隨著文化經濟重要性浮現，文化資本的累積，逐漸成為世界城市發展過程的策略重點。作為中國政治與文化首都，北京塑造成為世界城市的企圖，充分體現在 2000年以來國家主導的文化政策及論述上。然而，既有文獻在解釋後社會主義中國的發展經驗時，明顯存在一個缺漏：忽略創意空間建構的文化政治經濟過程。本文以音樂現場演出的產業化運作為觀察對象，主要聚焦於三個問題： (1)以往被作為政令宣導工具的音樂現場演出，如何轉型成為市場化運作商品？(2)音樂現場演出在北京如何產業化？過程中涉及的市場、組織、經理等知識與人才議題，如何被處理？(3)中央及北京市政府如何透過制度設計與文化設施的動員，同時處理政治與經濟之間的緊張矛盾、強化中國社會的民族意識型態，並作為北京發展成為世界城市的策略重點？本文最後指出，全球城市文化策略，除了既有歸結自資本主義城市發展經驗，強調以人為導向、以產品為導向、以地方為導向等策略邏輯，政治宣傳導向策略，是另一個策略重點。

Cities with global aspirations have increasingly recognized the need to accumulate cultural capital in the context of the global economy. As the political and cultural center of China, Beijing’s efforts to attain global city status have manifested in state-led cultural projects and policy discourses since the early 2000s. However, literature, in explaining the experience of post-socialist China, ignored the cultural-political-economic process in creative-space construction. This study adopts Beijing’s live music industry as its case study. This industry is interwoven with Beijing’s cultural infrastructure, production network, and culture consumers. This study attempts to identify the transformation of (1) the cultural, political, and economic process of ‘live music as political propaganda’ into ‘live music as a market commodity,’ (2) the networks and institutions through which cultural workers and resources are mobilized, and (3) the roles of the central and local governments in the industrialization process. Based on findings from this empirical study, a four-fold strategy, a people-oriented strategy, a product-oriented strategy, a place-oriented strategy, and a propaganda-oriented strategy, by which cities with global aspirations seek to develop particular forms of cultural capital, is identified.