Page 148 - Anuario AC/E de cultura digital 2025
P. 148
Anuario AC/E de cultura digital 2025
Dwyer, L., Forsyth, P., y Spurr, R. (2005), «Estima-
ting the Impacts of Special Events on an Eco-
nomy», Journal of Travel Research, 43(4), 351-359.
https://doi.org/10.1177/0047287505274648
Everts, R., Berkers, P., y Hitters, E. (2022), «Mi-
lestones in music: Reputations in the career
building of musicians in the changing Dutch
music industry», Poetics, 92, 101647. https://doi.
org/10.1016/j.poetic.2022.101647
Galuszka, P. (2022), «Showcase festivals as a
gateway to foreign markets», en Anderton, C., y
Pisfil, A. (eds.), Researching Live Music. Gigs, Tours,
Concerts and Festivals, Nueva York, Routledge,
pp. 56-67.
Gibson, C., y Connell, J. (2012), Music Festivals
and Regional Development in Australia, Farnham,
Ashgate.
Giorgi, L. (2011), «Between Tradition, Vision and
Imagination: The Public Sphere of Literature
Festivals», en Giorgi, L., Sassatelli, M., y Delanty,
G. (eds.), Festivals and the Cultural Public Sphere,
Nueva York, Routledge.
Giorgi, L., Sassatelli, M., y Delanty, G. (eds.)
(2011), Festivals and the Cultural Public Sphere,
Nueva York, Routledge.
Hitters, E. (2007), «Porto and Rotterdam as Eu-
ropean Capitals of Culture: Toward the Festivali-
zation of Urban Cultural Policy», en Richards, G.
(ed.), Cultural Tourism: Global and Local Perspecti-
ves, Nueva York, The Haworth Press, pp. 281-301.
Inglis, C. (2021), «Focus Wales: A showcase
festival of music performance and education»,
Journal of Popular Music Education, 5 (1), 113.
https://doi.org/10.1386/jpme_00046_1
Jakob, D. (2013), «The Eventification of Place: Ur-
ban Development and Experience Consumption
in Berlin and New York City», European Urban
and Regional Studies, 20 (4), 447-459. https://doi.
org/10.1177/0969776412459860
Lampel, J., y Meyer, A. D. (2008), «Field-Con-
figuring Events as Structuring Mechanisms:
How Conferences, Ceremonies, and Trade
Shows Constitute New Technologies,
Industries, and Markets», Journal of Mana-
gement Studies, 45, 1025-1035. https://doi.
org/10.1111/j.1467-6486.2005.00534.x
Lee, Y., Lee, C., Lee, S., y Babin, B. J. (2008),
«Festivalscapes and patron’s emotions, sa-
tisfaction, and loyalty», Journal of Business
Research, 61(1), 56-64. https://doi.org/10.1016/j.
jbusres.2006.05.009b
Lee, T. S., y Chang, P. (2017), «Examining the
relationships among festivalscape, experiences,
and identity: evidence from two Taiwanese
aboriginal festivals», Leisure Studies, 3(4), 453-467.
https://doi.org/10.1080/02614367.2016.1190857
Magaudda, P. (2014), «Dalle periferie al
museo. Note sul processo di legittimazione
culturale della musica elettronica da ballo»,
Philomusica on-line, 13(2), 157-170. http://dx.doi.
org/10.6092/1826-9001.13.1716
Magaudda, P. (2017), «Towards a Cosmopolitan
Weekend Dance Culture in Spain: From the
Ruta Destroy to the Sónar Festival», en St John,
G. (ed.), Weekend Societies. Electronic dance
music festivals and event-cultures, Nueva York,
Bloomsbury Academic, pp. 175-194.
Mason, M. C., y Paggiaro, A. (2012), «Investiga-
ting the role of festivalscape in culinary tourism:
The case of food and wine events», Tourism Ma-
nagement, 33, 1329-1336. https://doi.org/10.1016/j.
tourman.2011.12.016
Morgan, M. (2008), «What Makes a Good Fes-
tival? Understanding the event experience»,
Event Management, 12(2), 81-93. https://doi.
org/10.3727/152599509787992562
Mulder, M., Hitters, E., y Rutten, P. (2020),
«The impact of festivalization on the Dutch live
music action field: a thematic analysis», Creative
148
fEsTIvALEs DE músICA ELECTRÓNICA y ARTEs DIGITALEs…
·
José LUIs REYEs CRIADO