Districts and networks in the digital generation music scene in Mexico City

REFERENCES

• Anaya, B. (1999). Neozapatismo y rock mexicano [Neozapatism and Mexican rock]. Mexico: Ediciones La Cuadrilla de la Langosta.
   Google Scholar
• Arana, F. (1985). Guaraches de ante azul [Blue suede sandals]. México, D.F.: Editorial Posada.
   Google Scholar
• Bennett, A., & Peterson, R. A. (2004). Music scenes: Local, translocal and virtual. Nashville: Vanderbilt University Press.
   Google Scholar
• Blum, A. (2003). The imaginative structure of the city. Montreal: McGill Queen’s University Press.
   Google Scholar
• Borgatti, S. P., Everett, M. G., & Johnson, J. C. (2013). Analyzing social networks. London: SAGE Publications Limited.
   Google Scholar
• Braunerhjelm, P. (2009). The genesis and evolution of the Stockholm music cluster. In C. Karlsson, A. E. Andersson, P. C. Cheshire, & R. R. Stough (Eds.), New directions in regional economic development (pp. 385–408). Berlin: Springer Berlin Heidelberg.
   Google Scholar
• Burke, M. I., & Schmidt, A. (2009). The death and life of great Australian music: Planning for live music venues in Australian cities. In Proceedings of 4th national conference on the state of Australian cities, Australia. Retrieved from http://soac.fbe.unsw.edu.au/2009/Menu.html
   Google Scholar
• Cohen, S., Knifton, R., Leonard, M., & Roberts, L. (2014). Sites of popular music heritage: Memories, histories, places (Vol. 4). New York, NY: Routledge.
   Google Scholar
• Connolly, M., & Krueger, A. B. (2005). Rockonomics: The economics of popular music (Working Paper No. 11282). National Bureau of Economic Research. Retrieved from http://www.nber.org/papers/w11282
   Google Scholar
• Crossley, N. (2015). Networks of sound, style and subversion: The punk and post-punk worlds of Liverpool, London, Manchester and Sheffield, 1975–1980. Manchester: Manchester University Press.
   Google Scholar
• Currid, E. (2007). The Warhol economy. How fashion, art & music drive New York city. Oxfordshire: Princeton University Press.
   Google Scholar
• De Garay, A. (1996). El rock como conformador de identidades juveniles [Rock as the shaper of youth identities]. Nómadas, 4, 10–16.
   Google Scholar
• De La Peza, C. (2014). El rock mexicano: Un espacio en disputa [Mexican rock: A disputed space]. México, D.F.: Universidad Autónoma Metropolitana.
   Google Scholar
• e Silva, D. D. L., Soares, M. M., Henriques, M. V. C., Alves, M. T., De Aguiar, S. G., De Carvalho, T. P., & Lucena, L. S. (2004). The complex network of the Brazilian popular music. Physica A: Statistical Mechanics and its Applications, 332, 559–565. doi:10.1016/j.physa.2003.09.059
   Web of Science ®Google Scholar
• Estrada, T. (2008). Sirenas al ataque: Historia de las rockeras mexicanas [Mermaids attack: History of Mexican women in rock]. México, D.F.: Océano.
   Google Scholar
• Gallan, B. (2012). Gatekeeping night spaces: The role of booking agents in creating “local” live music venues and scenes. Australian Geographer, 43(1), 35–50. doi:10.1080/00049182.2012.649518
   Web of Science ®Google Scholar
• Galván, H. (2013). Rock impop: el rock mexicano en la radio Top 40 [Rock impop: Mexican rock in the top 40 radio]. Hugo Galván. Retrieved from https://books.google.com.mx/books?hl=en‎&id=H1Dy_LrCTPUC&oi=fnd&pg=PA9&dq=Rock+Impop:+El+Rock+Mexicano+en+La+Radio+Top+40&ots=p_eCOQHmhb&sig=cUxDg4XBkVAVqyenp-TAQCAlL2c
   Google Scholar
• Gleiser, P. M., & Danon, L. (2003). Community structure in jazz. Advances in Complex Systems, 6, 565–573. doi:10.1142/S0219525903001067
   Web of Science ®Google Scholar
• Graves-Brown, P. (2009). Nowhere man: Urban life and the virtualization of popular music. Popular Music History, 4(2), 126-144.
   Google Scholar
• Gunaratna, C., Stoner, E., & Menezes, R. (2011). Using network sciences to rank musicians and composers in Brazilian popular music. Proceedings of the 12th International Society for Music Information Retrieval Conference, ISIMIR 2012, 441-446. doi:doi:978-0-615-54865-4
   Google Scholar
• Hiller, S. (2014). Exclusive dealing and its effects: The impact of large music festivals on local music venues. 45(2), 153-175.
   Google Scholar
• Hracs, B. J. (2013). Cultural intermediaries in the digital age: The case of independent musicians and managers in Toronto. Regional Studies, 1–15. doi:10.1080/00343404.2012.750425
   Web of Science ®Google Scholar
• Laing, D. (2010). Gigographies: Where popular musicians play. Popular Music History, 4. doi:10.1558/pomh.v4i2.196
   Google Scholar
• Lashua, B., Cohen, S., & Schofield, J. (2009). Popular music, mapping, and the characterization of Liverpool. Popular Music History, 4(2), 126–144.
   Google Scholar
• Leyshon, A. (2001). Time – space (and digital) compression: Software formats, musical networks, and the reorganisation of the music industry. Environment and Planning A, 33, 49–77. doi:10.1068/a3360
   Web of Science ®Google Scholar
• Macías, Y. (2015). Los músicos de rock en la Ciudad de México. La generación digital y sus habitus sociales [Mexico City’s rock musicians. Digital generation and their social habitus]. México: UNAM.
   Google Scholar
• Makkonen, T. (2014). Tales from the thousand lakes: Placing the creative network of metal music in Finland. Environment and Planning A, 46, 1586–1600. doi:10.1068/a130020p
   Web of Science ®Google Scholar
• Martínez-Hernández, L. M. (2013). Música y cultura alternativa: Hacia un perfil de la cultura del rock mexicano de finales del siglo XX [Music and alternative culture: A Mexican rock culture at the end of the XX century]. Puebla: Universidad Iberoamericana.
   Google Scholar
• McAndrew, S., & Everett, M. (2015). Music as collective invention: A social network analysis of composers. Cultural Sociology, 9, 56–80. doi:10.1177/1749975514542486
   Web of Science ®Google Scholar
• McArdle, S., Lee, G., & Hui, E. (2014). Live music and the 'agent of change' principle. Paper presented at the meeting of INTER-NOISE, Melbourne, Australia.
   Google Scholar
• Mercado, A. (2016). Distritos creativos en la Ciudad de México en la segunda década del siglo XXI [Mexico City’s creative districts in the second decade of the XXI century]. Territorios, Revista de estudios urbanos y regionales, 34, 183–213.
   Google Scholar
• Mercado, A., & Macías, Y. (2015). Base de Datos Escena Musical en la Ciudad de México [Mexico City’s music scene data base]. Unpublished manuscript.
   Google Scholar
• Moon, S. I., Barnett, G. A., & Lim, Y. S. (2010). The structure of international music flows using network analysis. New Media & Society, 12(3), 379–399. doi:10.1177/1461444809346720
   Web of Science ®Google Scholar
• Mortimer, J. H., Nosko, C., & Sorensen, A. (2012). Supply responses to digital distribution: Recorded music and live performances. Information Economics and Policy, 24, 3–14. doi:10.1016/j.infoecopol.2012.01.007
   Web of Science ®Google Scholar
• Paredes Pacho, J. L., & Blanc, E. (2010). Rock mexicano, breve recuento del siglo XX [Mexican rock. A brief history of the XX century]. In Aurelio Tello (Ed.), La Música en México. Panorama del siglo XX [The music in Mexico. XX century panorama] (pp. 395–485). México, D.F.: FCE-CNCA.
   Google Scholar
• PNUD. (2014). Índice de Desarrollo Humano Municipal en México: nueva metodología [Municipal human development index: New methodology]. México, D.F.: Author.
   Google Scholar
• Power, D., & Jansson, J. (2004). The emergence of a post-industrial music economy? Music and ICT synergies in Stockholm, Sweden. Geoforum, 35, 425–439. doi:10.1016/j.geoforum.2003.12.001
   Web of Science ®Google Scholar
• Quezada-Rivero, E. S. (2014). Siglo XXI, Ciudad de México: Las partituras silentes del rock [XXI century, Mexico City: Rock silent scores]. Retrieved from https://uvadoc.uva.es/handle/10324/6249
   Google Scholar
• Reynolds, A. (2008). The tour book: How to get your music on the road. Boston, MA: Thomson Course Technology.
   Google Scholar
• Scott, A. J. (1999). The US recorded music industry: On the relations between organization, location, and creativity in the cultural economy. Environment and Planning A, 31(11), 1965–1984. doi:10.1068/a311965
   Web of Science ®Google Scholar
• Shank, B. (2011). Dissonant identities: The rock ’n’ roll scene in Austin, Texas. Hanover, NH: Wesleyan University Press.
   Google Scholar
• Straw, W. (1991). Systems of articulation, logics of change: Communities and scenes in popular music. Cultural Studies, 5(3), 368–388. doi:10.1080/09502389100490311
   Google Scholar
• Straw, W. (2002). Scenes and sensibilities. Public, 22/23 (2002), 245–257.
   Google Scholar
• Straw, W. (2015). Above and below ground. In Paula Guerra and Tânia Moreira (Eds.), Keep it simple, make it fast: An approach to underground music scenes (Vol. 1, pp. 403–410). Porto: Universidade do Porto.
   Google Scholar
• Tschmuck, P., Pearce, P., Campbell, S., Tschmuck, P., Pearce, P. L., & Campbell, S. (2013). Music business and the experience economy. Berlin: Springer Science & Business Media.
   Google Scholar
• Urteaga, M. (1998). Por los territorios del rock: Identidades juveniles y rock mexicano [Along rock territories: Youth identities and Mexican rock]. México, D.F.: Culturas Populares.
   Google Scholar
• Valenzuela, J. M., & González, G. (1999). Oye Como va: Recuento del rock tijuanense [Listen the rhythm: A Tijuana’s rock recount]. México, D.F.: CIEJUV-Instituto Mexicano de La Juventud, Consejo Nacional Para La Cultura Y Las Artes.
   Google Scholar
• Vázquez, R. (2014, March). Redes sociales e industria musical [Social media and the music industry]. Forbes. Retrieved from http://www.forbes.com.mx/redes-sociales-e-industria-musical/#gs.ZuD1S2I
   Google Scholar
• Velasco-García, J. H. (2004). El Canto de la tribu: un ensayo sobre la historia del movimiento alternativo de música popular en México [The tribe singing: An essay about Mexican alternative pop music]. México, D.F.: CONACULTA.
   Google Scholar
• Watson, A. (2008). Global music city: Knowledge and geographical proximity in London’s recorded music industry. Area, 40(1), 12–23. doi:10.1111/j.1475-4762.2008.00793.x
   Web of Science ®Google Scholar
• Watson, A., Hoyler, M., & Mager, C. (2009). Spaces and networks of musical creativity in the city. Geography Compass, 3(2), 856–878. doi:10.1111/geco.2009.3.issue-2
   Google Scholar
• Watson, A. (2012). The world according to iTunes: Mapping urban networks of music production. Global Networks, 12, 446–466. doi:10.1111/j.1471-0374.2011.00357.x
   Web of Science ®Google Scholar
• Woodside, J., & Jiménez, C. (2012). Creación, socialización y nuevas tecnologías en la producción musical. In N. García-Canclini, F. Cruces & M. Urteaga (Eds.), Jóvenes, Culturas Urbanas y Redes Digitales [Youth, Urban Cultures, and Digital Networks]. (pp. 91-107). Barcelona: Ariel.
   Google Scholar
• Woodside, J., Jiménez López, C., & Urteaga Castro Pozo, M. (2011). Creatividad y desarrollo: La música popular alternativa [Creativity and development: Alternative pop music]. In N. García-Canclini & M. Urteaga (Eds.), Cultura y desarrollo: una visión distinta desde los jóvenes. Avances de investigación [Culture and development: A different visión from the youth] . Madrid: CeALCI-Fundación Carolina.
   Google Scholar
• Zolov, E. (1999). Refried Elvis: The rise of the Mexican counterculture. Berkeley: University of California Press.
   Google Scholar