From Classical Athens, through Renaissance Florence, up to the industrial and post-industrial eras, the arts have played a central role in the life of different societies in urban areas (Evans, 2001). Competition between cities is not a recent phenomenon, either. Throughout history, one can find examples of cities competing for political and economic power (Belloni, 2014).

Since the beginning of the 1980s, post-industrial cities have recognized the economic impact of the cultural activities that take place in their territories. These activities contribute not only to improve the quality of life but also to increase the competitiveness and economic attractiveness of cities (Bélanger, 2015).

Over the last 15 years, the cultural and creative industries have presented the most significant global GDP growth and constitute the segment with the fastest transformation in income generation, employment, and exports (Palanivel, 2019). Music is part of this growth as "one of the most in-demand art forms worldwide" (ProColombia and Sound Diplomacy, 2018, p. 11).

In today's international community, the global competition among cities urges place managers to provide an environment capable of not only attracting visitors and investments but also keeping residents satisfied. Therefore, local development goes beyond public policy and becomes a market challenge (Kavaratzis and Hatch, 2013; Kotler and Gertner, 2004; Walters and Insch, 2018; Warnaby and Medway, 2013)adopting a view based on the relationship between the place brand and place identity. The article first evaluates the dominant conceptualization of identity within place branding. It is argued that better understanding of the relationship between place identity and place brands might advance the theory of place branding. In its current state, place branding practice and, to a great extent, place branding literature adopt a rather static view on place identity as something that can easily be articulated and communicated for the purposes of branding the place. This approach is limited as it does not reveal the full complexity of place identity and limits the role and potential of place branding. The article, drawing on a combination of the literatures on place identity and organisational identity, proposes a more dynamic view of place identity that considers identity a constant dialogue between the internal and the external. The role of branding within the identity dialogue is then clarified leading to an appreciation of the full dynamics of place brands. The true nature of place branding is revealed as one of interaction and dialogue between stakeholders. © The Author(s. Within this context, a city's cultural life, if associated with its branding, can be strategic in terms of a city's potential for development.

This study is situated in the field of cultural branding, a branch of place branding theory that studies the effects of cultural and entertainment branding on the physical, economic, and social environments of cities (Kavaratzis, 2005).

According to Anholt (2006a, 2006b), cities are different from countries for branding purposes. Hence, the author developed the "City Brand Hexagon", with six dimensions applied specifically to cities. One of the six dimensions is the "pulse", "the extent to which people consider how exciting cities are, and how easy they think it would be to find interesting things to do, both as a short-term visitor and long-term resident" (Anholt, 2006b). The author argues that "the appeal of a vibrant urban lifestyle is an important part of each city's brand image" (Anholt, 2006b). In this sense, the city's cultural life, which includes the city's music scene, can be considered as part of the city's brand.

There is a growing recognition among governments and other stakeholders that "a vibrant music economy drives value for cities in several important ways: job creation, economic growth, tourism development, city brand building, and artistic growth" (IFPI and Music Canada, [s.d.], p. 15). Cities with strong music scenes or remarkable music heritage use music as a tourism argument and are recognized as "music cities" (IFPI and Music Canada, [s.d.]). For example, Liverpool is connected to The Beatles, New Orleans is associated with jazz, and Nashville is known as "Music City" (Music Canada and The Canadian Chamber of Commerce, [s.d.]).

Despite the importance of live music for a city and the interest of some researchers in the effects of the cultural and entertainment industries on cities (Arnaud and Soldo, 2015; Campelo et al., 2014; Evans, 2001; Florida, 2004; Harvey et al., 2012; Kunzmann, 2004; Oakes and Warnaby, 2011; Scott and Leriche, 2005), to date, to the best of my knowledge, no study had been specifically concerned with the role of the live music industry in building a city's brand.

Thus, the present project aims to fill this knowledge gap by analyzing a multiple-case study conducted in Montréal and Rio de Janeiro, cities with strong and long-standing traditions of live music. Montréal is known for its numerous music festivals, and Rio is the birthplace of samba and bossa nova, music styles that are known worldwide.

SUMÁRIO

1

10 Introduction

2

14 Literature review

14 2.1. City branding

20 2.2. Creative and cultural industries

25 2.3. Cultural branding

26 2.4. City cultural industry

3

33 Conceptual framework

4

35 Research method

36 4.1. Getting started

37 4.2. Selecting cases

38 4.3. Crafting instruments and protocols

39 4.4. Entering the field

50 4.5. Analyzing data

51 4.5. Writing the emergent theory

5

53 Case Study: Montreal

53 5.1. Introduction

55 5.2. Montreal, Cultural Metropolis

65 5.3. Montreal's music scenes

76 5.4. Branding Montreal: positioning and campaigns

6

82 Case Study: Rio de Janeiro

82 6.1. Introduction

87 6.2. Rio's music scenes

113 6.3. Cultural policies

131 6.3. Branding Rio: positioning and campaigns

7

139 Cross-case analysis

146 7.1. What is lacking in order to best capitalize on the live music industry in Montreal?

148 7.2. What is lacking in order to best capitalize on the live music industry in Rio?

150 7.3. After all, what keeps music alive?

8

154 Discussions

155 8.1. Towards a new theoretical model?

158 8.2. Research Implications

9

170 Conclusion

172 9.1. Limitations

174 9.2. Future studies

175 References