Reconfiguring the field of professional music: New doxa and known capital forms on digital platforms

Inhaltsverzeichnis

Bibliographische Infos

Cover der Ausgabe: Culture, Practice & Europeanization Jahrgang 10 (2025), Heft 1
Open Access Vollzugriff

Culture, Practice & Europeanization

Jahrgang 10 (2025), Heft 1

Autor:innen:
Verlag
Nomos, Baden-Baden
Copyrightjahr
2025
ISSN-Online
2566-7742
ISSN-Print
2566-7742

Kapitelinformationen

Open Access Vollzugriff

Jahrgang 10 (2025), Heft 1

Reconfiguring the field of professional music: New doxa and known capital forms on digital platforms

Autor:innen:
ISSN-Print
2566-7742
ISSN-Online
2566-7742
Kapitelvorschau:

Literaturverzeichnis

  1. Airoldi, M. (2018). Ethnography and the digital fields of social media. International Journal of Social Research Methodology, 21(6), 661–673. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  2. Anacin, C. (2023). “Can you hear me? Are we live yet?”: An autoethnography of online live mu-sic performances amid the COVID-19 pandemic. Asiascape: Digital Asia, 10(3), 256–280. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  3. Anderson, T. L., Grunert, C., Katz, A., & Lovascio, S. (2010). Aesthetic capital: A research review on beauty perks and penalties. Sociology Compass, 4(8), 564–575. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  4. Arditi, D. (2020). Getting signed: Record contracts, musicians, and power in society. Palgrave Macmillan. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  5. Andreoni, J., & Petrie, R. (2008). Beauty, gender and stereotypes: Evidence from laboratory ex-periments. Journal of Economic Psychology, 29(1), 73–93. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  6. Aspers, P. (2009). Knowledge and valuation in markets. Theory and Society, 38(2), 111–131. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  7. Aspers, P. (2011). Markets. Polity Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  8. Aspray, W. (2008). File sharing and the music industry. In W. Aspray & P. E. Ceruzzi (Eds.), The Internet and American business (451–489). MIT Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  9. Barna, E. (2019). Curators as taste entrepreneurs in the digital music industries. In E. Mazierska, L. Gillon, & T. Rigg (Eds.), Popular music in the post-digital age: Politics, economy, culture and technology (253–268). Bloomsbury Academic. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  10. Bartleet, B. L., Ballico, C., Bennett, D., Bridgstock, R., Draper, P., Tomlinson, V., & Harrison, S. (2019). Building sustainable portfolio careers in music: Insights and implications for higher edu-cation. Music Education Research, 21(3), 282–294. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  11. Bataille, P., & Perrenoud, M. (2021). “One for the money”? The impact of the “disk crisis” on “ordinary musicians” income: The case of French speaking Switzerland. Poetics, 86, 101552. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  12. Baym, N. K. (2011). The Swedish model: Balancing markets and gifts in the music industry. Popu-lar Communication, 9(1), 22–38. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  13. Baym, N. K. (2013). Data not seen: The uses and shortcomings of social media metrics. First Monday, 18(10). Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  14. Baym, N. K. (2018). Playing to the crowd: Musicians, audiences, and the intimate work of connec-tion. New York University Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  15. Bernardo, F., & Martins, L. G. (2014). Disintermediation effects on independent approaches to music business. International Journal of Music Business Research, 3(2), 7–27. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  16. Bielby, W. T., & Bielby, D. D. (1994). All hits are flukes: Institutionalized decision making and the rhetoric of network prime-time program development. American Journal of Sociology, 99(5), 1287–1313. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  17. Bonini, T., & Gandini, A. (2019). “First week is editorial, second week is algorithmic”: Platform gatekeepers and the platformization of music curation. Social Media + Society, 5(4). Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  18. Bonini, T., & Magaudda, P. (2024). Artificial intelligence: Where the music of the future is head-ing. In Platformed! How streaming, algorithms and artificial intelligence are shaping music cul-tures (121–148). Palgrave Macmillan. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  19. Bourdieu, P. (1977). Outline of a theory of practice (R. Nice, Trans.). Cambridge University Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  20. Bourdieu, P. (1984). Distinction: A social critique of the judgement of taste (R. Nice, Trans.). Har-vard University Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  21. Bourdieu, P. (1986). The forms of capital. In J. G. Richardson (Ed.), Handbook of theory and re-search for the sociology of education (241–258). Greenwood Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  22. Bourdieu, P. (1989). Social space and symbolic power. Sociological Theory, 7(1), 14–25. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  23. Bourdieu, P., & Wacquant, L. (1992). An invitation to reflexive sociology. Polity Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  24. Bourdieu, P. (1998). On television (P. P. Ferguson, Trans.). The New Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  25. Bourdieu, P. (2000). Pascalian meditations (R. Nice, Trans.). Stanford University Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  26. Bourdieu, P. (2005). Principles of an economic anthropology. In N. J. Smelser & R. Swedberg (Eds.), The handbook of economic sociology (2nd ed., 75–89). Princeton University Press; Russell Sage Foundation. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  27. Breen, M. (2004). The music industry, technology and utopia: An exchange between Marcus Breen and Eamonn Forde. Popular Music, 23(1), 79–89. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  28. Brock, A., Kvasny, L., & Hales, K. (2010). Cultural appropriations of technical capital: Black wom-en, weblogs, and the digital divide. Information, Communication & Society, 13(7), 1040–1059. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  29. Bröndum, L. (2019). Where do we go from here? The future of composers in the post-digital era. In E. Mazierska, L. Gillon, & T. Rigg (Eds.), Popular music in the post-digital age: Politics, economy, culture and technology (155–170). Bloomsbury Academic. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  30. Brooks, T. (2004). Introduction: Lost, stolen, or strayed? In Lost sounds: Blacks and the birth of the recording industry, 1890–1919 (1–11). University of Illinois Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  31. Brown, H. (2012). Valuing independence: Esteem value and its role in the independent music scene. Popular Music and Society, 35(4), 519–539. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  32. Bucher, T. (2012). Want to be on the top? Algorithmic power and the threat of invisibility on Facebook. New Media & Society, 14(7), 1164–1180. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  33. Bucher, T. (2016). The algorithmic imaginary: Exploring the ordinary affects of Facebook algo-rithms. Information, Communication & Society, 20(1), 30–44. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  34. Bucher, T. (2018). If...then: Algorithmic power and politics. Oxford University Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  35. Burgess, J. (2021). Platform studies. In S. Cunningham & D. Craig (Eds.), Creator culture: An intro-duction to global social media entertainment (21–38). NYU Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  36. Cannizzo, F., Strong, C., & Brunt, S. (2023). Career reconstruction: Mid-career transformations in the Australian music industries. Creative Industries Journal, 18(2), 305–322. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  37. Carter, E. (2024). Poverty among riches: Understanding the contracted economy for recorded music and its impact on market actors. Journal of Cultural Economy, 17(3), 345–359. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  38. Cayari, C. (2011). The YouTube effect: How YouTube has provided new ways to consume, create, and share music. International Journal of Education & the Arts, 12(6), 1–29. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  39. Charles, C. D. (2020). Genre in practice: Categories, metadata and music-making in psytrance culture. Dancecult: Journal of Electronic Dance Music Culture, 12(1), 22–47. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  40. Charlesworth, S. J. (2000). A phenomenology of working class experience (1st ed.). Cambridge University Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  41. Chen, W. (2013). The implications of social capital for the digital divides in America. The Infor-mation Society, 29(1), 13–25. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  42. Chen, Y., & Wang, Y. (2025). Surviving in the digital age: The impacts of technology evolutions on classical musicians’ career development. In C. Leone (Ed.), Career development: Challenges and opportunities in contemporary societies. IntechOpen. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  43. Chircu, A. M., & Kauffman, R. J. (1999). Strategies for Internet middlemen in the intermedia-tion/disintermediation/reintermediation cycle. Electronic Markets, 9(1–2), 109–117. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  44. Cho, D., Hwang, Y., & Park, J. (2018). More buzz, more vibes: Impact of social media on concert distribution. Journal of Economic Behavior & Organization, 156, 103–113. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  45. Choi, G. Y. (2016). “Who Run the Music? Girls!”: Examining the construction of female digital musicians’ online presence. Popular Music and Society, 40(4), 474–487. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  46. Connell, K., Brown, A. R., & Baker, S. (2020). The rise and fall of professional singers: A typology of creative career stages in the performing arts. In A. de Dios & L. Kong (Eds.), Handbook on the geographies of creativity (200–215). Edward Elgar Publishing. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  47. da Silva Henrique, J., Machado, A. F., & Antigo, M. F. (2023). Work satisfaction and job perma-nence in artistic careers: The case of musicians in Belo Horizonte, Brazil. Journal of Cultural Eco-nomics, 47(4), 693–718. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  48. De Notaris, D., & Savonardo, L. (2022). The digitalization of sound: How the consumption of mu-sic changed from vinyl to hybrid experiences. Italian Sociological Review, 12(1), 159. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  49. de Zúñiga, H. G., Barnidge, M., & Scherman, A. (2018). Social media social capital, offline social capital, and citizenship: Exploring asymmetrical social capital effects. In Digital politics: Mobiliza-tion, engagement and participation (44–68). Routledge. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  50. Deldjoo, Y., Schedl, M., & Knees, P. (2024). Content-driven music recommendation: Evolution, state of the art, and challenges. Computer Science Review, 51, 100618. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  51. deWaard, A. (2021). Wall Street’s content wars: Financing media consolidation (Working paper). UC San Diego. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  52. Eiriz, V., & Leite, F. P. (2017). The digital distribution of music and its impact on the business models of independent musicians. The Service Industries Journal, 37(13–14), 875–895. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  53. Emmison, M., & Frow, J. (1998). Information technology as cultural capital. Australian Universi-ties’ Review, 41(1), 41–45. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  54. Evans, J. M., & Baym, N. K. (2022). The audacity of clout (chasing): Digital strategies of Black youth in Chicago DIY hip-hop. International Journal of Communication, 16, 2669–2687. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  55. Everts, R. (2023). Making it big in live music: A multilevel analysis of careers in live music. Cultur-al Trends, 33(5), 660–679. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  56. Everts, R., Berkers, P., & Hitters, E. (2022). Milestones in music: Reputations in the career build-ing of musicians in the changing Dutch music industry. Poetics, 92, 101647. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  57. Everts, R., Hitters, E., & Berkers, P. (2021). The working life of musicians: Mapping the work activ-ities and values of early-career pop musicians in the Dutch music industry. Creative Industries Journal, 15(1), 97–117. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  58. Florina, P., & Andreea, M. (2012). Social media and marketing of the “popcorn” music wave: The success of Romanian commercial musicians analysed through their perceived image on Face-book and YouTube. Economics & Sociology, 5(2A), 125–139. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  59. Fry, A. (2019). An echoic chamber: Algorithmic curation and personalized listening. In E. Mazi-erska, L. Gillon, & T. Rigg (Eds.), Popular music in the post-digital age: Politics, economy, culture and technology (269–290). Bloomsbury Academic. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  60. Galuszka, P., & Wyrzykowska, K. M. (2017). Artist and repertoire goes online: Evidence from Po-land. Media Industries Journal, 4(1). Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  61. Gandini, A. (2016). Digital work: Self-branding and social capital in the freelance knowledge economy. Marketing Theory, 16(1), 123–141. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  62. Gerlitz, C., & Helmond, A. (2013). The like economy: Social buttons and the data-intensive web. New Media & Society, 15(8), 1348–1365. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  63. Giuffre, K. (1999). Sandpiles of opportunity: Success in the art world. Social Forces, 77(3), 815–832. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  64. Gourévitch, B. (2023). Billboard 200: The lessons of musical success in the U.S. Music & Science, 6. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  65. Graf, A., & Lueg, K. (2025). Reworking boundaries: A qualitative case study on engineers’ profes-sional identity and habitus in the face of digital transformation. Management Revue, 36(3), Arti-cle 46861. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  66. Gross, S.-A., & Musgrave, G. (2020). Can music make you sick? Measuring the price of musical ambition. University of Westminster Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  67. Gupta, S., Kaur, K., & Jain, S. (2024). EqBal-RS: Mitigating popularity bias in recommender sys-tems. Journal of Intelligent Information Systems, 62, 509–534. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  68. Hagen, A. N. (2021). Datafication, literacy, and democratization in the music industry. Popular Music and Society, 45(2), 184–201. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  69. Hansen, K. A., & Bickford, T. (2023). Negotiating girlhood in rock music: Nandi Bushell, prodigy discourse and adult mentor-fans. Popular Music, 42(2), 123–142. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  70. Haynes, J., & Marshall, L. (2018). Beats and tweets: Social media in the careers of independent musicians. New Media & Society, 20(5), 1973–1993. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  71. Hesmondhalgh, D. (2002). The cultural industries. SAGE. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  72. Hesmondhalgh, D. (2006). Bourdieu, the media and cultural production. Media, Culture & Socie-ty, 28(2), 211–231. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  73. Hesmondhalgh, D. (2020). Is music streaming bad for musicians? Problems of evidence and ar-gument. New Media & Society, 23(12), 3593–3615. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  74. Hesmondhalgh, D., & Meier, L. M. (2014). Popular music, independence and the concept of the alternative in contemporary capitalism. In J. Bennett & N. Strange (Eds.), Media independence: Working with freedom or working for free? (94–116). Routledge. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  75. Hesmondhalgh, D., & Meier, L. M. (2017). What the digitalisation of music tells us about capital-ism, culture and the power of the information technology sector. Information, Communication & Society, 21(11), 1555–1570. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  76. Hesmondhalgh, D., & Sun, H. (2024). How working musicians (finally) became a matter of main-stream political interest. In D. Arditi & R. Nolan (Eds.), The Palgrave handbook of critical music industry studies. Palgrave Macmillan. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  77. Hirsch, P. M. (1972). Processing fads and fashions: An organization-set analysis of cultural indus-try systems. American Journal of Sociology, 77(4), 639–659. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  78. Hodgson, T. (2021). Spotify and the democratisation of music. Popular Music, 40(1), 1–17. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  79. Holla, S., & Kuipers, G. (2016). Aesthetic capital. In L. Hanquinet & M. Savage (Eds.), Routledge international handbook of the sociology of art and culture (290–303). Routledge. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  80. Hracs, B. J. (2012). A creative industry in transition: The rise of digitally driven independent mu-sic production. Growth and Change, 43(3), 442–461. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  81. Hracs, B. J. (2016). Working harder and working smarter: The survival strategies of contemporary independent musicians. In B. J. Hracs, M. Seman, & T. E. Virani (Eds.), The production and con-sumption of music in the digital age (41–55). Routledge. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  82. Hughes, D., Keith, S., Morrow, G., Evans, M., & Crowdy, D. (2013). What constitutes artist success in the Australian music industries? International Journal of Music Business Research, 2(2), 61–80. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  83. Ignatow, G., & Robinson, L. (2017). Pierre Bourdieu: Theorizing the digital. Information, Commu-nication & Society, 20(7), 950–966. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  84. Järvekülg, M., & Wikström, P. (2022). The emergence of promotional gatekeeping and converged local music professionals on social media. Convergence: The International Journal of Research into New Media Technologies, 28(5), 1358–1375. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  85. Jerasa, S., & Burriss, S. K. (2024). Writing with, for, and against the algorithm: TikTokers’ relation-ships with AI as audience, co-author, and censor. English Teaching: Practice & Critique, 23(1), 118–134. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  86. Jones, E. (2021). The popular: Metrics, measurements and the DIY imagination. In DIY music and the politics of social media (103–119). Bloomsbury Academic. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  87. Jones, M. L. (1997). Organising pop: Why so few pop acts make pop music (Publication No. 2473824692) [Doctoral dissertation, University of Liverpool]. ProQuest Dissertations & Theses Global. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  88. Julien, C. (2015). Bourdieu, social capital and online interaction. Sociology, 49(2), 356–373. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  89. Leguina, A., & Downey, J. (2021). Getting things done: Inequalities, Internet use and everyday life. New Media & Society, 23(7), 1824–1849. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  90. Karakayali, N., Kostem, B., & Galip, I. (2018). Recommendation systems as technologies of the self: Algorithmic control and the formation of music taste. Theory, Culture & Society, 35(2), 3–24. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  91. Karizat, N., Delmonaco, D., Eslami, M., & Andalibi, N. (2021). Algorithmic folk theories and iden-tity: How TikTok users co-produce knowledge of identity and engage in algorithmic resistance. Proceedings of the ACM on Human-Computer Interaction, 5(CSCW2), 1–44. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  92. Kjus, Y. (2016). Musical exploration via streaming services: The Norwegian experience. Popular Communication, 14(3), 127–136. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  93. Kopf, S. (2025). Unravelling social media critical discourse studies (SM-CDS) – four approaches to studying social media through the critical lens. Critical Discourse Studies. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  94. Kozbelt, A. (2005). Factors affecting aesthetic success and improvement in creativity: A case study of the musical genres of Mozart. Psychology of Music, 33(3), 235–255. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  95. Kukkonen, I., Pajunen, T., Sarpila, O., & Åberg, E. (2024). Is beauty-based inequality gendered? A systematic review of gender differences in socioeconomic outcomes of physical attractiveness in labor markets. European Societies, 26(1), 117–148. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  96. Kwon, H., Kim, S., & Yang, J. (2018). What makes them dream on?: The influence of social and psychological assets on young musicians’ decision to stay in the profession. Development and Society, 47(3), 371–400. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  97. Laor, T., & Galily, Y. (2020). The annual music charts: The communal musical taste mix in Israel. Israel Affairs, 26(6), 928–959. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  98. Leenders, M. A. A. M., Farrell, M. A., Zwaan, K., & ter Bogt, T. F. M. (2015). How are young music artists configuring their media and sales platforms in the digital age? Journal of Marketing Man-agement, 31(17–18), 1799–1817. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  99. Levina, N., & Arriaga, M. (2014). Distinction and status production on user-generated content platforms: Using Bourdieu’s theory of cultural production to understand social dynamics in online fields. Information Systems Research, 25(3), 468–488. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  100. Leyshon, A. (2009). The software slump?: Digital music, the democratisation of technology, and the decline of the recording studio sector within the musical economy. Environment and Plan-ning A: Economy and Space, 41(6), 1309–1331. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  101. Liebowitz, S. J. (2004). Will MP3 downloads annihilate the record industry? The evidence so far. In G. D. Libecap (Ed.), Intellectual property and entrepreneurship (229–260). Emerald Group Pub-lishing. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  102. Lueg, K., Graf, A., & Boje, D. (2023). A Danish case study of a sociomaterial construction of a new nomos and purpose of higher education. Higher Education, 85(2), 455–472. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  103. Lundahl, O. (2020). Algorithmic meta-capital: Bourdieusian analysis of social power through al-gorithms in media consumption. Information, Communication & Society, 25(10), 1440–1455. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  104. Maasø, A., & Hagen, A. N. (2019). Metrics and decision-making in music streaming. Popular Communication, 18(1), 18–31. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  105. Maasø, A., & Spilker, H. S. (2022). The streaming paradox: Untangling the hybrid gatekeeping mechanisms of music streaming. Popular Music and Society, 45(3), 300–316. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  106. Malcomson, H. (2013). Composing individuals: Ethnographic reflections on success and prestige in the British new music network. Twentieth-Century Music, 10(1), 115–136. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  107. Maliński, J. (2017). Attention capital as a result of the emergence of social media. Adeptus, (10), 1–13. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  108. Marrington, M. (2024). Cultural entrepreneurship in historical and contemporary context: Per-spectives on repertoire construction and recording practice in the field of classical guitar per-formance. In R. Hepworth-Sawyer, M. Marrington, J. Hall, & E. Beaumont (Eds.), Contemporary enterprise and entrepreneurship in context (213–228). Routledge. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  109. Maudonnet, D. L., Wood, T., & Bendassolli, P. F. (2019). From know-how to know-when: Strate-gies that Brazilian musicians use to reorient their careers in the face of technological and insti-tutional changes. International Journal of Arts Management, 21(3), 14–27. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  110. McLeod, K. (2005). MP3s are killing home taping: The rise of Internet distribution and its chal-lenge to the major label music monopoly. Popular Music and Society, 28(4), 521–531. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  111. Meier, L. M. (2017). Popular music as promotion: Music and branding in the digital age. Polity Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  112. Menger, P.-M. (2014). The economics of creativity: Art and achievement under uncertainty (S. Rendall, A. Jacobs, A. Dorval, L. Eskinazi, E. Saada, & J. Karaganis, Trans.). Harvard University Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  113. Meraz, S., & Papacharissi, Z. (2013). Networked gatekeeping and networked framing on #Egypt. The International Journal of Press/Politics, 18(2), 138–166. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  114. Merisalo, M. (2016). Electronic capital: Economic and social geographies of digitalization [Doctoral dissertation, University of Helsinki]. University of Helsinki. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  115. Merton, R. K. (1968). The Matthew effect in science. Science, 159(3810), 56–63. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  116. Messitte, N. (2014, November 30). How payola laws keep independent artists off mainstream radio. Forbes. Retrieved from: https://www.forbes.com/sites/nickmessitte/2014/11/30/how-payola-laws-keep-independent-artists-off-mainstream-radio/ (last accessed: 2025, November 25). Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  117. Morgan, B. A. (2019). Revenue, access, and engagement via the in-house curated Spotify playlist in Australia. Popular Communication, 18(1), 32–47. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  118. Morris, J. W. (2015). Curation by code: Infomediaries and the data mining of taste. European Journal of Cultural Studies, 18(4–5), 446–463. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  119. Morris, J. W. (2020). Music platforms and the optimization of culture. Social Media + Society, 6(3). Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  120. Murphy, S., & Hume, M. (2023). The new digital music marketing ecosystem: Artist direct. Crea-tive Industries Journal, 18(2), 172–204. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  121. Negus, K. (2002). The work of cultural intermediaries and the enduring distance between pro-duction and consumption. Cultural Studies, 16(4), 501–515. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  122. Negus, K. (2011). Producing pop: Culture and conflict in the popular music industry (Original work published 1992). Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  123. Negus, K. (2019). From creator to data: The post-record music industry and the digital conglom-erates. Media, Culture & Society, 41(3), 367–384. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  124. Netherton, J. (2017). The entrepreneurial imperative: Recording artists in extreme metal music proto-markets. Metal Music Studies, 3(3), 369–386. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  125. Ng, J., & Gamble, S. (2024). Hip-hop music producers’ labour in the digital music economy: Self-promotion, social media and platform gatekeeping. New Media & Society, Advance online publi-cation. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  126. Nørholm Lundin, A. (2022). “Where is your fixed point?” Dealing with ambiguous freelance mu-sician careers. Cultural Trends, 32(3), 231–246. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  127. O’Dair, M., & Fry, A. (2019). Beyond the black box in music streaming: The impact of recommen-dation systems upon artists. Popular Communication, 18(1), 65–77. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  128. Ogden, J. R., Ogden, D. T., & Long, K. (2011). Music marketing: A history and landscape. Journal of Retailing and Consumer Services, 18(2), 120–125. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  129. Ollier-Malaterre, A., Jacobs, J. A., & Rothbard, N. P. (2019). Technology, work, and family: Digital cultural capital and boundary management. Annual Review of Sociology, 45(1), 425–447. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  130. Österblom, H., Jouffray, J.-B., Folke, C., Crona, B., Troell, M., Merrie, A., & Rockström, J. (2015). Transnational corporations as ‘keystone actors’ in marine ecosystems. PLOS ONE, 10(5), e0127533. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  131. Paino, M., & Renzulli, L. A. (2013). Digital dimension of cultural capital: The (in)visible ad-vantages for students who exhibit computer skills. Sociology of Education, 86(2), 124–138. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  132. Perrin, A. (2020). The innovative business model of Daft Punk. In P. Roy & E. Pellegrin-Boucher (Eds.), Innovation in the cultural and creative industries (55–75). John Wiley & Sons. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  133. Peterson, R. A., & Berger, D. G. (1975). Cycles in symbol production: The case of popular music. American Sociological Review, 40(2), 158–173. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  134. Pilati, F., Houssard, A., & Sacco, P. L. (2024). Mirroring the inequalities of mainstream music platforms: Popularity, revenue, and monetization strategies on Bandcamp. International Journal of Cultural Policy, 31(3), 338–357. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  135. Podolny, J. (2005). Status signals: A sociological study of market competition. Princeton University Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  136. Polak, N., & Schaap, J. (2025). Write, record, optimize? How musicians reflect on music optimiza-tion strategies in the creative production process. New Media & Society, 27(8), 4773–4789. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  137. Pras, A., Guastavino, C., & Lavoie, M. (2013). The impact of technological advances on recording studio practices. Journal of the American Society for Information Science and Technology, 64(3), 612–626. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  138. Prey, R. (2018). Nothing personal: Algorithmic individuation on music streaming platforms. Me-dia, Culture & Society, 40(7), 1086–1100. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  139. Prey, R. (2020a). Locating power in platformization: Music streaming playlists and curatorial power. Social Media + Society, 6(2). Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  140. Prey, R. (2020b). Performing numbers: Musicians and their metrics. In D. Stark (Ed.), The perfor-mance complex: Competition and competitions in social life (241–258). Oxford University Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  141. Prey, R., & Lee, S. (2024). Platform closure and creator creep: What we can learn from Korean indie musicians. International Journal of Communication, 18, 4167–4186. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  142. Qu, S., Hesmondhalgh, D., & Xiao, J. (2021). Music streaming platforms and self-releasing musi-cians: The case of China. Information, Communication & Society, 26(4), 699–715. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  143. Raffa, M. (2025). Self-brand or be branded out: The convergence of mainstream and independ-ent music talent scouting under platform capitalism. Cultural Sociology, 0(0). Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  144. Ragnedda, M. (2018). Conceptualizing digital capital. Telematics and Informatics, 35(8), 2366–2375. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  145. Ragnedda, M., Ruiu, M. L., & Addeo, F. (2020). Measuring digital capital: An empirical investiga-tion. New Media & Society, 22(5), 793–816. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  146. Rauh, A. (2024). Showing off as selling out: Online (self-)promotional strategies of grassroots electronic dance musicians. Popular Music and Society, 47(5), 582–603. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  147. Reitsamer, R. (2011). The DIY careers of techno and drum ’n’ bass DJs in Vienna. Dancecult: Jour-nal of Electronic Dance Music Culture, 3(1), 28–43. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  148. Rogers, I. (2013a). The hobbyist majority and the mainstream fringe: The pathways of independ-ent music-making in Brisbane, Australia. In S. Baker, A. Bennett, & J. Taylor (Eds.), Redefining mainstream popular music (162–173). Routledge. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  149. Rogers, J. (2013b). The death and life of the music industry in the digital age. Bloomsbury Aca-demic. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  150. Sadowski, J. (2019). When data is capital: Datafication, accumulation, and extraction. Big Data & Society, 6(1). Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  151. Sarpila, O., Kukkonen, I., Pajunen, T., & Åberg, E. (2021). Introduction. In O. Sarpila, I. Kukkonen, T. Pajunen, & E. Åberg (Eds.), Appearance as capital: The normative regulation of aesthetic capital accumulation and conversion (1–19). Emerald Publishing. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  152. Schmitz, A. (2017). The structure of digital partner choice: A Bourdieusian perspective. Springer. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  153. Schmutz, V. (2016). Commercialization and consecration: Media attention to popular music in the US and the Netherlands, 1975–2005. Poetics, 59, 82–95. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  154. Schwetter, H. (2019). From record contract to artrepreneur? Musicians’ self-management and the changing illusio in the music market. Kritika Kultura, (32), Article 11. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  155. Scott, M. (2012). Cultural entrepreneurs, cultural entrepreneurship: Music producers mobilising and converting Bourdieu’s alternative capitals. Poetics, 40(3), 237–255. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  156. Seaver, N. (2022). Computing taste: Algorithms and the makers of music recommendation. Univer-sity of Chicago Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  157. Sen, A. (2010). Music in the digital age: Musicians and fans around the world “come together” on the net. Global Media Journal, 9(16), 1–13. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  158. Shoemaker, P. J., & Reese, S. D. (1996). Mediating the message: Theories of influences on mass media content (2nd ed.). Longman. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  159. Simonton, D. K. (1986). Aesthetic success in classical music: A computer analysis of 1935 compo-sitions. Empirical Studies of the Arts, 4(1), 1–17. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  160. Smith, C., Smith, J. B., & Shaw, E. (2017). Embracing digital networks: Entrepreneurs’ social capi-tal online. Journal of Business Venturing, 32(1), 18–34. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  161. Smith, N. T., & Thwaites, R. (2019). The composition of precarity: ‘Emerging’ composers’ experi-ences of opportunity culture in contemporary classical music. The British Journal of Sociology, 70(2), 589–609. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  162. Spilker, H. S. (2012). The network studio revisited: Becoming an artist in the age of “piracy cul-tures”. International Journal of Communication, 6, 773–794. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  163. Spotify for Artists. (2023, November 21). Modernizing our royalty system to drive an additional 1 billion toward emerging and professional artists. Retrieved from https://artists.spotify.com/en/blog/modernizing-our-royalty-system (last accessed: 2025, No-vember 25). Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  164. Sutton, A. C. (2020). The composition of success: Competition and the creative self in contempo-rary art music. Qualitative Sociology, 43(4), 489–513. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  165. Tessler, H., & Flynn, M. (2015). From DIY to D2F: Contextualizing entrepreneurship for the artist/musician. In A. Dumbreck & G. McPherson (Eds.), Music entrepreneurship (47–73). Me-thuen Drama. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  166. Thomson, K. (2013). Roles, revenue, and responsibilities: The changing nature of being a work-ing musician. Work and Occupations, 40(4), 514–525. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  167. Tintiangko, J., Fung, A. Y. H., & Leo-Liu, J. (2023). Compelled TikTok creators? The ambivalent affordances of the short video app for Filipino musicians. Media, Culture & Society, 45(8), 1600–1615. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  168. Toval-Gajardo, M., Soto Roy, Á., Manríquez, F., & Fortes, G. (2025). Voices and melodies of artis-tic precarity: The unbearable flexibility of subjectivity in Chilean independent musicians. Human Arenas. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  169. Tufekci, Z. (2015). Algorithmic harms beyond Facebook and Google: Emergent challenges of computational agency. Colorado Technology Law Journal, 13, 203–217. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  170. Vakalopoulos, K. (2023). Shedding some (more) light in Bourdieu’s habitus and doxa: A socio‐phenomenological approach. Journal for the Theory of Social Behaviour, 53(2), 255–270. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  171. van den Berg, M., & Arts, J. (2019). The aesthetics of work-readiness: Aesthetic judgements and pedagogies for conditional welfare and post-Fordist labour markets. Work, Employment & Socie-ty, 33(2), 298–313. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  172. van Kan, M. (2025). Digitalization and the long tail: Perspectives of music producers from Småland. In M. Knust (Ed.), Pop music made in Småland: Music production and entrepreneurship in Sweden (127–139). Palgrave Macmillan. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  173. Verwiebe, R., & Hagemann, S. (2024). Bourdieu revisited: New forms of digital capital – emer-gence, reproduction, inequality of distribution. Information, Communication & Society, 28(11), 1861–1883. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  174. Villanueva-Mansilla, E., Nakano, T., & Evaristo, I. (2015). From divides to capitals: An exploration of digital divides as expressions of social and cultural capital. In L. Robinson, J. Schulz, S. R. Cotten, T. M. Hale, A. A. Williams, & J. L. Hightower (Eds.), Communication and information tech-nologies annual (89–117). Emerald Group. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  175. Wang, Q., & de Kloet, J. (2016). From “nothing to my name” to “I am a singer”: Market, capital, and politics in the Chinese music industry. In M. Keane (Ed.), Handbook of cultural and creative industries in China (293–310). Edward Elgar. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  176. Watson, A., Watson, J. B., & Tompkins, L. (2022). Does social media pay for music artists? Quanti-tative evidence on the co-evolution of social media, streaming and live music. Journal of Cultural Economy, 16(1), 32–46. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  177. Westby, D. L. (1960). The career experience of the symphony musician. American String Teacher, 10(3), 16–22. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  178. Wikström, P. (2019). The music industry: Music in the cloud (3rd ed.). Polity Press. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  179. Woods, C. R. (2023). Orchestrating the ecosystem: How music-making is transformed in the digital age (Publication No. 31104528) [Doctoral dissertation, University of Liverpool]. ProQuest Disser-tations & Theses Global. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  180. Woods, C., & Davis, J. (2024). Exploring the origins of digital burnout in the music industries and what to do about it. In D. Arditi & R. Nolan (Eds.), The Palgrave handbook of critical music indus-try studies (169–187). Palgrave Macmillan. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  181. Zhang, X., Chu, X., Liang, H., & He, J. (2024). Exploring music geography beyond the West: Clus-tering and mobility of Chinese musicians in the digital era. Geoforum, 150, 103990. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  182. Zulli, D., & Zulli, D. J. (2022). Extending the internet meme: Conceptualizing technological mime-sis and imitation publics on the TikTok platform. New Media & Society, 24(8), 1872–1890. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  183. Zwaan, K., & ter Bogt, T. F. M. (2009). Research note: Breaking into the popular record industry: An insider’s view on the career entry of pop musicians. European Journal of Communication, 24(1), 89–101. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47
  184. Zwaan, K., ter Bogt, T. F. M., & Raaijmakers, Q. (2009). So you want to be a rock ‘n’ roll star? Career success of pop musicians in the Netherlands. Poetics, 37(3), 250–266. Google Scholar öffnen DOI: 10.5771/2566-7742-2025-1-47

Zitation

Download RIS Download BibTex

Downloads

Download Kapitel (PDF) Download kompl. Werk (PDF)

Hinweis

Dieses Werk ist urheberrechtlich geschützt und darf nur nach den Vorgaben der Nutzungs- und Lizenzvereinbarung genutzt werden. Jede darüber hinaus gehende Nutzung des Werkes ist ausdrücklich untersagt und wird verfolgt.

Per E-Mail teilen

Medien