Musical Spaces

Place, Performance, and Power

Inbunden, Engelska, 2021

1 409 kr

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There is growing recognition and understanding of music’s fundamentally spatial natures, with significances of space found both in the immediacy of musical practices and in connection to broader identities and ideas around music. Whereas previous publications have looked at connections between music and space through singular lenses (such as how they are linked to ethnic identities or how musical images of a city are constructed), this book sets out to explore intersections between multiple scales and kinds of musical spaces. It complements the investigation of broader power structures and place-based identities by a detailed focus on the moments of music-making and musical environments, revealing the mutual shaping of these levels. The book overcomes a Eurocentric focus on a typically narrow range of musics (especially European and North American classical and popular forms) with case studies on a diverse set of genres and global contexts, inspiring a range of ethnographic, text-based, historical, and practice-based approaches.

Produktinformation

Utgivningsdatum2021-11-30
Mått152 x 229 x 32 mm
Vikt640 g
FormatInbunden
SpråkEngelska
Antal sidor490
FörlagJenny Stanford Publishing
ISBN9789814877855

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Musik: stilar och genrer inom Kultur
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James Williams is an ethnomusicologist and senior lecturer at the University of Derby, UK. His PhD, from the University of Wolverhampton, UK (2016), focused on the collaborative and creative interactions between professional musicians, while his current research concerns behavioural, socio-cultural, and creative processes in wellbeing and education.Samuel Horlor is a postdoctoral fellow at the Center for Ethnomusicology, Yunnan University, China. He specialises in research on street performance, Chinese pop, and music in urban life. Samuel is the author of Chinese Street Music: Complicating Musical Community (Cambridge University Press, 2021) and articles in journals including Ethnomusicology Forum and Asian Music.

Part I; (Trans)local Musical Spaces; 1. Musical Spaces and Deep Regionalism in Minas Gerais, Brazil; 2. ‘Trapped in Oklahoma’: Bible Belt Affect and DIY Punk; 3. Musical Pathways through Algerian-London; 4. Dancing to the Hotline Bling in the Old Bazaars of Tehran; Regionality in Learning and Heritage; 5. Performing Local Music: Engaging with Regional Musical Identities through Higher Education and Research; 6. Preserving Cultural Identity: Learning Music and Performing Heritage in a Tibetan Refugee School; 7. Claiming Back the Arctic: Evaluating the Effectiveness of Music as a Voice for the Indigenous Subaltern; Music and Spatial Imaginaries; 8. ‘He Is a Piece of Granite…’: Landscape and National Identity in Early Twentieth-century Sweden; 9. War, Folklore, and Circumstance: Dimitri Shostakovich’s Greek Songs in Transnational Historical Context; 10. ‘O Monstrous! O Strange!’: Culture, Nature, and the Places of Music in the Mexican Sotavento; 11. Journeys to Plastic Beach: Navigations across the Virtual Ocean to Gorillaz’ Fictional Island; Part II; Music-Making Environments; 12. Person ¬Environment Relationships: Influences beyond Acoustics in Musical Performance ; 13. The Social and Spatial Basis of Musical Joy: Folk Orc as Special Refuge and Everyday Ritual; 14. Echoes of Mongolia’s Sensory Landscape in Shurankhai’s ‘Harmonized’ Urtyn Duu; Designing Creative Spaces; 15. Staging Ariodante: Cultural Cartographies and Dialogical Performance; 16. Musicians in Place and Space: The Impact of a Spatialized Model of Improvised Music Performance; 17. Space, Engagement, and Immersion: From La Monte Young and Terry Riley to Contemporary Practice ; Musical Spaces and Power; 18. Micronational Spaces: Rethinking Politics in Contemporary Music Festivals; 19. Construction of Protest Space through Chanting in the Egyptian Revolution (2011): Musical Dimensions of a Political Subject; 20. Bethlem, Music, and Sound as Biopower in Seventeenth-Century London; Epilogue: Towards More Geographic Musicologies