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• W2401488476 abstract "This paper demonstrates the use of historical Geographic Information Systems (historical GIS) to investigate live music in Sydney and Melbourne. It describes the creation of a tailored historical geodatabase built from samples of gig listings (comprising dates, locations, and performer names), and how this historical geodatabase offers insight into the changing dynamics of performers and venue locations. The major findings from the analyses using the developed historical geodatabase are that neither city showed a decline in live music performance or performer numbers, but Melbourne increased at a greater rate than Sydney. Further, the spatial concentration within Melbourne has been far greater than that for Sydney. While Melbourne has expanded numerically but shrunk spatially, Sydney has experienced a geographic dispersion of performances throughout the study period. Introduction This paper demonstrates the use of historical Geographic Information Systems (historical GIS) to investigate live music in Sydney and Melbourne. It describes the creation of a tailored historical geodatabase built from samples of gig (concert) listings comprising dates, locations, and performer names. It then presents descriptive statistics and thematic maps derived from this historical geodatabase, demonstrating how this offers insight into the changing dynamics of live music performers and venue locations. Live music and GIS are not a common combination of subject and methodology, but this is neither for lack of data nor a lack of academic interest in the relationships between music and place. The persistent, but never oneto-one, relationship between music and place has been the subject of several dedicated studies (Bennett & Peterson 2004; Connell & Gibson 2003; Krims 2007; Whiteley, Bennett & Hawkins 2004). The case of live music presents a particularly literal manifestation of music and place, given that live music performances are defined by particular performers, locations and times. Examples of research that make maps of music are still something of a novelty, but this is changing with the gradual opening up of GIS into non-traditional subjects and data types (see: Chrisman 2005; Cope & Elwood 2009; Gibson, Brennan-Horley & Warren 2010). Parallels can be found in recent examples which investigate creative industries such as cinema, art, and fashion specifically as spatial data (Brennan-Horley & Gibson 2009; Cooper & Gregory 2011; Currid & Williams 2010; Shaw 2013; Verhoeven, Bowles & Arrowsmith 2009). For GIS within research on music specifically, there is a noticeable variation in scale and data type: Lashua (2011) and Cohen (2012) use hand drawn qualitative maps by Liverpool musicians, while Florida et al (2010) use quantitative US Census and business data. These different data approaches reflect differences in focus and overarching framework (in these cases, ethnography or economics respectively), but share a common recognition of the usefulness of maps in understanding changes in music activity. By focusing on changes to live music, this paper, and the wider research project from which it draws, is motivated by similar aims and strategies to those found within examples of historical GIS. Historical GIS refers simply to the use of GIS and related techniques within historical research. This has grown from near obscurity in the 1990s and now comprises not so much a distinct linear field of enquiry but a large and diverse collection of" @default.
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• W2401488476 date "2014-01-01" @default.
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• W2401488476 title "A Band on Every Corner: Using Historical GIS to Describe Changes in the Sydney and Melbourne Live Music Scenes" @default.
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