Tales from the Thousand Lakes: Placing the Creative Network of Metal Music in Finland

Music in general and the music industry in particular have been understudied subjects in the field of geography. The relatively scarce amount of literature on music industries has concentrated its attention on companies operating inside the industry, and on popular music. There is a gap in the knowledge on the networking processes of individuals inside the music industry and the geographical dynamics of music genres. Thus, as a point of departure, this study focuses on the creative individuals of a distinct music genre: namely, the bands and artists of the Finnish metal music genre, owing to the genre's international recognition and its importance in the Finnish economy and society. According to the analysis the metal bands in Finland tend to cluster in the largest cities. There are, however, some exceptions—very small municipalities (in terms of population) with a fair number of metal bands. Still, the capital Helsinki is the most prominent cluster of metal music in Finland. A further social network analysis reveals that the metal music cluster of Helsinki has a network of short average path length and a high degree of clustering. In other words, the members of the network function in close collaboration with each other. This notion was also verified by mapping the joint-career path of the most prolific (connected) individuals inside the network.

[1]  A. Scott,et al.  The US Recorded Music Industry: On the Relations between Organization, Location, and Creativity in the Cultural Economy , 1999 .

[2]  D. Power,et al.  Profiting from Creativity? The Music Industry in Stockholm, Sweden and Kingston, Jamaica , 2002 .

[3]  Alan M. Frieze,et al.  Random graphs , 2006, SODA '06.

[4]  Justin O'Connor,et al.  Local music policies within a global music industry: cultural quarters in Manchester and Sheffield , 2000 .

[5]  M. Leyshon Sound Tracks: Popular Music, Identity and Place , 2004 .

[6]  D. Power The nordic ‘cultural industries’: a cross‐national assessment of the place of the cultural industries in denmark, finland, norway and sweden , 2003 .

[7]  Dean Keith Simonton,et al.  Group Artistic Creativity: Creative Clusters and Cinematic Success in Feature Films1 , 2004 .

[8]  R. Kloosterman Come together; An introduction to music and the city , 2005 .

[9]  Keith Negus Popular music in theory : an introduction , 1999 .

[10]  N. Rantisi,et al.  Networks and place in Montreal's independent music industry , 2012 .

[11]  Dominic Power,et al.  “Cultural Industries” in Sweden: An Assessment of their Place in the Swedish Economy* , 2002 .

[12]  Albert-László Barabási,et al.  Linked: The New Science of Networks , 2002 .

[13]  A. Leyshon Time–Space (and Digital) Compression: Software Formats, Musical Networks, and the Reorganisation of the Music Industry , 2001 .

[14]  S H Strogatz,et al.  Random graph models of social networks , 2002, Proceedings of the National Academy of Sciences of the United States of America.

[15]  P. Cohendet,et al.  Economics and the ecology of creativity: evidence from the popular music industry , 2009 .

[16]  Béla Bollobás,et al.  Random Graphs , 1985 .

[17]  Michael Hoyler,et al.  Spaces and Networks of Musical Creativity in the City , 2009 .

[18]  Pablo M. Gleiser,et al.  Community Structure in Jazz , 2003, Adv. Complex Syst..

[19]  Keith Kahn-Harris Extreme Metal: Music and Culture on the Edge , 2006 .

[20]  Allan Watson The world according to iTunes: mapping urban networks of music production , 2012 .

[21]  Anne L. J. Ter Wal,et al.  Applying social network analysis in economic geography: framing some key analytic issues , 2009 .

[22]  Keith Harris ‘Roots’?: the relationship between the global and the local within the Extreme Metal scene , 2000, Popular Music.

[23]  R. J. Bennett,et al.  Government and policy , 2012 .

[24]  M. Lorenzen,et al.  Why do Cultural Industries Cluster? Localization, Urbanization, Products and Projects , 2007 .

[25]  Allan Watson Global music city: knowledge and geographical proximity in London's recorded music industry , 2008 .

[26]  R. Florida The Rise of the Creative Class , 2002 .

[27]  P. Braunerhjelm The Genesis and Evolution of the Stockholm Music Cluster , 2009 .

[28]  H. Bathelt,et al.  Clusters and knowledge: local buzz, global pipelines and the process of knowledge creation , 2004 .

[29]  Daniel Hallencreutz,et al.  Competitiveness, Local Production Systems and Global Commodity Chains in the Music Industry: Entering the US Market , 2007 .

[30]  The Management of Events in the Veneto Performing Music Cluster: Bridging Latent and Permanent Organisations , 2007 .

[31]  Brian J. Hracs,et al.  A tale of two scenes: civic capital and retaining musical talent in Toronto and Halifax , 2011 .

[32]  Andrew Leyshon,et al.  The Software Slump?: Digital Music, the Democratisation of Technology, and the Decline of the Recording Studio Sector within the Musical Economy , 2009 .

[33]  Duncan J. Watts,et al.  Collective dynamics of ‘small-world’ networks , 1998, Nature.

[34]  John Scott What is social network analysis , 2010 .

[35]  Chrissie Gibson,et al.  World music: deterritorializing place and identity , 2004 .

[36]  R. Florida,et al.  Sonic City: The Evolving Economic Geography of the Music Industry , 2009 .

[37]  Chrissie Gibson,et al.  Tamworth, Australia's 'country music capital': place marketing, rurality and resident reactions , 2004 .

[38]  Florian Taübe,et al.  Breakout from Bollywood? The roles of social networks and regulation in the evolution of Indian film industry , 2008 .

[39]  Clerwood Terrace,et al.  Rethinking the music industry , 2007 .

[40]  Maximino Aldana-Gonzalez,et al.  Linked: The New Science of Networks , 2003 .

[41]  A. Krims Music and Urban Geography , 2007 .

[42]  Anne Lorentzen,et al.  Knowledge Bases, Talents and Contexts. On the Usefulness of the Creative Class Approach in Sweden , 2010 .

[43]  M. Porter The Competitive Advantage Of Nations , 1990 .

[44]  Lily Kong,et al.  Popular music in geographical analyses , 1995 .

[45]  Richard Florida,et al.  Music Scenes to Music Clusters: The Economic Geography of Music in the US, 1970–2000 , 2010 .

[46]  Hassan Abdulaziz,et al.  Environment and Planning , 1969 .

[47]  Richard J. Floeckher Extreme Metal: Music and Culture on the Edge , 2009 .

[48]  Bj⊘rn Asheim,et al.  Face-to-Face, Buzz, and Knowledge Bases: Sociospatial Implications for Learning, Innovation, and Innovation Policy , 2007 .

[49]  Albert,et al.  Emergence of scaling in random networks , 1999, Science.

[50]  M. Vaattovaara,et al.  Creative knowledge in the Helsinki Metropolitan Area. Understanding the attractiveness of the metropolitan region for creative knowledge workers , 2008 .

[51]  P. Krugman Geography and Trade , 1992 .

[52]  Robert R. Klein Where music and knowledge meet: a comparison of temporary events in Los Angeles and Columbus, Ohio , 2011 .

[53]  Brian J. Hracs A creative industry in transition: the rise of digitally driven independent music production , 2012 .

[54]  Robert L. Gross,et al.  Heavy Metal Music: A New Subculture in American Society , 1990 .

[55]  Nick Henry,et al.  Spatialising knowledge: placing the knowledge community of Motor Sport Valley , 2000 .