Cities, culture and the creative economy are widely understood to be interdependent, coming together in a roll of initiatives, speeches and agendas. Music, as a universal language and cultural manifestation, is a key element in this equation. Just think of Manchester or Liverpool, cities whose identity is deeply anchored in music. In this context, the concept of musical cities has marked its presence with special intensity not only in the speeches of political actors, other local representatives and international consultants, but also in the academic environment, through various research developed in the social sciences. The concept of musical cities has many meanings, and there are many approaches through which it has been used. However, in general, and as with much of the discourse about the creative industries, we can state that much of the narrative around musical cities is anchored in predominantly Anglo- and Eurocentric conceptions and experiences. It is therefore urgent to extend the academic discussion to other perspectives, to other realities, to other contexts. If the construction of scientific knowledge around the concept and theme of musical cities began and has had until now special prominence in the Global North, it is important that it now moves towards the Global South and be enriched with other perspectives, providing a broad reflection on the multiple meanings and diverse configurations that the concept assumes in contemporaneity, in the light of what can be the contributions of the various social sciences to its reading and understanding.

Without limiting the focus and approaches of the articles, we invite the submission of papers that discuss and reflect the concept of musical cities from the following dimensions:

  • their place in the definition of urban cultural policies;
  • the sensitive/affective dimensions of presence and musical experience in cities;
  • the logic of understanding music as cultural heritage and as representative of local identity;
  • its potential as a creator of reputations of contemporary cities;
  • the musical communities / ecosystems built in urban contexts, which refer to the different actors who participate in each step of the value chain of music;
  • the activities of various actors (musicians, producers, mediators, public) in the reconfiguration of city spaces, their forms of occupation and uses through musical practices;
  • cartographies of scenes and musical circuits;
  • the potential of music for inclusion, social cohesion, forms of sociability and for the claiming of the right to the city;
  • musical cities as central locus for the construction of careers in music.


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