexual Selection to Group Selection (2000)Playing to the Crowd (2019)SUBCULTURES OR NEO‐TRIBES? RETHINKING THE RELATIONSHIP BETWEEN YOUTH, STYLE AND MUSICAL TASTE (1999)Signals in Social Supernets (2007)The commons: Infrastructures for troubling times* (2016)
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References

  • 1998Communities of Practice23,452 cited
  • 1996Club cultures: music, media and subcultural capital1,941 cited
  • 1997Club Cultures: Music, Media and Subcultural Capital1,504 cited
  • 2008Digital Ethnography870 cited
  • 2017The Routledge Companion to Digital Ethnography465 cited
  • 2006Towards Produsage: Futures for User-Led Content Production392 cited
  • 1997Popular music in theory: an introduction327 cited
  • 1999INDIE: THE INSTITUTIONAL POLITICS AND AESTHETICS OF A POPULAR MUSIC GENRE303 cited
  • 2006Music Scenes: Local, Translocal, and Virtual.287 cited
  • 2007Rethinking the music industry261 cited
  • 2004Introducing Music Scenes194 cited
  • 2011Critique and Renewal in the Sociology of Music: Bourdieu and Beyond139 cited
  • 2007Micro-independent record labels in the UK137 cited
  • 2005DIY: The Rise of Lo-Fi Culture133 cited
  • 2004The transformation of the music industry supply chain130 cited
  • 2013Cultural Intermediaries in the Digital Age: The Case of Independent Musicians and Managers in Toronto121 cited

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