Brian J. Hracs is a lecturer at the School of Geography and Environment at the University of Southampton, UK.Michael Seman is a senior research associate at the University of North Texas Center for Economic Development and Research.Tarek E. Virani is a post-doctoral research associate at Queen Mary University of London.

"The collection’s multidisciplinary and multi-perspectival approach to a relatively narrow set of questions is a real strength." - Toby Bennett, Southampton Solent University"The subject matter of this edited collection is broad in scope and it would be suitable for an academic audience interested in the relationships between digital technologies and the contemporary music marketplace. For readers with an interest in the working lives of music industry actors, this book would prove particularly insightful as this theme is explored widely." - Jack Webster, University of Southampton, Southampton, UK"The collection provides a detailed and valuable overview of how the concerns of geographical study help us understand how the spaces and places of music in a digital era are produced and negotiated by participants. (…) The collection is therefore an important contribution to helping us understand the ambiguities and contradictions to be found in an increasingly technologically mediated experience of musicking." - Sean Albiez, Southampton Solent University

• Part I: Introduction1. Introduction: The Evolving Economic Geography of Music[Brian J. Hracs, Michael Seman, and Tarek E. Virani]Part II: Recording2. Laptops, Pro Tools, and File Transfer Protocols: On the Intensification and Extensification of Recording Work in the Digital Age[Allan Watson]3. Disturbing Production: The Effects of Digital Music Production on Music Studios [David Arditi]Part III: Working4. Working Harder and Working Smarter: The Survival Strategies of Contemporary Independent Musicians[Brian J. Hracs]5. From Artist to Entrepreneur: The Working Lives of London-Based Rappers[Laura Speers]6. Hip-Hop Tunity: Challenges and Opportunities for Indie Hip-Hop Artists in the Dutch Music Industry[Joni R. Haijen]7. "Working at the Candy Factory": The Limits of Nonmonetary Rewards in Record Industry Careers[Alexandre Frenette]Part IV: Playing8. The Resilience of a Local Music Scene in Dalston, London[Tarek E. Virani]9. Landscapes of Performance and Technological Change: Music Venues in Pittsburgh, Pennsylvania and Nashville, Tennessee[Ola Johansson, Margaret M. Gripshover, and Thomas L. Bell]10. What’s the "Newport Effect"?: Music Festivals, Touring, and Reputations in the Digital Age[Jonathan R. Wynn and Rodrigo Dominguez-Villegas]11. Musicians and Temporary Spaces: The Case of Music Festivals in Sweden[Johan Jansson and Jimi Nilsson]Part V: Distributing12. Exploring the "360 Degree" Blur: Digitization, Sonic Capital, and the Strategic Orientations of Electronic Indie Labels[Hans-Joachim Bürkner]13. More Than Just Bytes?: Responses to Digitization in the Paris Cluster of World Music Production[Amanda Brandellero and Robert C. Kloosterman]14. Emotional Landscapes and the Evolution of Vinyl Record Retail: A Case Study of Highland Park, Los Angeles[Tyler Sonnichsen]15. Music Rights: Towards a Material Geography of Musical Practices in the "Digital Age"[Andy C. Pratt]Part VI: Promoting and Consuming16. Unpacking the "Digital Habitus" of Music Fans in Santiago’s Indie Music Scene[Arturo Arriagada]17. The Evolution of Music Tastemakers in the Digital Age: The Rise of Algorithms and the Response of Journalists[Bastian Lange]18. Leveraging Affect: Mobilizing Enthusiasm and the Co-Production of the Musical Economy[Andrew Leyshon, Nigel Thrift, Louise Crewe, Shaun French, and Pete Webb]

Brian J. Hracs is a lecturer at the School of Geography and Environment at the University of Southampton, UK.Michael Seman is a senior research associate at the University of North Texas Center for Economic Development and Research.Tarek E. Virani is a post-doctoral research associate at Queen Mary University of London.

"The collection’s multidisciplinary and multi-perspectival approach to a relatively narrow set of questions is a real strength." - Toby Bennett, Southampton Solent University"The subject matter of this edited collection is broad in scope and it would be suitable for an academic audience interested in the relationships between digital technologies and the contemporary music marketplace. For readers with an interest in the working lives of music industry actors, this book would prove particularly insightful as this theme is explored widely." - Jack Webster, University of Southampton, Southampton, UK"The collection provides a detailed and valuable overview of how the concerns of geographical study help us understand how the spaces and places of music in a digital era are produced and negotiated by participants. (…) The collection is therefore an important contribution to helping us understand the ambiguities and contradictions to be found in an increasingly technologically mediated experience of musicking." - Sean Albiez, Southampton Solent University

• Part I: Introduction1. Introduction: The Evolving Economic Geography of Music[Brian J. Hracs, Michael Seman, and Tarek E. Virani]Part II: Recording2. Laptops, Pro Tools, and File Transfer Protocols: On the Intensification and Extensification of Recording Work in the Digital Age[Allan Watson]3. Disturbing Production: The Effects of Digital Music Production on Music Studios [David Arditi]Part III: Working4. Working Harder and Working Smarter: The Survival Strategies of Contemporary Independent Musicians[Brian J. Hracs]5. From Artist to Entrepreneur: The Working Lives of London-Based Rappers[Laura Speers]6. Hip-Hop Tunity: Challenges and Opportunities for Indie Hip-Hop Artists in the Dutch Music Industry[Joni R. Haijen]7. "Working at the Candy Factory": The Limits of Nonmonetary Rewards in Record Industry Careers[Alexandre Frenette]Part IV: Playing8. The Resilience of a Local Music Scene in Dalston, London[Tarek E. Virani]9. Landscapes of Performance and Technological Change: Music Venues in Pittsburgh, Pennsylvania and Nashville, Tennessee[Ola Johansson, Margaret M. Gripshover, and Thomas L. Bell]10. What’s the "Newport Effect"?: Music Festivals, Touring, and Reputations in the Digital Age[Jonathan R. Wynn and Rodrigo Dominguez-Villegas]11. Musicians and Temporary Spaces: The Case of Music Festivals in Sweden[Johan Jansson and Jimi Nilsson]Part V: Distributing12. Exploring the "360 Degree" Blur: Digitization, Sonic Capital, and the Strategic Orientations of Electronic Indie Labels[Hans-Joachim Bürkner]13. More Than Just Bytes?: Responses to Digitization in the Paris Cluster of World Music Production[Amanda Brandellero and Robert C. Kloosterman]14. Emotional Landscapes and the Evolution of Vinyl Record Retail: A Case Study of Highland Park, Los Angeles[Tyler Sonnichsen]15. Music Rights: Towards a Material Geography of Musical Practices in the "Digital Age"[Andy C. Pratt]Part VI: Promoting and Consuming16. Unpacking the "Digital Habitus" of Music Fans in Santiago’s Indie Music Scene[Arturo Arriagada]17. The Evolution of Music Tastemakers in the Digital Age: The Rise of Algorithms and the Response of Journalists[Bastian Lange]18. Leveraging Affect: Mobilizing Enthusiasm and the Co-Production of the Musical Economy[Andrew Leyshon, Nigel Thrift, Louise Crewe, Shaun French, and Pete Webb]

Brian J. Hracs is a lecturer at the School of Geography and Environment at the University of Southampton, UK.Michael Seman is a senior research associate at the University of North Texas Center for Economic Development and Research.Tarek E. Virani is a post-doctoral research associate at Queen Mary University of London.

"The collection’s multidisciplinary and multi-perspectival approach to a relatively narrow set of questions is a real strength." - Toby Bennett, Southampton Solent University"The subject matter of this edited collection is broad in scope and it would be suitable for an academic audience interested in the relationships between digital technologies and the contemporary music marketplace. For readers with an interest in the working lives of music industry actors, this book would prove particularly insightful as this theme is explored widely." - Jack Webster, University of Southampton, Southampton, UK"The collection provides a detailed and valuable overview of how the concerns of geographical study help us understand how the spaces and places of music in a digital era are produced and negotiated by participants. (…) The collection is therefore an important contribution to helping us understand the ambiguities and contradictions to be found in an increasingly technologically mediated experience of musicking." - Sean Albiez, Southampton Solent University

• Part I: Introduction1. Introduction: The Evolving Economic Geography of Music[Brian J. Hracs, Michael Seman, and Tarek E. Virani]Part II: Recording2. Laptops, Pro Tools, and File Transfer Protocols: On the Intensification and Extensification of Recording Work in the Digital Age[Allan Watson]3. Disturbing Production: The Effects of Digital Music Production on Music Studios [David Arditi]Part III: Working4. Working Harder and Working Smarter: The Survival Strategies of Contemporary Independent Musicians[Brian J. Hracs]5. From Artist to Entrepreneur: The Working Lives of London-Based Rappers[Laura Speers]6. Hip-Hop Tunity: Challenges and Opportunities for Indie Hip-Hop Artists in the Dutch Music Industry[Joni R. Haijen]7. "Working at the Candy Factory": The Limits of Nonmonetary Rewards in Record Industry Careers[Alexandre Frenette]Part IV: Playing8. The Resilience of a Local Music Scene in Dalston, London[Tarek E. Virani]9. Landscapes of Performance and Technological Change: Music Venues in Pittsburgh, Pennsylvania and Nashville, Tennessee[Ola Johansson, Margaret M. Gripshover, and Thomas L. Bell]10. What’s the "Newport Effect"?: Music Festivals, Touring, and Reputations in the Digital Age[Jonathan R. Wynn and Rodrigo Dominguez-Villegas]11. Musicians and Temporary Spaces: The Case of Music Festivals in Sweden[Johan Jansson and Jimi Nilsson]Part V: Distributing12. Exploring the "360 Degree" Blur: Digitization, Sonic Capital, and the Strategic Orientations of Electronic Indie Labels[Hans-Joachim Bürkner]13. More Than Just Bytes?: Responses to Digitization in the Paris Cluster of World Music Production[Amanda Brandellero and Robert C. Kloosterman]14. Emotional Landscapes and the Evolution of Vinyl Record Retail: A Case Study of Highland Park, Los Angeles[Tyler Sonnichsen]15. Music Rights: Towards a Material Geography of Musical Practices in the "Digital Age"[Andy C. Pratt]Part VI: Promoting and Consuming16. Unpacking the "Digital Habitus" of Music Fans in Santiago’s Indie Music Scene[Arturo Arriagada]17. The Evolution of Music Tastemakers in the Digital Age: The Rise of Algorithms and the Response of Journalists[Bastian Lange]18. Leveraging Affect: Mobilizing Enthusiasm and the Co-Production of the Musical Economy[Andrew Leyshon, Nigel Thrift, Louise Crewe, Shaun French, and Pete Webb]