ABSTRACT

Musicians have always established a symbiotic relationship with the urban environments in which they live and work, with a tendency to aggregate into place-based relational networks. Bologna provides a clear example of this phenomenon to the point that the evolution of its musical scene can be characterized in terms of its relational dynamics. We study a network of artists whose main common trait has been the deliberate choice of coming or returning to live and work in Bologna, locally producing their records in the period 1978–1992, a sort of “creative golden age” in the recent musical history of the city. We use Social Network Analysis to reconstruct the structure of the relationships that have bound together the Bologna’s singers-songwriters scene in its relationship with the urban context. Making use of the Newman Community Detection algorithm, we find a dense, vital and collaborative scene, organized around four different, musician-centered communities, that are permeable to collaborations with each other. This vital system of related creative communities has been the driving force of Bologna’s salience in the national musical scene in the 1980s and early 1990s, and its analysis provides insights for the design of cultural policies aimed at leveraging the potential of urban creative scenes.

摘要

音乐家总是与他们生活和工作的城市环境建立共生关系，并倾向于聚合成基于地点的关系网络。博洛尼亚为这种现象提供了一个明显的例子，以至于它的音乐场景的演变可以用它的关系动态来描述。我们研究了一个艺术家网络，他们的主要共同特征是有意选择来或返回博洛尼亚生活和工作，在 1978 年至 1992 年期间在当地制作他们的唱片，这是近期音乐史上的一种“创造性黄金时代”城市的。我们使用社交网络分析来重建将博洛尼亚的歌手-词曲作者场景与城市环境联系在一起的关系结构。利用纽曼社区检测算法，我们发现了一个密集、充满活力和协作的场景，围绕着四个不同的、以音乐家为中心的社区组织起来，这些社区可以相互渗透。这个由相关创意社区组成的重要系统一直是博洛尼亚在 1980 年代和 1990 年代初期在全国音乐舞台上突出的驱动力，其分析为旨在利用城市创意场景潜力的文化政策设计提供了见解。