Abstract
This chapter sums up the premise of this book, recapping on what a music city is, its flaws and benefits, and how it is has been researched, represented, interpreted, inhabited and experienced, from the superstar music cities (London, New York City and Los Angeles) to music scenes in smaller cities (Melbourne, Austin and Berlin). Reinforcing why music cities have found flavor in the public realm and in academic and government discourses, it explores the problematic nature of labeling a music city, from self-branding (Austin), self-identification (Melbourne) the UNESCO music city accreditations’ (Adelaide) to music-induced, port cities (New Orleans and Reykjavik). The chapter concludes by suggesting that future research needs to adopt an urban sociability discourse and nonwestern perspective, and examine emergent music cities, such as Tel Aviv and Seoul.
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Baker, A. (2019). Conclusion: Emergent Music Cities Discipline. In: The Great Music City. Pop Music, Culture and Identity. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-96352-5_15
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