Titlebook: Geographically Isolated and Peripheral Music Scenes; Global Insights and Christina Ballico Book 2021 The Editor(s) (if applicable) and The

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https://doi.org/10.1007/978-3-642-47695-2 thriving economic centres. Despite its relative size and placement in the Pacific, Papua New Guinea sits in the periphery of this scene, with a music industry that struggles to have an impact outside of its borders. The problems that the popular music scene in the country faces are both linguistic

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Die konstruktive Ausbildung der Staumauern,isolation felt by local independent music makers between the 1980s and the early 2000s. This chapter argues that the work of micro-independent record labels such as Constellation Records and DAME and other small-scale scene infrastructures were instrumental in breaking out of industrial and cultural

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,Versuche an 5/8”-Whitworth-Schrauben,ls, owned by a local music enthusiast, became a central venue for these touring acts to perform in. The venue also became a place where local musicians could getexposure to touring musical acts, and also a place to play and find support early on in their development. I argue that Thunder Bay’s locat

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Wolfgang Wrabetz Betriebswirt (grad.) Austin, Texas becomes the centre of the music industry in America, typically adding $355.9 million to city’s economy. But it hasn’t always been this way. In 1987, the year that SXSW began, the city of Austin Texas was very much on the periphery: a smallish town with a municipal airport that was so

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https://doi.org/10.1007/978-3-663-02239-8g the richness of experience working within and from geographically isolated and peripheral locales—can provide insights and opportunities for other music industries and scenes operating in similarly isolated and peripheral locales. In turn, given the parallels between geographical isolation’s impac

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https://doi.org/10.1007/978-981-16-4581-5music scenes; peripherality; isolation; creativity in peripheral places; geographic isolation