Music As Intangible Cultural Heritage : : Economic, Cultural and Social Identity.

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Bibliographic Details
Superior document:SpringerBriefs in Economics Series
:
TeilnehmendeR:
Place / Publishing House:Cham : : Springer International Publishing AG,, 2021.
©2021.
Year of Publication:2021
Edition:1st ed.
Language:English
Series:SpringerBriefs in Economics Series
Online Access:
Physical Description:1 online resource (151 pages)
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Table of Contents:
  • Intro
  • Foreword: Music as Intangible Heritage in Memories from the Past and Visions for the Future
  • Contents
  • Abbreviations
  • Economic, Cultural and Social Identity
  • Introduction: Music, from Intangible Cultural Heritage to the Music Industry
  • References
  • The Impact of the Music Industry in Europe and the Business Models Involved in Its Value Chain
  • 1 Introduction
  • 2 The Impact of Music in Europe
  • 3 Business Models in the Music Industry Value Chain
  • 3.1 Business Models in Recording and Publishing Activities
  • 3.2 Business Models in Music Distribution
  • 3.3 Business Models in Exhibition Activities
  • 4 Conclusions
  • References
  • The Role of Public Policies in Enhancing Cultural and Creative Industries: An Analysis of Public Policies Related to Music in Colombia
  • 1 Introduction
  • 2 Background
  • 2.1 CCI Policies in Colombia and Bogota
  • 2.2 CCI Policies Focused on Music in Colombia
  • 3 Characterisation of CCIs in Bogota: Identifying Clusters
  • 4 Regional Public Policies with Emphasis on Music Industries
  • 5 Conclusions
  • References
  • Soundcool: A Business Model for Cultural Industries Born Out of a Research Project
  • 1 Introduction
  • 1.1 Opportunities Afforded by the Soundcool System
  • 2 Sustainability of the System
  • 3 Conclusions
  • Annex
  • References
  • Breaking the Gender Gap in Rap/Hip-Hop Consumption
  • 1 Introduction
  • 2 Rap/Hip-Hop Consumption Literature
  • 3 Research: Objectives and Methodology
  • 4 Results
  • 5 Discussion
  • References
  • Music and Territory: The Case of Bands in the Valencian Region
  • The Intangible Cultural Landscape of the Banda Primitiva de Llíria
  • 1 Introduction: Popular Music Tradition as Intangible and Creative Cultural Heritage
  • 2 Methodological Approach
  • 3 Challenges of the Popular Music Tradition in Llíria
  • 4 Historical Contextualisation of Llíria.
  • 5 Origin of the Banda Primitiva de Llíria
  • 6 Background of the Banda Primitiva de Llíria
  • 7 The Banda Primitiva de Llíria as Intangible Cultural Heritage
  • 8 Resilience of the Banda Primitiva de Llíria as Intangible Cultural Heritage
  • 9 Conclusions
  • Annexes
  • References
  • Music for the Moors and Christians Festivities as Intangible Cultural Heritage: A Specific Genre for Wind Bands in Certain Spanish Regions
  • 1 Introduction
  • 2 The Moors and Christians Festivities: A Global Phenomenon with Local Peculiarities
  • 2.1 Origin and Spread of the Phenomenon of Moors and Christians Festivals
  • 2.2 The Valencian Model of the Moors and Christians Festivities
  • 3 Wind Bands: Approach to Their Origin and Evolution
  • 3.1 The Valencian Model of Musical Societies
  • 4 Moors and Christians Festivals and Music: An Inseparable Pair
  • 5 Final Reflections on the Economic, Cultural and Social Relevance of Music for the Moors and Christians Festivals
  • References
  • The Impact of the COVID-19 Pandemic on Musical Societies in the Valencian Region, Spain
  • 1 Musical Societies in the Valencian Region
  • 1.1 Historical Introduction to Musical Societies
  • 1.2 Musical Society Functions
  • 1.3 Musical Societies Declared as Cultural Heritage
  • 1.4 Musical Societies by Areas
  • 2 The Impact of the COVID-19 Pandemic on Musical Societies
  • 2.1 Current Situation
  • 2.2 Ethnographic Study of the Impact of the COVID-19
  • 3 Conclusions
  • References
  • Conclusions: Music as an Economic, Social, Cultural, Creative and Resilient Activity
  • 1 Music as a Cultural and Creative Industry in the Literature
  • 2 Music as a Creative and Economic Activity
  • 3 Music as a Social and Cultural Activity
  • 4 Music and Crisis Management
  • 5 Overall Conclusions
  • References.