Abstract
This dissertation examines live-music markets (or "scenes") in
the following cities: Taipei in Taiwan and Atlanta in the US. This
examination is informed by three broad approaches to creative
markets in sociology (field theory, the art worlds framework, and
the music scenes framework), all of which share an emphasis on
"embeddedness." In particular, I focus on the impact of both
gatekeepers and social capital within each of those scenes, and how
both play out in two different places with regards to the music
featured at a range of venues. I do this by analyzing self-gathered
data collected from local newspapers as well as from surveys and
interviews with band-bookers that act as gatekeepers. This
self-gathered data documented 175 live-music venues in Atlanta and
145 venues in Taipei in 2012--with 5,531 performers offering some
11,000 appearances in Atlanta venues, and 2,467 performers offering
some 4,700 appearances in Taipei venues. Comparatively speaking, in
2012, Atlanta had a bigger, busier, more affordable but less
connected live-music scene, while the live-music scene in Taipei
was smaller, more expensive, and had less busy days and months but
involved a denser network of music venues. Despite the distinct
"ecologies" of these two live-music scenes, social capital at the
aggregate level operated in a similar manner for both, as
live-music venues within several homophilous niches (based on
ticket-price and featured genres) converged in terms of
band-booking similarity. Not only did the attributes of venues
(e.g., pricing, genres) matter for social capital, so too did the
manner of their connections--as venues with common "friend(s)" were
more likely to be linked in terms of booking the same performers.
Furthermore, inequality in live-music scenes also matters, as I
find that a status order, with its attendant "competitive jostling"
and "emulation," emerged among venues occupying different positions
in the status order. This dissertation thus demonstrates how the
market for live music is a domain in which social factors are
intertwined with economic elements.
Table of Contents
Table of Contents
PRELUDE........................................................................................................1
CHAPTER ONE
.................................................................................................................
4
MARKETS AND MUSIC: THREE APPROACHES
CHAPTER TWO
..............................................................................................................
42
THE CITIES AND THEIR SCENES: THE ECOLOGY OF PLACE
CHAPTER THREE
........................................................................................................
112
GATEKEEPER DECISIONS AND CONNECTIONS IN THE TAIPEI LIVE-MUSIC
SCENE
CHAPTER FOUR
...........................................................................................................
188
GATEKEEPING, HOMOPHILY AND STATUS ORDERS AMONG LIVE-MUSIC
VENUES IN ATLANTA
CHAPTER FIVE
............................................................................................................
233
CONCLUSION
REFERENCES.
............................................................................................246
List of Tables
TABLE 2-A. THE "TOP 10" LIVE-MUSIC VENUES IN ATLANTA AND
TAIPEI (IN TERMS OF 2012 PERFORMANCE NUMBERS)
................................................................................
85
TABLE 2-B. THE "TOP 10" PERFORMING ACTS IN ATLANTA AND TAIPEI
(IN TERMS OF 2010 PERFORMANCE NUMBERS)
.........................................................................................
86
TABLE 2-C. NICHE ELEMENTS OF LIVE-MUSIC VENUES IN ATLANTA
............................. 101
TABLE 2-D. NICHE ELEMENTS OF LIVE-MUSIC VENUES IN TAIPEI
.................................. 101
TABLE 3-A. THE LIST OF SURVEYED LIVE-MUSIC VENUES IN TAIPEI
............................. 165
TABLE 3-B. IMPORTANCE OF INCOME SOURCES AND OPERATIONAL COSTS
AMONG SURVEYED LIVE-MUSIC VENUES IN TAIPEI
..............................................................
173
TABLE 3-C. CONNECTIONS INVOLVED IN BOOKING BANDS BY SURVEYED
LIVE-MUSIC VENUES IN TAIPEI
.....................................................................................................
174
TABLE 3-D. THE NUMBER OF ACTOR TYPES CONSULTED BY BOOKERS AT
SURVEYED LIVE-MUSIC VENUES IN TAIPEI
.........................................................................................
174
TABLE 3-E. PERCEPTIONS AMONG SURVEYED LIVE-MUSIC VENUES IN
TAIPEI REGARDING MEDIA COVERAGE
...................................................................................................
174
TABLE 3-F. FREQUENCY OF FOREIGN BANDS AMONG SURVEYED
LIVE-MUSIC VENUES IN TAIPEI
.......................................................................................................................
175
TABLE 3-G. INTERNET USAGE AMONG SURVEYED LIVE-MUSIC VENUES IN
TAIPEI ........ 175
TABLE 3-H. THE EXTENT OF PRICE AND GENRE HOMOPHILY AMONG ALL
LIVE-MUSIC VENUES IN TAIPEI, 2012
...........................................................................................
177
TABLE 3-I. ERG MODELS: EFFECTS OF PRICE HOMOPHILY, GENRE
HOMOPHILY, AND NETWORK STRUCTURE ON BOOKING CONNECTIONS AMONG ALL
LIVE-MUSIC VENUES IN TAIPEI, 2012
.........................................................................................................
178
TABLE 4-A. THE EXTENT OF PRICE AND GENRE HOMOPHILY AMONG ALL
LIVE-MUSIC VENUES IN ATLANTA, 2012
......................................................................................
222
TABLE 4-B. THE EXTENT OF STATUS GROUP HOMOPHILY AMONG ALL
LIVE-MUSIC VENUES IN ATLANTA, 2012
......................................................................................
222
TABLE 4-C. QAP CORRELATION OF BOOKING SIMILARITY AND TICKET
PRICE LEVEL AMONG LIVE-MUSIC VENUES IN ATLANTA, 2012
.................................................... 222
TABLE 4-D. QAP CORRELATION OF BOOKING SIMILARITY AND MUSIC
GENRES AMONG LIVE-MUSIC VENUES IN ATLANTA, 2012
.................................................................
223
TABLE 4-E. QAP CORRELATION OF BOOKING SIMILARITY AND STATUS
(AS INDICATED BY PREVIOUS AJC COVERAGE) AMONG LIVE-MUSIC VENUES IN
ATLANTA, 2012 ........ 223
TABLE 4-F. QAP CORRELATION OF BOOKING SIMILARITY AND STATUS
(AS INDICATED BY CONTEMPORANEOUS CL COVERAGE) AMONG LIVE-MUSIC
VENUES IN ATLANTA, 2012
.................................................................................................................................
224
TABLE 4-G. EFFECTS OF HOMOPHILY / HETEROPHILY ON THE BOOKING
SIMILARITY OF LIVE-MUSIC VENUES IN ATLANTA, 2012 (MULTIPLE
REGRESSION QUADRATIC ASSIGNMENT PROCEDURE)
.......................................................................................
225
TABLE 4-H. ERG MODELS: EFFECTS OF PRICE HOMOPHILY, GENRE
HOMOPHILY, STATUS HOMOPHILY AND NETWORK STRUCTURE ON BOOKING
CONNECTIONS AMONG ALL LIVE-MUSIC VENUES IN ATLANTA, 2012
.................................................................
227
TABLE 5-A. THE THREE BROAD APPROACHES AND LIVE-MUSIC SCENES
....................... 244
TABLE 5-B. THE ECOLOGIES OF THE LIVE-MUSIC SCENES IN ATLANTA
AND TAIPEI ....... 244
TABLE 5-C. SELECTED FINDINGS FROM NETWORK ANALYSIS IN TWO
LIVE-MUSIC SCENES
.................................................................................................................................
244
TABLE 5-D. THE IMPLICATIONS OF THE DISSERTATION FINDINGS
................................... 245
List of Figures
FIGURE 2-A. MAP OF ATLANTA MUSIC VENUES: THE FULL PICTURE
............................... 87
FIGURE 2-B. MAP OF ATLANTA MUSIC VENUES: INSIDE THE PERIMETER,
WITH THE TOP 10 VENUES IN TERMS OF APPEARANCES
.........................................................................
88
FIGURE 2-C. MAP OF ATLANTA MUSIC VENUES: INSIDE THE PERIMETER
(NORTH AND SOUTH), WITH THE TOP 10 VENUES IN TERMS OF APPEARANCES
............................... 89
FIGURE 2-D. MAP OF TAIPEI MUSIC VENUES: THE FULL PICTURE AND A
CLOSER LOOK .. 90
FIGURE 2-E. MAP OF TAIPEI MUSIC VENUES: THE TOP 10 VENUES IN
TERMS OF APPEARANCES
............................................................................................................
91
FIGURE 2-F. ATLANTA: NUMBER OF LIVE-MUSIC APPEARANCE BY
WEEKDAY ................ 92
FIGURE 2-G. TAIPEI: NUMBER OF LIVE-MUSIC APPEARANCE BY WEEKDAY
..................... 93
FIGURE 2-H. ATLANTA: NUMBER OF LIVE-MUSIC APPEARANCE BY MONTH
.................... 94
FIGURE 2-I. TAIPEI: NUMBER OF LIVE-MUSIC APPEARANCE BY MONTH
........................... 95
FIGURE 2-J. ATLANTA: NUMBER OF LIVE-MUSIC APPEARANCES BY GENRE
..................... 96
FIGURE 2-K. TAIPEI: NUMBER OF LIVE-MUSIC APPEARANCES BY GENRE
......................... 96
FIGURE 2-L. ATLANTA: NUMBER OF LIVE-MUSIC APPEARANCES BY
TICKET PRICE LEVEL
...................................................................................................................................
97
FIGURE 2-M. TAIPEI: NUMBER OF LIVE-MUSIC APPEARANCES BY TICKET
PRICE LEVEL .. 98
FIGURE 2-N. ATLANTA: NUMBER OF LIVE-MUSIC APPEARANCES BY
TICKET PRICE AND GENRE
........................................................................................................................
99
FIGURE 2-O. TAIPEI: NUMBER OF LIVE-MUSIC APPEARANCES BY TICKET
PRICE AND GENRE
......................................................................................................................
100
FIGURE 2-P. THE NICHES OF ATLANTA LIVE-MUSIC VENUES: AVERAGE
TICKET PRICE LEVEL AND GENRE
...................................................................................................
102
FIGURE 2-Q. THE NICHES OF TAIPEI LIVE-MUSIC VENUES: AVERAGE
TICKET PRICE LEVEL AND GENRE
..............................................................................................................
103
FIGURE 2-R. MAP OF ATLANTA LIVE-MUSIC VENUES: AVERAGE TICKET
PRICE LEVEL . 104
FIGURE 2-S. MAP OF TAIPEI LIVE-MUSIC VENUES: AVERAGE TICKET
PRICE LEVEL ...... 105
FIGURE 2-T. MAP OF ATLANTA LIVE-MUSIC VENUES: GENRE
........................................ 106
FIGURE 2-U. MAP OF TAIPEI LIVE-MUSIC VENUES: GENRE
............................................ 107
FIGURE 3-A. LOCATION OF THE SURVEYED LIVE-MUSIC VENUES IN
TAIPEI ................... 166
FIGURE 3-B. NUMBER OF EMPLOYEES AMONG THE SURVEYED LIVE-MUSIC
VENUES IN TAIPEI
.......................................................................................................................
167
FIGURE 3-C. AVERAGE TICKET PRICE AMONG THE SURVEYED LIVE-MUSIC
VENUES IN TAIPEI (IN TERMS OF THE TOTAL NUMBER OF THEIR EMPLOYEES)
.......................... 170
FIGURE 3-D. THE SEATING CAPACITY OF SURVEYED LIVE-MUSIC VENUES
IN TAIPEI .... 171
FIGURE 3-E. AVERAGE TICKET PRICE AMONG THE SURVEYED LIVE-MUSIC
VENUES IN TAIPEI (IN TERMS OF THE TOTAL NUMBER OF THEIR SEATING
CAPACITY) .............. 172
FIGURE 3-F. THE NETWORK OF CONNECTIONS (SHARED BANDS) AMONG
ALL LIVE-MUSIC VENUES IN TAIPEI, 2012
...........................................................................................
176
FIGURE 4-A. THE NETWORK OF CONNECTIONS (SHARED BANDS) AMONG
ALL LIVE-MUSIC VENUES IN ATLANTA, 2012
......................................................................................
221
FIGURE 4-B. ERG MODELS: GOODNESS-OF-FIT PLOTS GENERATED BY
MULTIPLE SIMULATIONS
...........................................................................................................
230
FIGURE 4-C. THE DEGREE DISTRIBUTION OF THE ATLANTA-LIVE MUSIC
VENUES NETWORK
.................................................................................................................
232
About this Dissertation
Rights statement
- Permission granted by the author to include this thesis or dissertation in this repository. All rights reserved by the author. Please contact the author for information regarding the reproduction and use of this thesis or dissertation.
School |
|
Department |
|
Degree |
|
Submission |
|
Language |
|
Research Field |
|
Stichwort |
|
Committee Chair / Thesis Advisor |
|
Committee Members |
|