Mapping Music Cities: A Case Study of the Musical Landscape of San Antonio

Abstract

The live music sector represents the core of the activities generating revenue for many musicians, an incubator for assessing audience tastes, and a cultural staple for each community. Because of the significance of this industry's span, many cities around the world have committed resources to conduct studies to reveal the value and impact of their live music sector. Assessing an impact study for the live music economy has been the focus of consulting groups such as Music Canada as well as funding partners, cultural and economic development councils, and guilds in cities, states, or countries. However, mapping the scale and scope of a musical landscape and related businesses is rarely if ever conducted as part of such studies. Thus, the author provides a mapping framework contributing to the academic literature and presents a new option for organizations and focus groups dedicated to assessing the impact of the ever-growing live music sector and industry. Location intelligence, which is also known as geographic information system (GIS) is used here to capture, store, manipulate, analyze, manage, and present music-centric geographic data in a case study mapping the musical landscape of San Antonio.

Sistem Pendukung Keputusan Rekomendasi Pemilihan Studio Musik

“…Sebagian orang menjadikan musik hanya sebatas hobi dan ada juga yang serius meniti karir dalam bidang ini. Menurut S. Renard (2018), musik sendiri merupakan kegiatan yang dapat menghasilkan pendapatan bagi para musisi, wadah untuk menilai selara pendengar, dan pokok budaya para komunitas [1]. Dapat diartikan juga suatu hasil karya seni yang berbentuk bunyi seperti lagu.…”

Klezmer Music and Jewish Festivals in Urban Europe

“…In addition, the conceptual approach connecting music-making, identity, and place in urban environments proposed by scholars such as Riveke Jaffe and Jolien Sanderse in their study of reggae artists in Surinam (2010), Kay-Kaufman Shelemay in her study of Ethiopian music in Washington D.C. ( 2018), and Sara Cohen in her appraisal of rock and hip-hop musicians in Liverpool (2012aLiverpool ( , 2012b, stimulated my approach to klezmer music and Jewish festivals, and my understanding of places as shaped and lived through the experiences of music makers. Finally, mapping practices developed in relation to specific music genres (Lund 2007; Hsu 2013), music cities (Renard 2018), and festivals (Visser 2005;Anderton 2006;Waligórska 2010), have been inspirational in my intention to create a cartographic visualization of Jewish festivals and their performance places. Thus, this dissertation proposes to elaborate a systematic approach to klezmer music that combines musical geography and mapping practices to better understand the territoriality of Jewish festivals in urban Europe, and the relationship that exist between these events, their places, and klezmer music.…”